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Lost Children

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During a trip to Hanayashiki Park in Tokyo, Avery found a moniker for a collection of songs he had been working on in private.
It was a small placard, glanced in passing, but the phrase stuck with him. ‘Lost Children’ spoke to a preoccupation with aging, mortality, and the anxieties of adulthood. Time has been a theme for Brooks since the first LP, Our Fallen Cities, which was a soundtrack to visions of post-apocalyptic America, a score of love songs meant to accompany a dimly-lit futurist nostalgia. With tracks like "Time Is Running Down," Brooks made no secret of his subject matter, nor did he stray from his unswerving orbit around an 80's sensibility: much of Our Fallen Cities feels like an updated Depeche Mode, giving free reign to dark, skeletal clanging and judicious use of vocoder.
Spectres finds Brooks no less fascinated with his own death drive, this time letting the songs fall into the familiar shapes of ghost stories. Brooks continues to pay homage to his darkwave heroes, but allows his synths to stretch their legs with intricate programming, employing denser shimmering textures and letting small patches of light slip through. Vocal lines are woven through the mix, stretchy layers draped across steely percussion. The sounds are very much alive, pulsing choirs of synth tones in vivid spectrums of dark blue. Spectres is a sensitively woven sonic space that deals primarily in darkness, but glows with a slight warmth around the edges.
-Jen Monroe (LISTEN TO THIS)

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