Excerpt: "What Liam Singer has over other indie-label artists who sing pretty  and play the piano prettier is a uniquely experimental approach to pop  music. Though sometimes seeming like a singer-songwriter, that label  doesn’t fit his habit for musical exploration and composition, or his  clear interest in minimalist and avant-garde composers. His music has  the stately and cerebral sides of modern composition, not to mention the  beauty and grace, but also an intimacy and directness more often  associated with one person playing one instrument and singing. This is  very emotional music that uses all of the tactics at Singer’s disposal,  for greatest impact. That means not just someone communicating directly  to listeners, using a voice to carry ideas and feelings into their  skull, but also people singing together (often Singer and Wendy Allen of  Boxharp), their voices overlapping, and singers using their voices in  unexpectedly dramatic ways, witnessing how different tones and  mannerisms have different effects. The singers float melodies our ways  and fight them. Along with that are rich musical settings that range from piano alone  to elaborate combinations of choirs and instruments, hand claps and  random strange noises. <em>Dislocatia</em>, produced by Scott Solter,  captures that weird and majestic quality of Singer’s music more vividly  than any of his previous releases, in the process highlighting the  strange and familiar heart beating through every song. In the rapturous  “From Fast to Slow—Behind This World”, there is the line, “There is a  world behind this world / There is a sun behind the sun”. On <em>Dislocatia</em>,  Singer seems determined to find what is around us that we don’t know  about, and to make us feel like we’ve done the same, participating in an  exciting act of discovery."

<a href="http://www.popmatters.com/pm/review/132349-liam-singer-dislocatia/" target="_blank">PopMatters</a>