Simultaneously straddling the line between being completely nostalgic and futurist sounding, this product of a single wunderkind takes healthy obsessions with certain influences and filters them through a droning, gloomy spyglass that evokes only the most concrete blues (the emotion not the music) this side of the gray waters of the Atlantic. While Planning For Burial gets lumped in with the whole wave of bedroom recording artists (which is where the project toiled for years until Leaving finally was released), the mastermind behind the project sets himself apart from his peers due in no small part to his background in sound engineering and the drive to play live, giving a completely different aspect of the music.
The live side of the Planning For Burial coin has a split personality where the audience is never sure what they are going to get; the loud version is a droning and noise-y wall of sound while the quiet version is soft and pretty. Both aspects though are exercises in wondrous depression.
Edited by inmemoryofthom on 16 Mar 2015, 15:38
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