On demo records:

“The recording project of London based Ana Rita de Melo Alves aka Anrimeal has, certainly for a while, been a clandestine affair, with Alves more content releasing the works of others on her Demo label. […] Like some of the musical essays coming out of London venue Cafe Oto’s Takuroku label, Could Divine wears its homespun colours gloriously.” The Wire

On anrimeal:

“A deeply interiorised and startlingly robust album that addresses the mood of these strange times”The Wire

“Such an intriguing sound… it really gets under your skin” – John Kennedy (Radio X)

“A unique and intoxicating trip” – God Is In The TV

With its gleeful moments of cacophony and shivering frost, Could Divine is an album suited for listening in solitude, deepening in resonance each time” The Demented Goddess

“A very beautiful, textural album… intimate recordings that feel so personal. You’ll feel like you’re living inside her soul”Tim Shiel (Double J and Triple J , Australia)

“Too good for words… No one has really painted grass like Ana Alves” – Organ Zine

“What’s truly surprising is the audio design; the sounds hidden between layers that only your right or left ear hears suddenly fill the air and make it almost magical” – Revista Kuadro

“Abstract, challenging and phenomenally engineered, yet frighteningly emotive… a haunting and uniquely beautiful piece of audio” – 25 Years Later

“I instantly fell in love with this… just beautiful” – Postcards From The Underground

On Felix:

“A track that fixates on phone obsession could take an obnoxiously condescending tone, but on ‘Put Your Phone Away’, Felix avoids this pitfall. […] Felix takes issue not with how phones inform our lives, but on one specific sort of phone obsession that’s actually irksome: those one-on-one moments where the other person isn’t at all present in the moment, instead consumed by the screen in front of them.” Nordic Spotlight

On Belle Jar:

“‘Last Word of Love’, released today, is an album of extreme emotions. At times it seems so complex that I have barely been able to touch it, and yet at other times it seems so simple and accessible – it is after all mostly just ‘Belle Jar’, guitar and some keyboards. At times too it seems so melancholy, but a key theme is redemption and forgiveness, and it never makes me feel sad. And at times it seems to expose our fragile hearts and minds, yet it is so powerful and brave that it makes me believe that anything is possible. Maybe it is all those things. Maybe it is none.” Nordic Music Review

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