Miki Berenyi Trio Tripla
Miki Berenyi Trio's Tripla arrives as a lucid, emotionally charged statement that balances grief, nostalgia and forward movement. Across four professional reviews the record earned an 80.25/100 consensus score, with critics repeatedly pointing to songs such as “8th Deadly Sin”, “Big I Am” and “Vertigo” as the album's clearest highlights. Those tracks crystallize the collection's blend of textured dream pop, electronica infusion and melodic maturity while carrying the emotional weight of personal loss and memory.
Critics consistently praise the album's standout tracks for marrying sweet soprano lines and 12-string phrasing with layered synth washes and fuzzy guitars. Pitchfork highlights the gorgeous, elegiac sweep of “8th Deadly Sin” and the tetchy-tender tension in “A Different Girl”, while Under The Radar and Record Collector single out “Vertigo” and “Big I Am” as sleek, sophisticated moments of clarity. Louder Than War celebrates “Kinch” and “Manu” as shimmering, dreamlike pieces that point toward future dreampop directions. Across these professional reviews reviewers agree that the record trades easy nostalgia for careful reimagining of past work.
There is nuance: some critics register a measured restraint rather than outright reinvention, noting occasional reverence for earlier sounds even as Berenyi asserts artistic autonomy. Taken together, the critical consensus suggests Tripla is worth listening to for its standout tracks, emotional directness and textured soundscapes, and it positions the Miki Berenyi Trio as a thoughtful voice in a contemporary shoegaze and dreampop revival. Read on for the full reviews and track-by-track impressions.
Critics' Top Tracks
The standout songs that made critics take notice
8th Deadly Sin
4 mentions
"Other tracks on the album present plenty of atmosphere and intrigue"— Under The Radar
Big I Am
4 mentions
""Vertigo" and "Big I Am." Both are sleek and sophisticated songs"— Under The Radar
Vertigo
4 mentions
""Vertigo" and "Big I Am." Both are sleek and sophisticated songs"— Under The Radar
Other tracks on the album present plenty of atmosphere and intrigue
Track Ratings
How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.
8th Deadly Sin
Kinch
Vertigo
Gango
A Different Girl
Big I Am
Hurricane
Manu
Ubique
What Critics Are Saying
Deep insights from 6 critics who reviewed this album
Critic's Take
Miki Berenyi Trio's Tripla finds its strongest moment in “8th Deadly Sin”, which is gorgeous and immensely sad, folding environmental dread into a broader elegy. The record moves through moods - from the Madchester bob of “Hurricane” to the marimba-lit “Ubique” - with a wanderer’s pleasure that refuses mere nostalgia. Berenyi’s soprano and 12-string phrasing make songs like “A Different Girl” and “Vertigo” feel simultaneously tetchy and tender, the joy of playing keeping the sadness from curdling. This is the kind of album people ask about when searching for the best tracks on Tripla, because its highlights balance grief and delight in a singular voice.
Key Points
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“8th Deadly Sin” is best for its gorgeous, melancholy synthesis of lyric and arrangement.
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The album's core strength is balancing sadness and the joy of playing, wandering genres without indulging nostalgia.
Themes
Critic's Take
Miki Berenyi returns with Tripla, an album that finds its strongest moments in carefully constructed songs rather than pastiche, and the best tracks on Tripla are emphatically “Vertigo” and “Big I Am”. The reviewer's voice lingers on how those two tracks are "sleek and sophisticated," their airy synth washes and fuzzy guitar swirls giving them a multi-layered, textural edge that outshines the rest. Lesser highlights like “Gango” and “A Different Girl” still contribute menace and breezy pop respectively, but it is the melodic clarity of “Vertigo” and “Big I Am” that mark the album's best songs. In short, for listeners asking which are the best tracks on Tripla, start with “Vertigo” and “Big I Am” for the clearest payoff.
Key Points
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The best song is "Vertigo" for its sleek, sophisticated production and melodic clarity.
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The album's core strengths are textured, dreamy soundscapes balanced with clear song structures and memorable melodies.
Themes
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Critic's Take
Miki Berenyi and co. arrive with Tripla, a lush nine-song set where the best tracks - “8th Deadly Sin”, “Kinch” and “Manu” - show Berenyi at her most affecting and iconically melodic. The reviewer's tone is celebratory and admiring, noting how “8th Deadly Sin” opens with electronica and a honeyed vocal that leads into an earworm chorus, while “Kinch” is singled out as "four minutes of shimmering beauty" born from personal loss. Meanwhile “Manu” is hailed as a six-minute dreamlike earworm that points to the sound of future dreampop, all evidence that the album's best tracks combine emotional weight with irresistible melodies. This is a record that trades on lush production and Miki's signature voice to deliver some of the best tracks on Tripla without ever feeling beholden to past glories.
Key Points
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The best song is the opener “8th Deadly Sin” because it pairs electronica, honeyed vocals and an earworm chorus to immediate effect.
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The album's core strengths are lush production, Miki's signature vocals, and emotionally resonant dreampop that tackles personal loss and social media misogyny.
Themes
Re
Critic's Take
Miki Berenyi Trio's Tripla feels like liberation without nostalgia, the best songs - “8th Deadly Sin”, “Kinch” and “Big I Am” - showing why. Berenyi's voice glides over feathery, electronic arrangements while lyrics about loss, grief and cultural bite land with precision, making the best tracks on Tripla both intimate and pointed. The album often recalls past dream-pop glories yet finds nimble, modern frameworks that let those standout songs breathe. On balance, this is a rewarding merger of minds that merits repeat listens and more work to come.
Key Points
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The best song, "8th Deadly Sin", is best because it pairs urgent guitars and fluttery electronics with an infectious chorus that defines the trio's mindset.
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The album's core strength is its liberated, drum-free arrangements that let Berenyi's reflective lyrics and nimble electronic textures breathe.