Forma's fourth album continues with the expanded sound of their Kranky debut, 2016's Physicalist, blending acoustic instrumentation with their standard analog synthesizers and sequencers. It's much more concise than that album, however, sticking to the single LP time frame of their first two releases. As ever, the trio maintain a balance between live improvisation and programmed elements, blurring the lines between man and machine. There's more of an emphasis on polyrhythms here, played on both acoustic and electronic drums. At the same time, the album also veers a little closer to the group's techno side than Physicalist did. Opener "Crossings" adds new wave-sounding melodies to the broken beat patterns and sparkling waves. "Three-Two" is a cyber-rainforest journey which pauses midway for a calming flutter of atmospheric saxophone, as well as white noise washes which imitate cresting waves. "Cut-Up" is the album's most sci-fi moment, featuring the distorted voice of a female narrator reflecting on subjects such as "the continuity of consciousness" over a slightly perky retro-futurist backdrop. "New City" recalls the ambient sprawl of Physicalist's second half. Reflective pianos and wet, fizzling synths are given space to stretch out, and pounding drums form a rhythm which is soon joined by electronic percussion, yet the piece still seems free and open rather than constrained by a metronomic beat. Semblance isn't Forma's most consistent album, but their approach to rhythm is more innovative here than it was on their past releases, and their continued progression remains exciting to witness. ~ Paul Simpson|

Rovi

Forma's fourth album continues with the expanded sound of their Kranky debut, 2016's Physicalist, blending acoustic instrumentation with their standard analog synthesizers and sequencers. It's much more concise than that album, however, sticking to the single LP time frame of their first two releases. As ever, the trio maintain a balance between live improvisation and programmed elements, blurring the lines between man and machine. There's more of an emphasis on polyrhythms here, played on both acoustic and electronic drums. At the same time, the album also veers a little closer to the group's techno side than Physicalist did. Opener "Crossings" adds new wave-sounding melodies to the broken beat patterns and sparkling waves. "Three-Two" is a cyber-rainforest journey which pauses midway for a calming flutter of atmospheric saxophone, as well as white noise washes which imitate cresting waves. "Cut-Up" is the album's most sci-fi moment, featuring the distorted voice of a female narrator reflecting on subjects such as "the continuity of consciousness" over a slightly perky retro-futurist backdrop. "New City" recalls the ambient sprawl of Physicalist's second half. Reflective pianos and wet, fizzling synths are given space to stretch out, and pounding drums form a rhythm which is soon joined by electronic percussion, yet the piece still seems free and open rather than constrained by a metronomic beat. Semblance isn't Forma's most consistent album, but their approach to rhythm is more innovative here than it was on their past releases, and their continued progression remains exciting to witness. ~ Paul Simpson

Rovi