PICKS OF THE MONTH
diskurso art magazine's
February 2021 Picks
Published March 5, 2021
(Streaming release: 26 January 2021 / Chris Sparling, writer; Ric Roman Waugh, director)
IT doesn't matter that in this apocalyptic story there happen to be bunkers in Greenland built by the US government and it looks like it took years for these to be completed. You see, if the surprise comet in the narrative was only recently seen, then those bunkers' having been built a decade ago doesn't make sense. Unless, of course, the US government actually already knew about the comet years before the media got wind of it, which would then figure. Or were the bunkers built for a possible nuclear missile attack by North Korea, Russia or Iran? If so, is that why they're in Greenland? But, wow, man; how could China's and Russia's satellites not have espied on the construction of the airport when it would need to be as big as the Beijing Daxing IA to accommodate, say, 300 landings and takeoffs each hour during the transfer of select Americans within the year or month of the expected arrival of that planet-killing fragment of the comet in question?
It doesn't matter, really, as we said, because this thriller and action film, written by Chris Sparling and realized for the screen by Ric Roman Waugh, has the Garrities (Gerard Butler, Morena Baccarin and Roger Dale Floyd) encountering the worst and the best in humanity on their heart-stopping journey to the Canadian border to find that indie flight to the Greenland sanctuary. This is on the eve of Earth's meeting with the aforementioned fragment of that comet, named Clarke, which, unlike Clark Kent, is not coming to save humanity but to annihilate a biblically large fraction of it. So, in a sense you could say that the point of all this is almost predictably Noah-esque.
Barry Hertz of The Globe and Mail: "The new movie Greenland will make you sick. And I cannot recommend it highly enough."
Roger Moore of rogersmovienation.com: "Doesn't often surprise, but it never disappoints."
Peter Canavese of Celluloid Dreams (the movie reviews show): "If you can ignore the at-times-laughable script this is a skilled, very dark and surprisingly effective disaster movie."
Dan Scully of phindie.com: "It's a silly script, but it's most definitely not stupid. Respect."
Heather Wixson of dailydead.com: "Sure, there are plenty of explosions and breathtakingly horrifying sequences involving cities being annihilated by fragments of the comet, but the panic-fueled tension at the center of Greenland comes from the real human stakes driving its narrative."
Chris Hewitt of empireonline.com: "Butler's best star vehicle in years, what could have been a bombastic bunch of boulders is, instead, a refreshingly clear-eyed and compelling affair. One of the best disaster movies in years."
Jaredmobarak.com: "Knowing the carnage still to come, it was refreshing to meet the Garrity family as a group of regular people that will simply have to try and survive."
Kevin Maher of The Times: "It's as if the film knows what we know, or what we've learnt in lockdown. That even in the face of chaos and disaster on a worldwide scale, it's the personal stuff that counts."
Mark Kermode of The Observer: "The result is a first-rate B-picture, and a timely reminder of the delights of well-crafted popcorn thrills."
Linda Marrick of New Scientist: "Far bleaker and more downbeat than you would expect. The film manages something truly unique by showing that you don't need astronomical budgets to make a decent disaster movie."
Paul Byrnes of Sydney Morning Herald: "If you love disaster movies because they're a guilty pleasure, this one might offer some challenges. Greenland is actually unsettling, if you care to read its darker meanings." . . .
So there you go. It's a decent disaster movie because carved out from a regular-people characterization ramped up by a bevy of emotional situations, and then from an awareness of everything that could go wrong (and right) in a given culture faced with an undeniable threat. Yes, an undeniable threat, this one being a quick-as-a-surprise comet that won't allow a Republican president much time to deny anything, unlike a pandemic virus or an even more slow-burn planet killer like climate change.
A hidden message here is that infrastructures could actually be prepared by a government for occurrences such as an encounter with a comet, or for highest-level climate change occurrences (even by the hypocrite deniers of the Right for their concept of privilege), if these governments―like Noahs of either the left or the right―would only seriously choose to. Then there are the other hidden dark meanings that you can squeeze out of the varied situations in the story via a wide array of approaches, if you'd care to look for, instead of denying that there are, things here that could pass for contemporary allegory.
The 2021 Super Bowl tv ads by General Motors featuring Will Ferrell, created by McCann, USA, and uploaded to YouTube 2-3 February 2021 by General Motors. From left to right, 1: "Norwegian History | Big Game Teaser"; 2: "Pizza Prank | Big Game Teaser"; 3: "Knock Knock | Big Game Teaser"; 4: "No Way Norway | Extended Big Game Commercial"
University of Agder's self-created "Sorry (not sorry)" tv ad uploaded by Universitetet i Agder on 6 February 2021 as a response to the 2021 Super Bowl ads by General Motors with Will Ferrell
Audi Norway's "Audi Norway Globus," "Audi Norway loves pizza," and "Audi Norway Salmon fight" tv ads collectively known as the Don't hate. Imitate. series. All videos were uploaded by Audie Norge on 5 February 2021 and were created with POL, Norway as Audi Norway's response to the 2021 Super Bowl ads by General Motors featuring Will Ferrell
The Super Bowl season electric vehicle ad war between General Motors/Will Ferrell and Audi Norway/University of Agder
(Aired between 2-7 February 2021)
THERE are wars pacifists would welcome. Like this one between General Motors (via McCann USA, who used Will Ferrell) on one side and Audi Norway (via POL, who used Kristofer Hivju) and the University of Agder on the other. Whew!
Film acting, film
(Streaming release: 27 January 2021, Netflix)
RICHARD Roeper of Chicago Sun-Times: "(Naomi Watts) is such a chameleon of an actress, such a pro at slipping into a vast array of roles without drawing attention to the mechanics of her work, that we almost take for granted how damn good she is - and she delivers beautiful and resonant work as Sam."
Lauren Veneziani of wbaltv.com: "Naomi Watts and Andrew Lincoln bring this beautiful true story to life, set in stunning Australia."
Clarisse Loughrey of The Independent: "You can see the strings all being enthusiastically pulled by screenwriters Harry Cripps and Shaun Grant - but the film's emotional manipulations work, even if they're obvious."
John Anderson of The Wall Street Journal: "Penguin Bloom director Glendyn Ivin doesn't honey-coat the difficulties faced by Sam or her family, which is one of his film's virtues."
Sarah Ward of concreteplayground.com: "Watts puts in a film-lifting effort. The several exceptionally trained (magpies) by her side (as the single helpful and injured magpie of the story) all do too, vying with their high-profile co-star for the feature's best performance."
Where the Gloom Becomes Sound
(Release date: 29 January 2021. Label: Metal Blade; Century Media. Genres: gothic metal)
EXCLAIM!: "Their latest release, Where the Gloom Becomes Sound, is unquestionably the record (Swedish quartet Tribulation) needs to cement their status as frontrunners in 21st-century heavy metal."
Metal Hammer: "With Where The Gloom Becomes Sound, Tribulation have delivered an album of top-tier rock songs, litanies sealed with a baroque gothic tongue."
Kerrang!: "By the time you’re spun out by sprawling closer 'The Wilderness', it feels like you’ve chased dusk across continents, soaking in 1,000 terrifying and tragic, fetid and fresh sights and smells along the way."
Definitely the album for those who don't think things are looking up at all for world peace and the climate.
(Wide theatrical and streaming release: 19 February 2021)
DAVID Harris of Spectrum Culture: "In her third feature film, Chloé Zhao's Nomadland presents an America many of us don't want to see, but it's one that we should recognize with wide-open eyes."
Cassidy Olsen of DigBoston: "It's a staggering portrait of a community searching for grace after being ravaged by American capitalism, and Zhao's greatest work yet."
Diane Pershing of The Malibu Times: "I don't use the word 'masterpiece' very often, but Nomadland deserves the appellation here, for sure."
Damien Straker of impulsegamer.com: "Nomadland is one of the most understated and quietly painful films I have seen."
Eleanor Ringel Cater of saportareport.com: "Nomadland works on its own uniquely seductive level, which is closely tied to (Frances McDormand's) extremely seductive performance."
Alison Lanier of Bitch: "There's a genuine and emotional sense of presence as the viewer moves with Fern through the beautifully realized environs of Nomadland."
Bob Mondello of NPR: "'Nomadland' is a chronicle of the Great Recession that plays like a quietly thoughtful, real-life 'Grapes of Wrath', with McDormand's Fern as its understated Tom Joad - strong, resolute, haunting."
Adam Kempenaar of Filmspotting: "That is the challenge of this approach: committing to the [neorealist] aesthetic but relying on a star to carry it."
Katie Walsh of Tribune News Service: "'Nomadland' feels simultaneously like both a memory and a prophecy. Zhao has managed to marry these juxtaposing ideas in her film, which is the essence of bittersweet distilled into an arrow and shot straight through the heart."
Thomas Caldwell of ABC Radio Melbourne: "Nomadland is a rich and rewarding character-driven film that blends almost documentary-like observational scenes of Fern's encounters with the people that she meets on the road with moments of sublime beauty."
Public interest project, Social sculpture, Political satire
The Traditional Virginity Test project's satire tv ad. [Uploaded by ADdictive, 15 February 2021]
One of the Traditional Virginity Test project's website-based testimonial video. [Uploaded by Ads of Brands, 14 February 2021]
photos of materials from the Traditional Virginity Test project
M.A.L.I. Movement's Traditional Virginity Test public interest project
(Launched 14 February 2021 with the help of TBWA United Arab Emirates)
THE project's press release from M.A.L.I. Movement and TBWA United Arab Emirates explains: "M.A.L.I. Movement has chosen February the 14th, Valentine’s Day - a day that epitomizes love and togetherness, to launch a campaign against women’s ‘virginity testing’, breaking the myth of the ‘unbreakable’ hymen and shedding light on a patriarchal concept that still roams around the world, even in modern societies: ‘women’s virginity’; a symbol of women’s oppression.
"For years, bed sheets have been used for ‘virginity testing’. The ritual is performed in Morocco and many countries across Middle East and North Africa to prove a woman’s ‘purity’, basing her worth on a bloodstain. During the night of the wedding, guests wait outside the room for the virginity to be publicly proved after the first intercourse. Not bleeding can be life-threatening and might include physical and verbal abuse, shunning, divorce, rape, ‘honor killing’ and suicide, affecting the women’s fate, the fate of their family, their ‘honor’ and safety.
"M.A.L.I. is turning the tables by using the bed sheet to debunk the hymen myth and fight this demeaning ritual. The campaign’s hero asset, the bed sheet, is packaged in a colorful crafted box, including a 24-pages informative booklet that describes the perils of ‘virginity testing’ and denounces this practice. The bed sheet kit is listed for sale on an exclusive microsite: traditionalvirginitytest.com, where visitors are surprisingly re-directed to a series of real-life testimonials and facts, upon adding the product to their carts."
An Overview on Phenomenal Nature
(Release date: 19 January 2021. Label: Ba Da Bing. Genres: art pop, indie folk, ambient pop, alt-country)
IT lasts a mere 33 minutes, but on this economic form, writes Mojo, "(Cassandra Jenkins) could pull off a double album."
Exclaim!: "It's a near-complete reimagining of the New York songwriter's sound; an iridescent folk-jazz odyssey dizzyingly rich with detail and craft. At only seven tracks, it feels as vast and accomplished as a record twice its length."
Uncut: "The Woodsist associate exercises admirable, compassionate restraint."
Pitchfork: "Filled with people, stories, and dialogue, the New York songwriter's second album flows like an emotional breakthrough, tying together disparate observations into a serene and unified vision."
noripcord.com: "This is solipsism of the highest caliber: gentle, hypnotic, fastidious, but above all else, hard to resist."
Beats Per Minute: "'The Ramble' ... sums up the themes of Phenomenal Nature with ease; it’s an album about our fractured self-conception and the ways we try to put it all back together."
dustedmagazine.tumblr.com: "These songs are like aloe vera and St. John’s wort, all natural and healing. Though none of them are exactly happy, you find yourself relaxing into them, letting things go, breathing deeper and feeling measurably more able to go on with whatever’s next.... It’s going to be one of the best records of 2021."
Amaarae - Full Performance (Live on KEXP at Home)
(Streamed live on YouTube, then saved, via KEXP, 17 February 2021)
THIS was Amaarae sending out her performance for KEXP's Live on KEXP at Home concert series on YouTube. She gave us about 16+ minutes of well-engineered live versions of five songs from her innovative 2020 album The Angel You Don't Know (plus a cover of Santigold's "You'll Find a Way" that she allowed to bleed into her own "CRAZY WURLD"). All this live from Nannop Gallery in Accra, Ghana, with Joshua Moszi alone accompanying her on the guitar. The livestream's Arte Povera-esque art direction simply wowed us.
Television documentary series
Amend: The Fight for America
(Release: 17 February 2021, Netflix)
RICHARD Roeper of Chicago Sun-Times: "This is must-see viewing for everyone who believes in the all-encompassing, freedom-guaranteeing powers of the 14th Amendment, everyone who says they believe in the 14th Amendment but carries themselves otherwise, and everyone in between."
Inkoo Kang of The Hollywood Reporter: "For a series with such a large scope and often bone-dry subject matter, Amend makes legal history approachable and digestible."
Melanie McFarland of Salon: "One of the main blessings of (Will Smith and Larry Wilmore's) approach is their dedication to breaking down dusty declarations in terms that the average person can understand and tossing in their own emotional reaction."
Judy Berman of Time: "Beneath all that polish is substance. (Directors Kenny Leon and Reinaldo Marcus Green) succeed at spotlighting under-praised heroes, while making room for related struggles from feminism to LGBTQ rights to immigration and declining to dumb down the insightful analysis..."
Robert Daniels of RogerEbert.com: "A charismatic Will Smith, a few little known facts, and a particularly uplifting episode give this docuseries about the importance of the 14th Amendment a reason to exist."
Brian Lowry of CNN: "It's a reminder that securing the protections granted by the 14th Amendment -- like America itself -- remains very much a work in progress."
Daniel D'Addario of Variety: "While this may be well-known to some, if you are looking for a teaching tool about recent and not-so-recent history, you could do a great deal worse than this."
Joel Keller of Decider: "A very informative docuseries about a piece of our Constitution that is the most misunderstood and overlooked."
Untitled painting by Ormoc-based watercolorist Montesclaros Rocelo
(Posted 13 February 2021, Instagram and Facebook)
YOU could easily argue that there's nothing new in this watercolor-implemented painting concept by Ormoc-based artist Montesclaros Rocelo that we first saw on the page of a Facebook community of Leyte artists called ARTrom. But that's precisely how the piece demonstrates to us the truth that the old capitalist realist idea that's used in this little oeuvre could actually still strongly work in our century and decade, and might probably be working in a new light. In a new light, we say, because capitalist realism's concerns are not only as alive as ever but have been rendered rejuvenated, even strengthened, by the novel environment against which these concerns might now have become urgent theses. Overall you could say that this novel environment just rendered capitalist realist still-life painting worthy of our time's insistent retro paeans.
If you agree, then perhaps you can now start to consider the fact that this Rocelo piece is a watercolor work, the water obsession of which might practically be proffering the piece as a product of resistance to the literal plasticity of the plastic bag and the polyethylene terephthalate Coke bottle in the picture and as a drawing drama emulating the organic-ness of the juicy fruits in the same. Of course you can argue that even watercolor pigments today are just as synthetic as the base in our time's acrylic paints, but if the context of artworks is also carried by the process of their making, then it's the quixotic effort here to escape literal plasticity, made tragic by its futility, that makes it the ultimate point of this piece's artmaking process and resultant structural statement.
If, in regards to its water obsession, you agree to our above appreciation that the piece is indeed doing a quixotic march inside its serious environmental weariness, it is probably because you understood what we were directly alluding to: the fact that our ocean waters today are already replete with the very motifs of this picture, plastic bags and plastic bottles. There, then, is the valuation upon Rocelo's work that the old capitalist realists and still-life watercolorists would never have imagined themselves embracing.
Perhaps the next move of the Rocelos of our era might be the making of anti-plastic artisanal watercolor pigments as a step forward, away from the merely-lessened plastic footprints of absent acrylic suspensions in nevertheless still-synthetic materials of today's watercolors.
Literary criticism, Poetry
Tsika-LIT: Literary Conversations Episode 1: Poetry
(Streaming release on YouTube: 10 February 2021, Bátì UP Tacloban channel)
WE confess that when we got wind of this online talk made possible by Bátì UP Tacloban . . . it became quite a magnet to our senses only because it was discussing a short lyric poem in the Waray language written by our editor, the advocate for ellipticism Jojo Soria de Veyra. But the reason this talk's video is on our picks list for this month is not so we can promote with it a culture of navel-gazing among art journalists (we already have an abundance of that culture), but because this talk carries precisely the kind that we've been trying to promote for Philippine criticism - criticism focused on a piece rather than on an abstract whole or another peripheral macro-vision!
Now, of course, this talk might be too freshman-geared for some of you with a snobbish higher education who'd wish it was more graduate school-like in tone and content, and some of you would rather that there was here a talk-video focused on a poetry piece other than de Veyra's "Testigo," but it's precisely those types of desire that we want to instigate! The point of this talk's inclusion in our picks list for this month is, yes, to laud that piece-obsessed direction of the talk, but also to encourage critics to do the same and start talking about pieces, pieces that are here instead of "idealized things" purportedly missing from the forest of Philippine arts. A focus, therefore, on some trees already in the forest rather than on abstract possibilities for this forest as promoted by a barrage of academic complaints regarding presumed absences.
In fact, we think that it might actually be this focus on existing pieces that might be the thing that's largely absent from Philippine criticism, an almost-absence that could actually be the cause (rather than the product) of what many critics consider as missing things or things in short supply or whatever else it is that's supposedly not here in Philippine arts that these critics forever find worthy of their time to keep complaining about.
For us, it's a chicken or egg issue, then. Well, okay, a tree or forest issue as well. And we hope that University of the Philippines at Tacloban's Tsika-LIT project will continue this soul of theirs that seems to parallel our mission to promote the examination of specific works over and above the mere hype over works' and shows' and events' and publications' and names' glamorous existence. Over and above, that is, the meaningless hype on mere artistic presence that isn't helping promote Philippine arts (or art pieces) on a more serious (or more fun) level. After all, isn't that serious (or more fun, as against boring) take on our art (even on our decor) what we all want to hear/read? . . .
And now that our motive has been made clear, here's the text of de Veyra's poem, for your better appreciation of the light discussion between UP at Tacloban professor Jessa Amarille and program host Mars Briones:
Ha harayo nga pulong, bisan marampag
An pagmakasasala mo ha bagting
Han ak' simod, ako la gihapon an
Mapainubsanon, ako, ako an madarahug
Nga 'say naangay makigbisog ha lawod
Han kaarawdan, kay ikaw an naghalad,
Ikaw an kinmarawat han ak' kamaisog
Nga malunod an ngatanan nga paghusga,
Ha halipot nga pulong, bisan buong,
In the long way of saying it, although
it's flowery on the chest
Your sinning upon the tolling of
My snout, I am yet the
Humble one, I, I am the oppressor
Who deserves to fight at the depths of
Shame, for you were the one who gave
You were the one who received my valor
That all judgments drown, o love.
In the short way of saying it, though
broken, even so.
Angel Tears in Sunlight
(Release date: 19 February 2021. Label: RVNG Intl. Genres: ambient, new-age, progressive electronic, tribal ambient)
LOUD and Quiet: "Angel Tears in Sunlight is a mesmerising final tour of a fascinating mind and a fitting farewell to truly a one-of-a-kind visionary."
Crack Magazine: "A transcendent parting gift to the universe, Angel Tears in Sunlight is a timeless addition to (Pauline Anna Strom’s) canonical legacy."
musicOMH: "In an interview once, Strom admitted, 'I see things in my head. I dream in colour'. This posthumous addition to her near-perfect catalogue confirms that statement, expertly revealing how attuned to the universe she was and how vibrantly her imagination shone in the dark."
Pitchfork: "The synthesizer pieces here are the lightest and most playful of her career, like beacons of hope and change."
Allmusic: "Issued two months after her death, Angel Tears in Sunlight, her final album, continues in the same expansive, unconstrained mode as her earlier work but explores different tonal realms."
Mojo: "Angel Tears In Sunlight retains an elegant spirituality; Strom's vivid blend of polyrhythms, hypnotic grooves and animalistic sounds feels like a beautiful lament."
The Guardian: "These are electronic miniatures on a symphonic scale, digital creations that conjure up visions of a pre-electric world."
Beats Per Minute: "The music of Angel Tears in Sunlight is in no hurry, but stick around and it will take you to zones that breathe with ancient life."
Uncut: "Angel Tears In Sunlight, as the title suggests, offers the kind of transcendental electronics that burrow blissfully into your brain."
Conflict of Interest
(Release date: 19 February 2021. Label: Warner UK. Genre: UK hip hop, grime)
THE Arts Desk: "Though Conflict of Interest remains sympathetically steeped in criminal experience, it also holds out a hand to pull free."
Clash: "That backwards glance has helped deliver (Ghetts') strongest album to date, and one of grime’s true classics."
The Line of Best Fit: "On his major label debut, Conflict Of Interest, the decorated East London wordsmith refines the winning formula of his past long-players, getting up close and personal while still finding room for a plethora of A-listers including Ed Sheeran, Stormzy and Skepta."
The Observer: "Cinematic in scope, movingly honest, with a phalanx of big-name guests, Justin Clarke’s major-label debut is a dazzling piece of storytelling."
NME: "It’s a rare achievement to make an album as thoughtful and transparent as this; you need real lyrical talent to do so."
Evening Standard: "This is slow-moving, sophisticated fare befitting of an elder statesman."
thefortyfive.com: "The record’s expansive soundscape and storytelling deserve several long listens, yet its fresh outlook hints at an exciting future for grime."
Michael Rakowitz: Haunting the West | Art21 "Extended Play"
(Video premiere date: 18 February 2021, Art:21)
Cause marketing action
Photos from Burger King France's Potatoes public interest project
Burger King France's Potatoes cause marketing project
(Launched 2 February 2021 with the help of Buzzman, France)
WE don't know the full story behind Mang Inasal's recent price-pack deal in most of its Philippine outlets (5 roasted regular MI chicken cuts for ₱400), but we hope it comes from the same pro-farmer motivation as the one behind Burger King France's new freebie marketing idea.
About that new sales promotion, French ad agency Buzzman's press release explains in French English: "In order to support the French potatoes farmers who can no longer sell their production, BURGER KING® decided to lend them a hand by buying 200 extra tonnes of potatoes, and from 2 February, they will be giving away a one-kilo bag of potatoes with every visit to a drive-thru."
A cause marketing action, then.
(Streaming release: 5 February 2021, Netflix)
(Release date: 5 February 2021. Label: Fat Possum. Genres: art pop, sophisti-pop)
PITCHFORK: "Tamara Lindeman’s songwriting has reached stunning new heights. With a full band supporting her, her new album draws upon the natural world to create unforgettable moments of calm and beauty."
Northern Transmissions: "With their fifth and latest album, Ignorance, (Canadian folk band The Weather Station) takes the offramp into the suburban landscape of cool jazz flavored with pop aromas. . . . Ignorance goes beyond excellent and enters the rarified realm of the superlative."
NoRipcord.com: "What's being attempted here is sensational, an unmissable combination of common emotions and abstract anxieties that shouldn’t work. And yet, when Lindeman shares with us, these songs explode with the air of something incredible."
thefortyfive.com: "‘Ignorance’ ramps up the sonic freedom – but the new album is immaculately thought-out. Lindeman faces the climate change Goliath the best way possible: through a personal lens. She’s never preachy, rarely obvious, her watertight lyrics probably worthy of a Nobel."
Beats Per Minute: "Ignorance might be one of the most important records of the year, as it puts all our hearts and minds under a microscope, and with tweezers in hand Lindeman pulls each layer back."
Uncut: "Emotions are never straightforward, often shrouded in a mist, or on pause in the unheard half of a dialogue, waiting to emerge. But there is still joy to be found in the sound of these songs."
Allmusic: "Ignorance is a major statement that never feels oversimplified. While she's growing so much with each album that it seems risky to call this Lindeman's best, it's safe to say this is another outstanding achievement from The Weather Station."
musicOMH: "Devoid of any jagged distinguishing features that may distract or impose a singular interpretation, the record turns out to be a source of rumour and mystery in which to succumb to subconsciously immaculate devastations."
Clash: "'Ignorance' is a well-crafted and heart-felt piece of work that dances seamlessly through the caverns of dark and light, a perfect offering to hold onto with hope."
Rolling Stone: "A revelatory collection of glassy-piano dance grooves and noir folk, based in Tamara Lindeman's piercing songwriting."
Exclaim!: "Ignorance is a record in search of that silence. Across ten tracks of jazz-influenced, liquid-silver art rock, Lindeman grasps at the world thrumming just beyond our punishing screens and endless news cycles, beyond our emotional and physical walls."
The Observer: "Art often seeks to wring beauty out of pain – always at the risk of mawkishness or cliche. The Weather Station’s fifth album is an undertaking that succeeds – many times over."
Record Collector: "For all its musical sophistication and all its lyrical heart, Ignorance is a confident, almost bolshy statement of intent."
The Line of Best Fit: "A masterful record that sounds like a full flowering of a remarkable talent. It is true: Ignorance can indeed be bliss."
Mojo: "This is what Ignorance delivers: the document of an introvert empowered by the vastest crisis of passion imaginable."