Modern Kosmology

This is ok in an unremarkable, inoffensive way, I guess. There are plenty worse albums here, and plenty better.

A beautiful pleasurable sound exhibition of voice and instrument. I had never heard of her before this listen. I will be listening to more of her work.

So much great music has come out in the last 10 years and this is so far away from any of it I cannot work out why this is on the list

Triple blind on this one. Overall thought the album was dull. Nothing about any of the songs really stuck out. It felt like the kind of music you turn on if you’re about to ‘do drugs, but nothing I need in my standard rotation

This album was just background filler to me. Didn't stick with me at all

Slow Motion was good

Bastante bien

Interesting sound, relatively unknown artist. But fun psychedelic sound, probably would not listen again, but no bad things to say about it really

Another great album from Jane Weaver not quite as immediate as Flock but a nice album for all-way-through listening

It’s a fine record but it’s missing anything that makes it remarkable. I wish it dove deeper

Not my cup of tea.. i can’t comment much

Diverting

Pretty solid album honestly. Slow Motion and Loops in the Secret Society are the best two tracks

I listened to this right after the Lana album and thought "oh boy, here we go again with some modern art pop". But this actually had a much more mature and complex sound, I enjoyed it while admitting that I didn't get a single lyric out of it, so need to return.

The 2017 version of me would have been obsessed with this. The 2026 version of me enjoyed it, but not necessarily to the same extent I would have. Overall, I think it's a bit dated (which is wild for an album that's a decade old), but there was enough there to enjoy it and I definitely could appreciate it's influences as well as the more modern stuff that it in turn influences. Would listen to it again, especially for times when I might want some good atmospheric music.

7/10 I don't mind this album - and in fact I think it's pretty good in that minor-key sad-girl kind of way - but it's another questionable choice for this list. I'm very tuned in to indie music, and Jane Weaver is not someone I've come across before, particularly not when this album was released in 2017. She's not super relevant in the music scene; she's not influencing anyone notable or participating in any significant musical acts; and this album isn't really doing anything novel, unusual, or unique. So why is it on this list? I'm not sure. I'm not angry about its inclusion, but it doesn't really make sense to me. (Some research tells me this album made it on to some British critics' end-of-year "best of" lists, which explains a lot.)

Jane Weaver seems to be heavily influenced by Radiohead.

Never heard of JW before this. What an absolute TREAT. The Valley is stunning, listened to it multiple times in a row.

Only 2 songs I liked on here, and even those weren't all that unique enough to be considered a "must-hear". Not sure how this new of an album made it on the list. 2/5

This was surprisingly fresh and interesting! Really enjoyed the album and Jane's voice.

Cool, really creative album with diverse sounds. I would like to listen again. I was never so over-the-top won over as to give it a 5, but that could change on future listens.

Didn't know Jane Weaver before this but really dug this album, elements of Air, trip-hop, shoegaze, and also reminded me of Deja Vega too (although this predates it, but you can hear the influence of this album in their work I think)

Enjoyable but not particularly distinct?

Pretty nice

"Modern Cosmology" is a fascinating musical onion that begs to be peeled. It’s the kind of album that needs some exposure to fully appreciate. The opener “HAK” gives a good sense of the overall feel: It features a continuously swelling, wobbling bass, detached vocal chants, and cryptic lyrics. There’s a lot of musical intricacy that can easily be missed. Take the drum beat; it’s tucked away in the back of the mix and can seem overly simplistic at first. Listening closely reveals occasional fills that accent the chant and seem to warp into the bassline. As the song continues, different synth elements are layered in, blending into a harmonious wall of sound. There’s plenty to listen to, but none of it is in your face. Some tracks reveal their treasures more clearly. “Slow Motion” feels like a mix between chiptune and post-punk. Others, like “Ravenspoint,” lean further into the mystical vibe of the record and almost feel like a meditative practice. I overall enjoyed it, but at times it left me wanting more. It doesn’t have the quality of a Björk album that immediately encases you in an atmospheric barrage of musical intricacies. This one can easily fly under the radar. The lyrics are very cryptic at times. After three spins I’m at a decent to strong 3, but I can totally see how this album could grow on me with more exposure.

Ok

Tough to rate. I really really liked this album. If I give it 5 stars does that mean its in the same level as zeppelin 4 and dark side and rumors etc? Because its not that. But i did really like it.

Don't know the artist but really enjoyed the blend of modern pop/electronica/psych/folk with the individual songs managing to be quite varied in style and tone but the album as a whole maintains an overall dreamlike spaced out feel. Very good will listen again

Had not been familiar with this album. Electronic. Trippy. Chill.

Trying too hard.

Good, new to me!

2010s krautrock, synth pop

Cool record. Didn't know what to expect but was pleasantly surprised.

I enjoyed this album. The electronic elements really worked for me and her singing voice was really nice. I’m glad I heard it.

No private session used for Spotify. I had no idea of what I was getting into and felt some apprehension as to what kind of crap this list was going to feed me on a trying Tuesday morning. I didn't mind this at all, little bit haunting, little bit bland, but good enough to listen to twice.

Solid but like many others I’m confused why this is on this list. Strong 3.

There's so much here that works for me. The electronic beats have my brain entranced. All the instruments are arranged perfectly - listening to this album was an experience for me. When it hits (most of the time), it really hits. Weaver's voice is pleasant, if a little bit plain. Everything flows into the next track smooth as silk. The guitar is really great too. Standouts: "Slow Motion", "The Lightning Back", "Valley"

There are discoveries in this project that arrive with a considerable amount of historical scaffolding already attached. You know that you are about to listen to something important because several generations of critics, musicians and record collectors have spent decades explaining its importance to you. Then, occasionally, something simply walks in from nowhere and introduces itself. Modern Kosmology did that to me within about thirty seconds. The opening of “H>A>K” sounds immediately, unmistakably kosmische: a busy, insistent motorik beat, warm analogue electronics and a rhythm section that seems perfectly content to find a pulse and stay there. My first thought was Can. My second was that Jane Weaver’s voice was wonderful. My third was something like: what the hell is this, and why don’t I know it? “Cosmische music out of Cheshire” was the first formulation that stuck, and although the album subsequently proved much broader than that description, it contains something important about what makes the record distinctive. Weaver takes a musical language associated with German experimental music, Stereolab, the Velvet Underground, analogue electronics and, occasionally, Giorgio Moroder, but the result never sounds like somebody assembling their influences into a display cabinet. It sounds like a private musical world whose inhabitants happen to speak several of those languages. The most immediately unusual thing is the relationship between Weaver’s voice and everything underneath it. On “H>A>K” she is astonishingly close. The vocal sits high in the mix, heavily compressed and given a tiny delay shorter than obvious slapback. It produces a faintly unnatural intimacy: she is directly in front of you but somehow not quite occupying the same acoustic space as the instruments. Hyper-real rather than merely prominent. That treatment becomes one of the album’s great expressive tools because she never uses it in quite the same way twice. On “Did You See Butterflies?” the voice moves further backwards into reverb while the rhythm retains its insistence. The underlying relationship remains, though: propulsion underneath, suspension above. Weaver floats over the machinery rather than being carried along by it. That was where Stereolab became the obvious modern comparison, particularly the second half of “Lo Boob Oscillator”, where an insistent rhythmic structure simply continues while the vocals seem to detach themselves from it. There is a similar serenity in Weaver’s singing, although she is more willing than Laetitia Sadier often is to make herself the centre of the picture. Weaver may be surrounded by machines, but she does not disappear into them. The machine is beneath the voice. The layered vocals are particularly beautiful. Weaver does not merely double herself for thickness. Voices intertwine, separate and curl around one another until they become part of the arrangement, almost like several slightly different oscillators creating a single complex tone. She remains recognisably herself while simultaneously becoming a small cloud of Janes. Meanwhile, the instrumental palette is gorgeous. Warm analogue synthesizers burble, pulse and breathe without succumbing to the temptation to make every sound artificially filthy in the name of “character”. The presence of a Roland SH-101 in her equipment particularly delighted me. I have always liked the 101: an unpretentious, wonderfully immediate little synthesizer capable of beautiful clean sounds if you resist the temptation to dress everything up. Weaver seems to understand that perfectly. These instruments are not being fetishised. They are simply doing musical jobs. The title track made the psychedelic element of the record much clearer. Until then, calling Modern Kosmology psych-pop would have seemed slightly lazy because it lacks many of the familiar signifiers. There are no giant neon arrows saying PSYCHEDELIA HERE. Instead, the psychedelia is in perception. The groove remains insistent and grounded while ambient sounds move through it and the lyric begins altering the scale of the world around it. Ordinary experience becomes slightly unstable. The track itself has a strangely Brubeck-like gait: not jazz exactly, but a groove made interesting by where its weight falls. It trundles rather than charges. Weaver’s music repeatedly finds ways of making repetition feel mobile. Nothing needs to happen dramatically for something to be changing. Then comes “Slow Motion”, which initially struck me simply as a little song. Minor-key synth-pop, deliberately reduced in scale, with percussion so restrained that I could not immediately decide whether I was hearing a drum machine or a drummer being instructed to impersonate one. The arrangement is almost defiantly modest. Yet the lyric enlarges it. It is a song about renewal, change, shaking things up and somehow holding onto experience while it is happening: wanting to feel the life one has lived rather than merely remember it afterwards. “Slow motion” becomes a way of preserving experience by noticing it. There is something touching about the mismatch between that ambition and the scale of the music. Weaver does not build towards a giant rebirth chorus. She lets this tiny mechanical synth song quietly insist that things can change. It made me realise how often this album works through miniature construction. Cosmic subject matter, pocket-sized machinery. The arrangements are tiny, intricate things. An eighth-note arpeggiator will chug away underneath a song while two or three details move around it. A little synth figure arrives. A vocal harmony appears. A guitar scratches at the edge of the beat. Rather than continually introducing new sections, Weaver often fixes one element in place and lets everything else shimmer around it. “Loops in the Secret Society” brought another ancestry into focus: the Velvet Underground. It settles onto a stubborn rhythmic idea while tentative guitars feel their way around it. I use “tentative” positively here. They do not stride confidently across the track with riffs; they seem to discover small shapes as they go, fingers almost audibly searching the fretboard. The rhythm knows exactly where it is. The guitars are still finding out. That contrast recurs later and became one of my favourite characteristics of the record. Certainty below; exploration above. The lyrics behave similarly. I eventually settled on “metaphysical meanderings” as the fairest description of Weaver’s writing. An unkind reviewer could easily call them unfocused. Thoughts begin in bodies or relationships and then wander into electricity, time, dimensions, stars, mortality and altered perception. Yet the recurrence is too consistent for the effect simply to feel careless. The songs are comfortable with associative thought. They do not always need to arrive anywhere. A lyric can begin with desire or emotional uncertainty and suddenly find itself crossing another dimension beneath a sky full of stars. Love becomes electromagnetic. Rooms lose their ceilings. The ordinary vocabulary of relationships repeatedly expands into cosmology. The rhythm provides the discipline that allows the lyric to wander. The chassis is fixed; consciousness goes sightseeing. “The Architect” demonstrates what happens when Weaver takes the same basic materials and dramatically increases the voltage. For a moment I reached for Goldfrapp as a comparison because the sound suddenly becomes much larger, but Giorgio Moroder is more accurate. The synthesizers pulse with that wonderful forward electronic propulsion, while the drums remain unmistakably kosmische. Can in the drums, Moroder in the synths. Crucially, it never develops into glam stomp. The electronics create momentum while the rhythm section remains disciplined and slightly distant. The track is large without becoming heavy. Then, at its end, the machinery falls away and Weaver’s voice is left isolated in echo and reverb, suspended in an artificial space. It does not feel like the track stops so much as the physical room disappears around her. That use of spatial production may ultimately be one of the album’s greatest achievements. Weaver’s voice can be unnaturally near, comfortably mid-distance or practically spectral. Drums can sound as if they are being played in another county. Instruments occupy separate depths rather than merely separate positions in a stereo panorama. The album understands that a mix has a front and back as well as a left and right. “The Lightning Back” was the moment admiration became attachment. It is another small synth song, related to “Slow Motion”, but more intricate and decorative. Simple eighth-note arpeggiators chug away while synth lines curl around Weaver and a tiny motorik beat maintains forward movement. Her vocal begins with wonderfully human foolishness and vulnerability before, inevitably, the lyric wanders upwards into stars and dimensions again. Towards the end she layers backing vocals around herself and the little song simply opens. Nothing grand occurs. There is no vast crescendo. The arrangement just becomes richer and more inhabitable. I could live inside “The Lightning Back”. I actually stopped and favourited it during the first listen, something I almost never do. Usually I want an album to complete its argument before I start pulling individual songs out of it. This one required immediate preservation. “Valley” changes the landscape again. Birdsong appears. There is picked guitar, softly strummed electric guitar, bowed strings and the return of that uncanny short-delay vocal treatment. The strings are particularly good because they are not used as syrup. You can hear bow against string. They remain physical objects rather than becoming an emotional wash. Despite the number of elements, everything still feels reduced in scale. This is one of the record’s peculiar strengths: complexity without grandeur. The Velvet Underground comparison returned even more strongly here. Thin single-coil guitar sounds, repeated patterns, distant percussion and limited harmonic movement create the sense of an English Velvet Underground transported somewhere greener and stranger. The abrasion has been replaced by a kind of pastoral uncanniness. Weaver’s lyrics turn inward as well. The metaphysics remain, but “Valley” contains something more recognisably frayed: being low, losing the threads, falling out of time. The production enacts the same sensation. Her voice is present but slightly displaced from its surroundings. Then “Valley” simply bleeds into “Ravenspoint”. By this stage I had begun noticing that many tracks do not behave like entirely separate objects. They open into one another. Textures recur. Atmospheres migrate across boundaries. There are definite prog affectations here, which is not normally a phrase likely to fill me with joy. Yet Weaver manages something I wish considerably more progressive rock managed: prog syntax without prog bombast. There is continuous-album thinking without the demand that I applaud the continuity. One room opens into another. Malcolm Mooney, original singer with Can, materialises in “Ravenspoint”, and the guest appearance works precisely because Weaver does not frame it as an event. By this point I had already heard Can throughout the album. Mooney’s arrival does not establish the connection; it merely makes literal something the record has already earned musically. The track becomes increasingly ritualistic. Modal guitars hover without much harmonic movement. Again, fingers seem to feel their way across the fretboard. Percussion comes from somewhere far away. Weaver’s own voice is now shrouded in echo and reverb until she sounds like a wraith at the edge of the arrangement. Mooney intones mortality and the track becomes a ceremonial parade towards death. By this point the psychedelic nature of the record has become much deeper than effects or references. Time has changed. Harmonic movement matters less. Repetition becomes environmental. Voices and instruments occupy uncertain distances. The album is no longer asking to be followed so much as entered. Timothy Leary would have been unbearable about it. By “I Wish”, I was quite content simply to let the rhythm do the work until the words eventually arrived. Weaver sings sweetly over another persistent little machine while the lyric wanders once more through the metaphysics of relationships, alternating between abstract emotional space and wonderfully plain dissatisfaction. That may be the album’s most generous quality: you can listen in two completely different ways. You can pay close attention to everything Weaver is doing — spatial production, modal repetition, analogue synthesis, layered vocals, tiny arrangement changes, psych-impressionist lyrics — or you can abandon analysis completely and let the thing wash over you. Both approaches work. The end of “I Wish” provides the perfect conclusion. The song trundles onwards rather than reaching a grand resolution, then gradually seems to decompose. Recognisable musical information retreats into interference, degraded sound and a distant pulsing bass. It becomes a lysergic submerged undertow. The album does not finish. It sinks. What makes all this even stranger is that Modern Kosmology was not ignored. It received proper critical attention when it appeared. It charted. Alexis Petridis made it an Album of the Week. People plainly heard it. And yet nine years later it seems to exist in absolute anonymity, remembered by approximately four people. That is different from being an overlooked record. It was looked at. Then, somehow, everybody looked somewhere else. Perhaps that adds something to the pleasure of finding it now. There is no huge accumulated mythology telling me what I am supposed to hear. I encountered a fully formed little world and simply discovered, track by track, that I wanted to remain inside it. Jane Weaver sounds throughout like somebody amusing herself by making exactly the album she wants to make. She borrows languages without becoming subordinate to them. Can, Stereolab, the Velvet Underground, Moroder, synth-pop, psychedelia and the gentler architectural instincts of prog all become materials rather than destinations. The thing holding them together is Weaver herself: that sweet, slightly uncanny voice; those tiny intricate arrangements; the stubborn rhythms; the metaphysical wandering; and an instinct for knowing how little sound is actually required to create an entire world. What a find.

Haven't heard of her. Was sceptical and it turned out to be some indie bullshit. But also I found some songs quite nice? But I still don't see a reason to give it a high score 2/5

It felt like the background music to a bad teen drama.

Didn't hate it, but don't really know why it's on this list.

Nice sounds and positive vibes, although the songs don't really go anywhere

Easy and enjoyable - at times it felt very Motronomy, but distinctly different. Very cool, Jane!

Sounds like stereolab, I like

cool, bit backgroundy

Vaca catch up

raro. no sume ninguna

Like a series of songs for midlife crisis montage. This is a slow album that prefers to sit in the sounds for awhile without changing up too much from track to track. Not necessarily a bad thing but the style doesn't grab you very much and the few tracks that introduce more varied sampling or guitar riffs dont push far enough. Its a distinct style that works really well for a specific mood but otherwise fades to the background.

I liked this album and artist that I've never heard of before. The rock/pop mixed with a little electronic music is very interesting. I think it's an original sound that I found very consistent throughout the album. Liked Songs Added: Did You See Butterflies?

A bit too 80s production and Kate Bush sounding for my tastes. Not to say it's bad, because I recommended it to a friend whom I thought world resonate with it more, but it just doesn't fit my tastes. There is some interesting production though.

I don't understand why this album is on the list, total dud.

Nothing special weird mix/production that makes the vocals and music feel like two separate entities

Its inclusion in a book about culturally significant albums makes no sense, but I really enjoyed listening to, so whatever I guess!

This was interesting! It was different and relatively enjoyable, but maybe more as background music than anything else.

Ethereal and lovely. Really enjoyed this. I will revisit again and possibly edit up to 5 stars, too.

very interesting, but very relaxing and nice, really enjoyed it

Very generic and forgettable. What is this even doing on this list?

Number: 259 Familiarity: Aware (2) Rating: 4 Before: ======= My first thoughts upon seeing my next album pop up is wtf is Kosmology and why do people think it's clever to intentionally misspell things? Then I notice 2017 Genre: Electronic, Rock, Pop, Folk, World, & Country and Style: Electro, Folk, Krautrock, Synth-pop, Indie Pop. OK, so maybe this won't be too bad. Of course I notice the artist's name but don't recognize it, or do I?. Let's see what we got, shall we? Hopefully it will be refreshing to hear a feminine voice after a string of 10 male vocalists. Oh, so I que her up in Spotify I see that I have liked 3 songs by her already. That is a pretty good sign. During: ======= Starting off with H>A>K...oooh, I like this. Truth be known, I'm a huge Stereolab and Broadcast fan but don't usually care for artists that straight up imitate them, but this is different and unique in it's own right. I guess I'll let the misspelling of cosmology slide now that I have read her explanation of it. After : ======= Pretty decent album overall and I added a few tracks to my 2017 playlist, my favorite tracks being Modern Kosmology and Did You See Butterflies?.

Who?

I wonder if anyone has ever listened to this album without being forced to by this project

pop/folk/electronic, not bad

There's 1001 albums that sound exactly like this, so why is it here?

This is fine but there are at least 5 Stereolab or Broadcast albums that I would put ahead of it. Feels suspiciously like something a friend might recommend, but I’ll chalk up its inclusion to the provincial nature of the list. Very motorik right out of the gate and fits nicely alongside the Krautrock-indebted groups of the 21st century so much so that I had to check the performance credits to see if she worked with any familiar faces and (Mooney aside) she mostly did not. It’s impressive but doesn’t really move things forward.

Had never heard of Jane Weaver before today. Not a bad listen!

Pretty decent. 3.5 rounded down.

Finally something original. Love it! Everybody needs to listen to this.

Glad to have heard it and listened to it twice. It comes really close for me, but in the end I didn't come away with a lot.

Really wanted to rag on this for being out of place but it’s actually not bad. RYM: N Saved a song: N

think this is the most recent album the generator has given me so far, enjoyed it a lot

I am not going to understand why this made it into the list being from 2017 when it’s wholly unremarkable

This album is one of the more recent ones on the list and has quickly grown to be one of my favourites of the last ten years. Jane Weaver combines electronica, folk and krautrock rhythms into a mesmerising mix that hits all the right notes for me. Weaver has a similar vocal style to Alison Goldfrapp, but where Goldfrapp harks back to glam, Weaver definitely leans towards krautrock and prog. The krautrock influences are also acknowledged on the track “Ravenspoint” featuring guest vocals Malcolm Mooney from Can. I was lucky enough to see Jane supporting Public Service Broadcasting and she has a great live presence. I just wish there were more examples of great women musicians on this list. No hesitation in giving this five stars!

Né caldo né freddo

Very whimsical, fun and cute. I'm sure there is more important albums that were released in 2017 but I don't mind being introduced to this one either.

Some solid dream pop revival stuff on here. The ethereal vocals seem reminiscent of Elizabeth Fraser (from Cocteau Twins), so soft and to-the-point. The instruments match the haziness of the vocals which delivers space-like imagery, all the guitars and synths are just floating all around the place. I think this was fine, I don't really have a much of a final verdict with this one other than that. Highlight Song/s: "The Lightning Back" and "I Wish"

New one for me. Reminds me of Goldfrapp in a way. Great stuff.

This is another album I wanted to like more than I did. I'd give this 3.5 its not quite a 4. reminded me a little of the 'Bats for Lashes' sound (those dudes should be on this list!!!!)

I didn't mind this album, but I wasn't 'wowed'. I did like the cover art though.

Much more interesting and different than I was expecting. Could even listen again

I think one of the things that I've discovered, through doing this project for two years, is that there just aren't 1001 albums to listen to before you die. There's no reason to listen to this, but it is very good. I'd heard a bit from Jane Weaver before and enjoyed it but never really delved any deeper. With Modern Kosmology, I gave the album several listens and just can't see a reason to not give it full marks. I've had Depeche Mode, Ramones and Kanye West as the three albums before this and, in terms of cultural relevance, Jane Weaver isn't in the same league as any of them, but as an album, this is the one I'd chose to listen to.

Oh, ok. I was confused by the date. But the old deal still holds: Is it British✔️ Does it belong on the list ❌ How do I feel about it 🤷‍♀️ It was good, but yeah, definitely could have died without this one. 3 Boolean: FALSE

Pleasant surprise. Sounds a lot like their influences, but not in a bad way.

really cool stuff I didn't expect that

#239/1001 🇬🇧 An artist that i'm aware of but haven't really listened to, so this was a really pleasant suprise. Got even better on the 2nd and 3rd listens. Best Tracks: Slow Motion, Did you see Butterflies?, The Architect, Ravenspoint.

Elevator music on acid (complimentary)

I guess this is ok? It's not terrible, like a modern Kate Bush? She's like the solo lady Velvet Underground? Loops in the Secret Society is a good song. I'm having a hard time telling exactly how I feel about this album. I think I kind of like it.

Good stuff. Electronics don't have to be sterile. More please.

Not bad

Vibes

She's got a really nice voice and some nice musicality, will listen again

I like the dreamy atmosphere. Valley kinda sounds like Minecraft music (Wet Hands I think) 7.5

Rich. Satisfying. Different but accessible. This was really good discovery.

This is #day750 of my #1001albumsyoumusthearbeforeyoudie challenge, and… I must admit this was surprisingly fine for a 2010s record. Alternative rock with a krautrock heartbeat, psychedelic dream pop, crowned with spacey electronics... Why in the world would you have to hear it before you die, though? I just don't know. There's a Stereolab record on the list already anyway. Let it be a 3 out of 5. Looking forward to #day751.

Aye not bad. Not sure I would relisten to it in full but has some really great songs. HAK was a highlight on this album for me, somewhat a shame having it at the start as rest of the album had a tough act to follow

Better than I thought, avant garde pop 2.5 rounded to 3

Banger!

Wow. This was an instant 5. Krautrock Stereolab ish. One of my favorite finds from this list.

It weaves between krautrock beats, spacey rock and angular indie riffs. Interesting record.

It was alright. Different from most albums, but not something I will look up in the future

FANTASTIC! Threw this on headphones right after I woke up and with zero context other than digging the album title and cover art and was in love with it from the opening notes and it never let up. This weird shit is 100,000% up my alley. Weird sounds, weird time signatures, weird lyrics. Really rewards headphones, too. I wouldn't call it groundbreaking, I feel like Jane and I listen to a lot of the same records, but creative and confident. And fun. You can tell she is making the music that pleases her, starting with good sounds - it feels silly to say this but music starts with listening and way too often musicians forget to be guided by the sound of the music they are making. It is evident overall that her amusement is her creative North Star. She is making the record she wants to listen to, which makes the result even more appealing. And very importantly, she knows to end it before it goes on too long - something of a lost art in the digital era. Thank you, Jane Weaver! And the editors of this list. I'm glad I heard this before I died and looking forward to learning more.

It's always nice to get a relatively recent album from this collection, and nice too to get a new-to-me name and album. I don't think I've ever heard anything from this album, and likely from anything she's done over her long career, and it's a little unsettling to have nothing from either Wikpedia or the "1001 albums" book editions about this album, but the Wikpedia entry on Jane Weaver paints a pretty impressive portrait of a very active and engaged artist from the early 90s onwards; and pretty cool that soon after this album she released (under the name Fenella) a reimagined soundtrack to an early 80s Hungarian cult animated film "Fehérlófia". Her style (which I guess falls somewhere in the "folktronica" or "psychedelic folk" realm) isn't really my thing, but I enjoyed the album overall and thought the opening track "H>A>K" and "Slow motion" and "The architect" were highlights. A little weird that the project editors decided to include seemingly at random her seventh solo album, but I'm glad to have heard something by her.