Review
Fifteen years is a long gap, but Sol.Hz doesn't announce its return — it simply resumes. One print critic finds the album "skeletal, with saffron threads of treated guitar slicing through piston-pulse rhythms and reverberant bass," and the description earns its precision: Mark Clifford strips the arrangements to load-bearing elements, letting dub's physics do the structural work. OndaRock positions "the dub-inflected percussive core" as the album's genuine protagonist, noting how subterranean basslines emerge from what reads as "high-pressure ambient music" once heard on a proper system.
PopMatters frames the governing logic cleanly: Seefeel "are less interested in constructing songs than sustaining a shifting field of texture, where familiar signposts dissolve as quickly as they emerge." Freq hears the mood more viscerally — "a dreamlike underground ride, moving at a tenth the normal speed." Sarah Peacock's voice surfaces less as melody than as further processed signal, folded deep into the mix. Pitchfork's Philip Sherburne called it great; the album's 81 on Metacritic suggests the consensus agrees. For a group historically too electronic for indie crowds and too guitar-heavy for the club, Sol.Hz arrives sounding — at last — entirely like itself.
