Weekends

Album Review of Weekends by Pacific UV.

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Weekends

Pacific UV

Weekends by Pacific UV

Release Date: Jan 31, 2012
Record label: Mazarine Records
Genre(s): Alternative/Indie Rock, Indie Electronic, Indie Pop, Space Rock

65 Music Critic Score
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Weekends - Fairly Good, Based on 4 Critics

Drowned In Sound - 80
Based on rating 8/10
80

Approaching their fifteenth year of existence they may be, yet PacificUV remain a curious anomaly. Formed through a shared love of The Jesus And Mary Chain and hallucinogenic drugs at the tail end of the Nineties, these days PacificUV are likely to be found in the Athens, Georgia having initially started out there before spending the best part of a decade in Portland; their profile has kept a consistently low level despite 2002's self-titled debut being heralded by some as a masterpiece. Perhaps more notable is the band's musical development over the course of their career.

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Paste Magazine - 79
Based on rating 7.9/10
79

If each person moves through the world at their own speed, then pacificUV’s Clay Jordan and Suny Lyons operate at a decidedly slow tempo. The Athens, Ga., dreampop outfit have released only three studio LPs in eight years — each offering features various droning walls of sound, but the two have managed to imbue every album with their own distinct style. Weekends, pacificUV’s latest release, is a concept album: A painstaking examination of drug abuse as self-medication to the pain of heartbreak.

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PopMatters - 60
Based on rating 6/10
60

The perplexing but somewhat inspiring cover art for pacificUV’s sophomore record Longplay 2 has always somewhat confused me, but at the same time the artwork does reflect the quality of the music within. The record’s stately, epic brand of post-rock recalls an overcast winter landscape. In particular, album opener “Alarmist,” with its dramatic, ringing chords, practically forces the listener to imagine a snow-capped horizon.

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No Ripcord - 40
Based on rating 4/10
40

Pacific UV has a work ethic that’s comparable to the cresting soundscapes they employ – in three to four year intervals, they’ve resurfaced with slow-simmering, gossamer compositions that undulate, emanate, and orbit in infinite space. So they don’t write new material very often. Just as post-rock instrumentals take their dear time to unfurl, the same could be said about how often we actually need records of this same nature.

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