El debut del combo australiano Love Connection es uno de esos discos para escuchar relajadamente, sin demasiados prejuicios y de forma deshinibida. Un disco que transcurre lento y parsimonioso cual arroyo de sonidos primorosamente arreglados e interpretados, tomando como base un cimiento basado en la electrónica pero utilizando materiales analógicos, teclados Casios y Korgs. Sobre ésto, Love Connection elabora un gran entramado de arreglos para los que emplean los más variados instrumentos y el resultado final es Love conection (2010), un disco engendrado tras una breve andadura de sólo seis meses tras la formación del grupo y que bebe en las fuentes de la Electrónica, el Synth-Pop, el Lo-Fi, la Psicodelia y el Dream-Pop en partes casi iguales. Un disco reflexivo y tranquilo, que nos da la idea de por dónde transcurre el nuevo Pop de primeros de siglo.
“Within six months of forming, their debut album was written, recorded, mixed and mastered: an incredible feat considering the subtle complexities of these tracks, which, when listened to through headphones offers a fuller spectral experience of hidden nuances, intricate frameworks, and multi-tracked instruments and vocals. Love Connection describe their self-titled debut album as “a collection of low-fi, synth-based electronica, dabbling in new wave and psychedelic sensibilities with a strong pop influence”. The quartet give birth to an amalgamation of vintage keyboards, Korgs and Casiotones, throttling with sparse progressive guitar lines and percussive drum solos, described as “being heard through an old pair of headphones that feed rainbow-sounding grit into your ears” and “epic pop tunes that feel like a waterfall made of warm, multi-coloured soup rushing over your entire body.” “As a contender for owning 2010”, their self-titled debut album has been filling stores, I-pods, and airwaves nationally. Love Connection has been lathered with handsome enthusiasm from all corners; honoured with wonderful reviews (Inpress, The Age, Rolling Stone Magazine.), spotlighted as a feature album (3RRR and RTR-FM), and led to performances with The XX, Micachu & The Shapes, Melbourne’s St Kilda Festival, and a jam-packed in-store at Polyester Records’ city store in Melbourne. Surrounded by rave reviews, as Inpress street magazine quotes “Lauded by most, both their self-titled debut and live performance have garnered fans from all that have crossed their paths, this is definitely a band to keep your eye on” (MySpace)
“Making for a trio whose knack for complicated, ethereal sounds can’t be denied, smeared layers of wavering synths and chant-like vocals, it’s busy and surreal with a thrilling keyboard melody buried in the chorus, a haunting guitar line, and other details that are fascinating in their fleetingness. It’s so wholly immersive that time seems to distort as we listen. The most notable success here is the band’s exploration of a cryptic sound while still remaining accessible enough to get talked about on triple J, there’s an undeniable pull to replay it, which is all anyone really wants.” (Doug Wallen, Mess & Noise)