15 Songs, 56 Minutes

EDITORS’ NOTES

Though Chino Moreno’s project Crosses looks and feels as though it’s draped in the shroud of Nine Inch Nails and shares the skeezy, blood-colored sweat of witchhouse poster children Salem, in truth much of this collection makes would go on great playlists with the likes of The xx and U.N.K.L.E. Once you get past the stadium-sized electro-dance rock of the first few tracks (which aren't too far removed from Moreno’s Deftones), there’s a seriously sensual vibe to tunes like “Thhlyghst,” “Trophy,” and “Frontiers” (among others). Using electronics to paint alluring, slow-moving soundscapes along with Shaun Lopez’ soul-chilling guitar washes and warm acoustic flutters, Crosses have a way of evoking density where none exists, showing a corrosive heart where really it’s pulsing quietly, waiting. “The Epilogue” pulls off the heady trick of mixing a big-radio feel with an intimate shade of indie rock, as does “Bitches Brew.” The latter is underpinned by beautifully doom-laden shards of guitar and keyboards, while the former takes on a serpentine slink, with Moreno’s vocals rich with surprising new tones.

EDITORS’ NOTES

Though Chino Moreno’s project Crosses looks and feels as though it’s draped in the shroud of Nine Inch Nails and shares the skeezy, blood-colored sweat of witchhouse poster children Salem, in truth much of this collection makes would go on great playlists with the likes of The xx and U.N.K.L.E. Once you get past the stadium-sized electro-dance rock of the first few tracks (which aren't too far removed from Moreno’s Deftones), there’s a seriously sensual vibe to tunes like “Thhlyghst,” “Trophy,” and “Frontiers” (among others). Using electronics to paint alluring, slow-moving soundscapes along with Shaun Lopez’ soul-chilling guitar washes and warm acoustic flutters, Crosses have a way of evoking density where none exists, showing a corrosive heart where really it’s pulsing quietly, waiting. “The Epilogue” pulls off the heady trick of mixing a big-radio feel with an intimate shade of indie rock, as does “Bitches Brew.” The latter is underpinned by beautifully doom-laden shards of guitar and keyboards, while the former takes on a serpentine slink, with Moreno’s vocals rich with surprising new tones.

TITLE TIME

You May Also Like