On their fourth album, Odelia continue to explore their own strain of post-shoegaze rock, atmospherics and studio touches working hand in hand with careful, attractive performances. Mogwai's strong example continues to provide a lodestone for the band's work in a very positive way -- the combination of soft keyboard melody and skyscraping guitar feedback surge on "Maritimes" is a clear instance of it at work. But Odelia always throw in something to turn things towards their own ends -- the fluid, funk-touched bass on "Bitkaramire" is definitely that song's secret weapon, giving the melody on the first part of the song a supple grace as a result. It's almost a cliché, meanwhile, to have vocals buried by guitars in this general vein, but the opening "The People Who Disappeared from Cultus Lake" plays with this convention. While the rich, achingly beautiful flow of feedback in the instrumental break is spot on, the sung words get partially obscured by what almost sounds like a police report, adding a touch of theatrical edge that continues towards the end as well.
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AllMusic Review by Ned Raggett