Point

"Smoke" starts off with a reminiscent sound familiar to Tortoise and Yes. The bass in this song is the funkiest part of this album. The song is very well rounded with Cornelius repeating the word smoke over and over. "Drop" takes you on an IDM/Folk journey and also begins the "sound effects" portion of the album. Water running and birds chirping give this a bit of an experimental quality that Cornelius is so good at. The next song, "Another View Point," picks up where "Drop" leaves off. It's a little faster pace, but still keeps the integrity of the album.

The real surprise here is the song called "Brazil." It's the theme song from the incredibly bizzare movie by the same name. I'm sure some of you have seen this one before. Nevertheless, Cornelius adds his touch as always making one of the most intimate songs on the album. I absolutely love the vocal effects on this song. Superb.

I can't wait for you to hear "I Hate Hate." I laughed when I heard it.

All in all I believe this is a better rounded album than "Fantasma." Maybe it's just because this album is new to me. I don't know. You be the judge. Either way, if you get this album, I'm sure you'll be happy with it. If not, give it to a friend. I don't think it will make it that far, but rest assured you'll have a great recording for your collection. I'll bet this will be on some "best of 2002" lists at the end of the year.

To begin with, Cornelius works with a surprisingly simple and consistent sonic palette. Almost all of the tracks here are
built on combinations of precisely plucked acoustic guitar chords, sparse but carressing breathy vocal snippets, crisp
percussion that sounds like it actually comes from a real drum set. Sure, he changes things up a bit: "Another View
Point" gets a bit rocky with spiralling electrics and a solid bass groove; the playful "Drop" masterfully encorporates the
sounds of water dripping and splashing (a terrific accompanying video shows a young boy washing his hand);
elsewhere we find birdcalls, subtle banjo plucks, tastefully arranged electronic clicks and beeps, and snatches of
theremin. But all of this is carefully reined in and channelled toward an overarching sense of unity and calm which
prevails throughout - even on the frantic, fractured, faux-metal "I Hate Hate," glimpses of melodic majesty emerge from
of the chaos. The album also flows in a literal sense - most of the tracks merge into one another, linked by rhythmic
and textural motifs as well as a unified sound. Although Oyamada's stunning voice dominates the album, usually
multitracked in dense, lush harmonies on sustained "aaahs," it's easy to lose sight of the fact that these are individual
songs (no doubt in part because even the English lyrics are largely undecipherable - the chorus of "Smoke," which
simply repeats the title four times, comes off as "soo-moooohg.") One highlight is an irresistable update of bossa nova
classic (and Terry Gilliam theme song) "Brazil," with a mellifluous computer warble taking on the soaring melody.
Despite its lush beauty, the record is also intensely rhythmic, and consistently danceable (if you dance like I dance),
alluding to Brazilian samba, upbeat house-like grooves, and complex funk while never quite giving way to one genre
absolutely. Promo material for this album suggests that it's equally appropriate for listening in the car or through
headphones - I would add the dancefloor and a late-night lounge sofa to that list, but the point stands that this is a
versatile record, capable of providing immense listening pleasure in any number of situations. The best point of
reference I can make is to Björk, and I think that's a fairly accurate comparison, but I think that what Cornelius has
done here is something truly unique. Point is gorgeous, engaging, and magical. (9/10)
[edit]

On all of his past albums, Cornelius tended to jump from one thing to the next, and although all of the songs were held together nicely, tempos, rythms, and melodies would suddenly switch mid-beat to provide a truly exotic experience. This album seems to play like one extended, mellowed out song. Instead of being constantly thrust from one mood to the next, a constant presence is maintained until you get to "I hate, hate" (which almost sounds like a death metal song from another planet).

This album is truly Cornelius moving in a different direction. This is truly a concept album that explores naturalistic beauty. Most of the samples used in this album are not samples of weird radio broadcasts, monkeys, or a sped up Sloth sample ("HEY YOU GUYS!!!"). The samples here are that of water droplets quaintly splashing into a tranquil stream, or a cluster of birds quietly singing their their dreams back and forth to each other.

Even though this disc may not exhibit what Cornelius usually sounds like, it certainly does paint an aural soundscape of what emotions he is having at this "Point" in his life, which might explain the title a bit more.