“I cried, for I didn’t think it could be true t hat you and I might have always known one another, a nd that we could not only evoke, but conjure a place of our own. The lyrics are deep, they’re emotional and they are absolutely perfect for it. Glitchy techno, hard-hitting drums and complex pad work are all brought out by the yung producer, magnificently contrasting the first half of the track with what I truly did not expect from the record. It’s depressingly elegant and mournfully superb, with the slow introduction of its stunning vocal work bringing not just the angle of ‘Fellow Feeling’ into perspective but also getting an extremely rare and unexpected insight into Porter Robinson’s true production ability. More appropriate to perhaps a funeral, the layers of piano, violin, bass and light percussion build to form one of the most beautiful soundscapes I’ve heard not only on the album, but in my time properly critiquing music. I’ve always been a sucker for in-your-face, way-too-sad-for-right-now violin and orchestral work, in particular via previous releases by producers like Max Cooper, but the sadness surrounding the first couple of minutes on this piece of magic blew me away. What I wasn’t expecting, however, was what hits us at the 2:35 mark of track #11 ‘Fellow Feeling’. Porter Robinson’s debut album ‘ Worlds‘ has it all – traditional Porter-esque progressive house, melancholic vibes on tunes like ‘Sad Machine’, beautiful emotional computer-generated lyrics on ‘Goodbye To A World’, reverbed vocals on the stunning ‘Sea of Voices’ among many other aspects more appropriate to a full review.

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