As for the guest spots from collaborators (a list that goes on and on), it never feels like a group party. The use of segues was somewhat present on “Vows” (siren sings atop acapella horns after “Old Flame” and “Posse” ends with a remixed “Settle Down”), but on “The Golden Echo” so much more consideration and time was spent making these songs seamlessly blend into one long experience. This includes giggling children, a spiraling haze fading into chanting and pickaxes, strings rising before a broken record skips, a laughing frenzy swirls down before abruptly stopping at a clap, and a fuzzy piano softly playing out. This helps seal each song together as a package and narrative ride, rather than a sequence of songs that play after each other. This “The Golden Echo” really works as a whole, most notably because of the segues that lead the end of one song into the start of an other. “The Golden Echo” really works as a whole, most notably because of the segues that lead the end of one song into the start of an other.
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