Forget Tomorrow


Macha’s latest, Forget Tomorrow, meticulously
blends urban electric guitars with ’80s pop beats, exotic
steel drums and synthesizers. The product is hypnotic and
tempestuous, but also graceful and elegant.

Macha, however, has a habit of overuse. The songs have a rich
blend of rhythms and instruments, but some are too drawn-out, like
“It’s Okay Paper Tiger.”

Listening to each song individually, the steel drums are a nice
contrast to the predominantly urban tone, but after hearing the
songs back to back, the beats become blasé.

Although the music is beautifully undulating, it can be a little
too hypnotic for comfort — i.e. repetitive. But starting with
“C’mon C’mon Oblivion,” the album picks up
and the songs become more emotional and rhythmically diverse. In
“C’mon C’mon Oblivion,” brilliant electric
guitars take turns building and collapsing with enthralling

“Back in Baby’s Arms” reiterates Macha’s
trademark variety, and with reggae beats and electronica moods,
creates a blend as smooth as swimming underwater. “Now
Disappearing” throws the listener back into the strange world
the band has come to create. “Sub II” is interesting
and bright, a journey in itself.

However, nothing compares to “Calming Passengers.”
Beautifully developed, it’s a multi-faceted, yet balanced
piece of art. Without using words it perfectly conveys that
specific moment of loneliness and exhilaration, like driving down a

The entire album has a really distinct flow. Each song seems to
pick up right where the previous left off and takes the mood one
step further. This is more prevalent in the second half of the
album, as there’s much more coherency and connection between

— Kathryn Bawden

Rating: 3 out of 5 stars.

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