Pitchfork

For once, why don't we elide the obvious-- in this case, Norwegian band and recent Vice signees 120 Days' superficial resemblance to certain electro-and-Krautrock forebears-- and experience "Come Out (Come Down, Fade Out, Be Gone)" as a first-order phenomenon, with its own heat and light. A lopsided parabola than spans nine tautly thrumming minutes, "Come Out" is a marvel of ethereal precision, immaculate pacing, Teutonic austerity, trance-inducing miasma, and dark euphoria. A supple motorik cadence and concentrated volleys of staccato bass inscribe concise glyphs on the air; iridescent analog synths leave ghostly phosphene trails; sine-wave guitars and judiciously deployed yet emphatic vocals push the rhythmic urgency into the steam-gouting red zone. There's a lot of song here, but no excess-- each strand is counterbalanced by another, so "Come Out" holds its perilous spin around a stable axis, twisting methodically skyward until, finally escaping gravity, it soars.