Garden of Delete is unlike anything that Daniel Lopatin has done, in terms of technique, mood, or scope. It is denser than his previous albums, by several orders of magnitude. It is more varied, and it is funnier—scarier, too. The album carries with it a risk of whiplash that’s as potent on the 15th listen as on the first.
In contrast to the first two Bersarin Quartet albums, III offers a few darker shades and succeeds even further in narrowing down the arrangements to the absolute essentials without loosing the characteristic grandeur of Bücker's sound.