Author: Alex

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Aviators – Aeterno (2013 album)

Album links

Bandcamp: https://soundoftheaviators.bandcamp.com/album/aeterno

Soundcloud: n/a

Spotify: https://open.spotify.com/album/0tVYhReBmzpA81JproDO3W?si=uOELovmKRD2KTz-Sj93NLA

Youtube: https://www.youtube.com/playlist?list=PLuJ82PHklZE7xwcGeobnlHLLgnzAjyBbu

 

 

Introduction: Aviators is a bit of an interesting artist to review. The fact of the matter is that he’s developed his sound in such a way that what he produces now has absolutely nothing in common with where he started. Well, technically, this album isn’t his true beginning, but I’ve opted to skip the first bit of his discography for now as Aviators would probably disown them. I may look at those eventually, but I think time would be spent better going over the albums that actually matter at first.

 

Still, Aeterno is a bit of an odd place to begin the Aviators journey, as it’s an entirely unique concept album that shares little to no similarities with the other albums he’s released prior or since. The album is based on a vague story of sorts, much vaguer than Mind.in.a.box of course (the inevitable comparison I shall always make when introducing a narrative), but still involves some extremely subtle worldbuilding centering upon a post apocalyptic world. Unfortunately, there’s not too much to go off of thanks to 14 out of the 15 songs being instrumental.  But I’m the master of digging deep even when there’s nowhere to dig so let’s get into that deep digging why don’t we?

 

Aviators – Aeterno (7.5): A time long forgotten or perhaps a time that is yet to come…

 

Any time is reachable now that we’ve arrived here…

 

And so, we begin…

 

The album starts out with its titular track, a calming mysterious piece that sets the tone for the rest of the album (as an intro song should). This song is a simple combination of a few bone chilling instruments including some deep contrabass strings, a distant choir and the melodic star of the show, bells. There’s only a handful of melodies in here, none of them reaching more than a handful of notes. But the simplicity does work. It draws more attention to the feelings the instruments create rather than the melody itself. Done well, it can be quite immersive, and this is definitely done well.

 

These bells, choir and strings work together to bring an image to life in my mind. Albeit, this image isn’t the liveliest. Perhaps, it’s the album art’s fault as it depicts a decrepit city that looks to have a higher population of overgrown plants rather than human beings. Then again, seeing as the album art is a deliberate choice, that was probably the intention. The very description of this album is post- apocalyptic. Perhaps time travel too? I believe there was a more in-depth description on this album’s story once, but the description has disappeared somehow, lost in time…

 

It makes sense that time travel would be involved as when I tried to find the definition of Aeterno, I found the phrase “ab aeterno” instead, meaning “from an infinitely remote point of time in the past.” And if you’re in a post-apocalyptic wasteland. Going to an infinitely remote point of time in the past sounds like a good way to escape the horrors of the present…

 

Aviators – Escaping Darkness (7.25): As the world falls apart, darkness will surround and suffocate you…

 

Unless you escape…

 

Escaping Darkness begins with a very mysterious calm similar to Aeterno. However, this time the mysterious darkness chooses not to hide behind the beauty of bells. No, the ambience from the beginning, complete with broken glass, makes it clear that the darkness is settling in. And as the blasting horns overpower the song for that first minutes, they send a message that the darkness is here to stay.

 

The rest of the song tries to escape it anyway.

 

While the song doesn’t really have a regular tempo, it still has a great drive to it, a great sense of trying to run and escape the darkness that seeps across the land (or perhaps within the soul). There are drums in there, but they seem to be a of the more cinematic variety rather than the typical drive. Instead of displaying the BPM of running down dark alleys of a forgotten city, this drumbeat attempts to capture the emotional stress of it all. And matched with the first electronic melody of the album (with some underlying bells), the attempt is successful.

 

While there may be a short break from the darkness midway through, the chase can’t last forever. It seems that, for now, the darkness has won. There is no escape…

 

Aviators – Broken Planet (7): The planet is broken…

 

Can it be fixed?

 

Broken Planet is one of the shorter songs on the album, not even hitting the three-minute mark. Still, it uses its time well. This song is about on par with Escaping Darkness, better in some ways, but in the end, it’s just not quite as good. In the beginning, it hits a lot of the same emotions, but it does so in an ever better spine-chilling fashion. During the first and last minute of the song, there’s no audible instruments other than a very simple piano melody. However, the sound design of this piano is distorted ever so slightly that it allows for some really unsettling ambiance. In this album, Aviators seems obsessed with taking simple melodies and using them to the best of their ability. This part of the song allows for some quiet reflection, ears filled with something familiar, yet distorted to a point that’s almost unsettling.

 

The middle of the song takes a different approach to display this broken world. It’s a lot less subtle. The cinematic drumbeats here are quite similar to those used in Escaping Darkness, but there’s very little else to distract from the drums this time around. This results in a bit of a mixed bag. Out of context, the drum just doesn’t really hold the song on its own, making it one of the less interesting parts on the album. But it does provide a good rush to the middle of the song, giving it a slight bit of edge of your seat variety. I just can’t help but wonder if this track would have been better if it had fully committed to the creepy piano the whole way through. Still a good one, but I can’t help but feel it has missing potential.

 

Aviators – Labyrinthine (5.75): When all is lost…

 

It can be hard to find one’s way…

 

Labyrinthine differs heavily from what we’ve been presented with so far. The past three songs used a small number of simple instruments to provide a cinematic feeling that feels as if it belongs in a movie. Labyrinthine is DnB. Which is completely different from most of the songs on the album. But I’m perfectly ok with that. DnB used to be my favorite subgenre of EDM and it still remains to be up there, though perhaps various forms of trance have overtaken it since then. Plus, if you count futurepop, there’s that too. So yeah, DnB isn’t going to be my focus on this site too much. Still, I’m a huge fan of syncopation (staple characteristic of DnB) and high tempo energy (other staple characteristic of DnB) so most DnB tracks are an instant win for me.

 

This song seems to try and walk the thin line between an extreme high energy DnB song and the bell melodies played throughout the album so far. During the calmer sections and the build-ups, I feel this works alright, giving a nice balance of energies. But it doesn’t tickle my imagination like the rest of the songs so far and the drops aren’t exactly the most inspired. While I do automatically like DnB because of its tempo and syncopation, this song feels pretty below average for the genre. Making it only a bit above average as a song.

 

Having this be the first DnB song I review (again, surprising it’s taken this long), isn’t exactly the most glaring recommendation of the genre. It’s good but pales in comparison to some of the DnB masterpieces. It also pales in comparison to the next DnB song I plan on reviewing… later in this album. There’s another one but we’ll talk about that in a bit.

 

 

Aviators – Haunted (6.5): As the darkness creeps in…

 

As the broken past is revealed…

 

It haunts us…

 

Haunted is a return to the general calmer more introspective side of the album, which is incredibly refreshing after subpar DnB. And the strings and the arp at the beginning really sell the song quite well from the beginning. They develop quite nicely with the arp and a simple integrated melody taking the forefront for much of the song. Though there are a couple of moments where some other neat elements are introduced, such as the subtle whisper of vocals in the clam in the middle, which serves as my favorite part of the song, really bringing the entire song together for a driving haunted feel (fitting considering the title) And… uh… there’s the other melodic instrument.

 

Yeah, I sure hope you like that synth, because Aviators uses it a lot in his early works. Sometimes it works well, giving a song a bit of flavor. But the flavor doesn’t quite work or fit in here unfortunately and so I find myself ever so slightly irked by its existence. It’s not bad and it thankfully has a decent amount of variation to it so it’s in no way repetitive, but I just can’t help but feel the song would have been a bit stronger without it. Maybe shave off a couple minutes too so that missing variation doesn’t make the song tedious. Am I being nitpicky? Yeah. Probably. It is a decent song, but it could be a lot better.

 

Aviators – Find Me (7.5): A distance voice calls out…

 

Find her…

 

This calmer track is completely piano focused, taking the simplicity of early Aviators to an entire new level. There are some subtleties in there such as a bells and drums that almost blends in perfectly with the piano melody and a stringed section that adds another layer of beauty to the song. But nothing gets as much focus as the piano.

 

And seeing as the piano is a wonderfully beautiful instrument, the song is gorgeous. You’ve got some arpeggiated notes on the lower end of the piano that play throughout the song, serving as the gentle backbone of the track and those are paired with the melodies on the higher end of the piano. Not to mention the section in the middle and end of the track that focuses on bouncing back and forth between strikingly powerful chords and the calmer piano melodies as a contrast. All of the other instruments do get stronger as the song progresses, but they only serve to heighten the emotion of the piano, not overpower it. Such a simple track but also one of the best.

 

Aviators – Kill Switch (7.75): Reset what once was…

 

Kill the past…

 

Kill the future…

 

And begin anew…

 

Alright, back to the slightly harsher stuff. Not that much of this album has been very harsh at all for the most part. I guess perhaps Labyrinthine has some slightly harsher parts and the next track is quite intense as well, but that just makes this song stand out all the more as one of the most energetic songs on the album. It hits a great sweet spot in energy that differs greatly from previous calmer songs like Aeterno and Haunted, but it doesn’t quite reach the same levels of intensity as the DnB tracks of the album, Labyrinthine and Iron Horizon (I’ll get to that one shortly, give me a second). This fantastic balance makes it one of the best songs on the album.

 

So what does Kill Switch have to offer? Well, first off it has a solid drive, which is more than I can say for many of the other songs on the album. Not saying that (most of) those songs are bad because of their lack of solid drive. Some of the ones without that drive turn out to be the most beautiful (See Aeterno and Find Me). This one does have a nice outro that’s a bit more relaxing, but that’s not its strong point.

 

Its strong point is pushing forward with a handful of electronic synths. (wacky basslines, some stabbing melodies, you get the gist). There’s also some bells because it wouldn’t be a song on Aeterno if it didn’t have bells. These bells do a much better job at integrating themselves into a more intense song that Labyrinthine did, but I think the most interesting part of this song has to be the electric guitar, or at least the synth that simulates the electric guitar. I guess I’m just a sucker for a good guitar melody… or a good guitar riff… or a good guitar solo… You know what, I just like good guitar and good guitar is something that this song has.

 

Aviators – Iron Horizon (8): The City looms over the horizon…

 

Save it before it breaks…

 

Kill Switch was definitely intense compared to most of this album. Most. Because there is one song that takes the mantle of the most intense energetic song of them all. And that song is Iron Horizon, the second DnB song of the album and the first song off of Aeterno that I heard. And while I didn’t really appreciate Labyrinthine, I do find Iron Horizon to be a much better introduction to my love for DnB. Sure, it’s not the first DnB song I’m reviewing, but it is the first DnB song I love.

 

Already talked about the high tempo and syncopation back in Labyrinthine. Those go without saying so I’m going to try and focus on the more unique elements of the song. After a few seconds of deceptively calming bell melodies that high tempo syncopation I keep talking about comes in and sets the song into full force (Ok, I guess I am talking about the high tempo syncopation. So sue me). Or at least that would be full force, but the song is once again deceptive as the build-up approaches with rapid drumbeats, some subtle guitar work in the background and the heaviest bass this album has to offer.

After that there’s the drop. And I have both everything and nothing to say about this drop. The basslines here are exceptionally impressive and intense compared to what was seen in labyrinthine. The melodies are exceptionally and enjoyably energetic which matches the upbeat vibe a lot better than most of the bell melodies in Labyrinthine. And the second half of the drop? The part where it’s constantly bouncing back and forth between half of that energetic melody and a showcase of some great bassy DnB patterns? Absolutely fantastic.

 

Honestly, I’m pretty sure the main difference between this and Labyrinthine is that Labyrinthine just didn’t fully commit to the DnB madness. It was still trying to hold on to tightly to the calmer vibes that appear throughout a huge portion of this album. Iron Horizon still has bells and all, but there is nothing calm and relaxing about it. Perhaps the beginning and end are a bit calmer, but that’s a total of about 20 seconds of calmness compared to over 3 and a half minutes of high energy DnB. It’s just some bookends that serve as a reminder that this is still Aeterno.

 

Aviators – I’ll Find You (5): She holds the key…

 

The key to change the past…

 

The key to change the future…

 

Find her…

 

I have to presume, based on title, that this is a sequel to Find Me. An answer to the call of the search. It would have been rather neat to see if the two songs shared any similarities, but unfortunately, it sounds to be nothing more than the next chapter in this incredibly vague story about time travel. There used to be more information out there on the story behind the EP, but I can’t seem to find it currently, or maybe it just never existed, and my brother and I are both remembering something that doesn’t exist. Doesn’t seem likely but my imagination continues telling me it’s a possibility so I’m going to keep that in mind.

 

Narrative aside, this song feels incredibly relaxing compared to the Iron Horizon that preceded it. Slower melodies, no prominent bassline, a long progression that takes its time going anywhere. Unfortunately, the problem with that last one is that the song doesn’t go anywhere. Sure there’s a few new elements introduced here and there, but many of them are too subtle to take note of and any significant addition is too far apart from the rest. It’s a bit faster in the beginning as it introduces the one of main melodies and a drumbeat (which still takes 2 minutes to come in, excessively long for a song of this stature), but after that, it just feels like the song takes forever to move from one point to the next. There are some other important melodies that come in here and there (the main theme of the song at 3:30 and a reiteration of the first melody with an all too obvious synthesizer that tries to sound like a guitar pluck but just fails at it spectacularly), but it seems Aviators is determined to prevent any significant changes from occurring within one minute of each other. It certainly does not meet the standards of variety for such a long 8-minute track

 

And as if the song wasn’t long enough, there’s a Part 2

 

Aviators & Vortex – I’ll Find You Part 2 (7): …

 

…

 

…

 

Find her…

 

I am actually quite glad that this track got divided up into 2 parts. Because Part 2 takes all the melodies that made the first part good and plays a few different spins on them with different instrumentation and tone. Plus, there’s a few entirely new melodies inserted in there as well. It may be two minutes shorter, but there’s plenty more variety to be offer. There are some obvious directions this song decides to go. Plenty of reiterations of the past song’s melodies of course. And also, Aviators has to use that iconic synth from his early works in here (plenty of melodic variety whenever they’re playing. There’s also an interesting bassline in the middle that interrupts the song in the middle with a harsher vibe similar to some moments in Kill Switch.

 

I’m not entirely familiar with Vortex and his work so I’m sure some part of this final product can be accredited to him. I’m going to guess that bassier portion has his name on it, but I’m not certain. Like I said, I’m not familiar with his work.

 

Honestly if you cut the first part down to three minutes and made a good transition into this second part, I think I would have liked the combination of these two songs all the better because of it. But as is, Part 2 definitely serves to be the better of the two.

 

 

Aviators – Cloud Ocean (5): Dive into the depths below…

 

Rise into the sky above…

 

Either direction leads to the unknown…

 

But must you only choose one?

 

Cloud Ocean is the happiest song this album has to offer. That also makes it perhaps the most boring along with I’ll Find You and one other track which I haven’t gotten to quite yet. Maybe, it’s just because I’m a sucker for the edgier stuff. Takes a bit more interesting elements to make a happier song like this one… well… interesting. And for the most part, I’m afraid this one fails to do so. Much of the song concentrates on the least adventurous strings possible and a tropical melody that falls flat. There are some guitar sections that make up a bit for the blandness, but those are still subtle, and they certainly don’t save the song from its curse of averageness.

 

Aviators – His Arrival (7.25): He has found you…

 

The one responsible for it all…

 

Change him…

 

Change the world…

 

Perhaps one of the simplest songs on the album but also perhaps one of the most chilling as well. But that’s simply what a music box does. There’s something unsettling about placing such a simple pretty melody within the dark ambiance that this track contains. The two overlapping melodies that come from this music box overlap each other quite beautifully. This song isn’t just a music box though. I didn’t notice it at first, but in the second half of the track there’s some great ambience added in. It’s very subtle at first, but it does become a bit more prominent over time, especially at the 1.5-minute mark when the strings take over. It also sounds like there’s a didgeridoo in there which really gives a unique vibe to the song. Overall, I feel this song works great as the creepiest song of the album despite its simplicity. Maybe because of its simplicity.

 

Aviators – The Ticketmaster’s Waltz (4.25): …

 

I’m not going to even bother trying to connect this one to the story. I mean, I’ve been trying to do my best to give a slight taste of what the concept of the album is about, even if it’s a bit of a stretch sometimes (see the last song), but hey, the concept is slightly vague so I’ll be slightly vague too. Except here. I have no idea how the Ticketmaster and his Waltz fit into all of this and I’m not sure if even my stretchy imagination can figure out a connection. It just feels out of place.

 

And I’m not really interested in the music either. Like His Arrival, this one devotes itself to an instrumental theme. But His Arrival had the advantage of using a creepy music box, an aesthetic I highly enjoy. This song is a creepy carnival, an aesthetic that I don’t really care about. Besides, the ghostly voices are much less creepy than the music box, so this song just comparatively falls flat. This album would have been a bit better off if this song was skipped over.

 

That’s all I have to say. Really. There’s nothing else.

 

Aviators – The Path Home (7.75): Change is inevitable…

 

Embrace it…

 

Move forward…

 

Find peace…

 

Find home…

 

This song definitely stands out as the only lyrical song of the album. And because of that, the song feels the most dated of the bunch of the album. Aviators’ voice has developed and improved over time, which is good because in a modern album the song without vocals would be the outlier (plus I like some of his modern vocal tracks. A good amount of them have great lyrics, not all of them but a good lot of them).

 

But that’s the future in comparison to this album. A time that had been yet to come in perspective of the past. But hey, the connection to past and future is what this album is all about anyway. That’s obviously not Aviators’ intention for including a vocal track this time around, but I’m mentioning it anyway.

 

The music here is a bit simple compared to most of the album, though not quite as simple as the last two. It’s fine because this is a lyrical track and the vocals carry the slack from the instrumental. Thank goodness, because the instrumental simply wouldn’t hold this song on its own. The minimalism worked fantastically for His Arrival, but this song is an entirely different animal. Where, His Arrival was instrumentally minimal, The Path Home is melodically minimal. Sure, there are a couple simple melodies at the beginning, end, and any other point where Aviators is silent. But they don’t provide much power compared to the chords throughout the rest of the song (heard almost exclusively during the vocal portions, especially the chorus). There are a few other melodies here and there using Aviators’ favorite synth or a slightly textural bass, but nothing too remarkable. It’s an adequate song, but nothing spectacular.

 

Thankfully, there’s lyrics. Don’t really think there’s too much here for me to analyze, but there is still a good message here about moving forward through the chaos. The first verse explores the paralysis one feels when viewing the chaos in this world. The easy path of numbly walking with the path of least resistance. But by the end of the second verse, it’s clear that the path of least resistance doesn’t necessarily end in peace. Sometimes you have to rise up and change your path, taking a risk to venture onto the rugged path.

 

The path home.

 

Aviators – Absolution (7.75): Everything must come to an end…

 

This is ours…

 

The final song of Aviators’ album is the most orchestral of the bunch, a fitting conclusion. What makes this song so great is the use of so many instruments that have been used throughout this album. The strings immediately give the signal that something grand is coming, be it grand in a victorious way or grand in a horrifying way is unclear. The song does seem to continue shifting back and forth between those moods as the strings dip down at certain points while also climbing to new heights at other points.

 

The drums, important to most songs (though His Arrival did quite well without them), aren’t necessarily unique, but they do have that irregular tempo that appeared in many of the earlier songs of the album so they’re worth mentioning.

 

The bells, Aviators favorite instrument for this album (not of this time period. The Aviators synth is strangely absent here, but that’s ok, I’m not sure it would fit) also make an appearance. They chime along with the song’s suspenseful tempo, painting a picture of the world changing as intended.

 

There’s also some piano, which was mostly prominent in Find Me. The piano once again provides a variety of melodies while it is present in the song, adding a healthy amount of variation in its stay, interesting seeing as the introduction of the piano was a service to variation already. It definitely steals the show in its beautiful sections (in an already beautiful song, so you know it’s exceptional).

 

Equally as beautiful is the choir that first made an appearance in the titular song at the beginning of the album. Here, the voices are stronger than ever, providing an extra layer of beauty to the track.

 

Altogether, Absolution wraps up this collection of songs quite wonderfully. And yet… I can’t help but feel there’s something more. This song builds towards an event undiscovered. The story continues on beyond what we see here. What happens next is unknown. The future is unknown. The story never ends. Just the chapters we can see.

 

For now, Absolution is the culmination of everything we’ve heard so far. Absolution is the end.

 

For now…

 

Conclusion: Overall, Aeterno is an interesting concept album with a great variety of songs ranging from simplistic music boxes to suspenseful cinematic pieces to some great intense DnB. Not every son is a winner, but many of them are at least well above average, meaning that my rating is well above average.

 

One thing that I want to mention is the possible future this album might hold. I know that I’m basically becoming a third hand source, but my brother told me that Aviators mentioned on a livestream that he’d like to remake this album. So whether or not I’m displaying reliable intel is possibly questionable but I’ve got some solid confidence in my brother so I’m going to believe it’s true. The question is when.

 

Final Score: (6.75/10)

 

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THYX – The Way Home (2011 album)

Album links

Bandcamp: n/a

Soundcloud: https://soundcloud.com/thyxmusic/sets/the-way-home-5

Spotify: https://open.spotify.com/album/0jqzq1zmNqeqgp5EPAetfF?si=bwrhPyAXSaG-t-WPMDv2Rw

Youtube: https://www.youtube.com/playlist?list=OLAK5uy_mUzWpLoCPvTdb8vHEcrnwQh9LFcsmJJjo

 

Í̶̢̮͇̟͕̫̹̹̔͑̍̿͑n̷̡̜̘̮̠͚̺̫̭̼͉̓͌̓͑̓̉̕t̸̨̢̬͈͍̗͕̥̟͓̅̉̀̽̂͌̊͂͘̕͝r̵̨͙̟͖̜̪͖͖̿͑̾̈͌͗͑̍̒̿͆͛ó̸̺̖̠̱̀͛̒̿̕͠d̴̬̦̀u̷̢̨̫̠͍̜̯͎̯̠̽͌͐́͜ͅc̸̛̯̋̿̎̀̈́͆̒͊̀̚͝t̵͉͓̳̅į̴̛̹̱͎̪͎͕͉͓̲͚̥͎̱̅̏̀͗̕͝ò̷̢̮͖͓̻̈́͆́́̈͒͒̆̈́͊͝͠n̸̗̼͓̦͕̱̳̾:̶̧͉̳̪̟̝̳͚̯̅̀͌̕ͅ

 

 

 

 

 

 

 

 

 

L̸a̷s̶t̴ ̸t̸i̵m̸e̸ ̴o̸n̶ ̷T̴h̴y̶x̶:̵ Ẁ̷͙ả̵̠i̸̳͌ṱ̷́ ̵͓̦̍͝a̴̖̋͠ ̴̝̀s̴͔̀̓e̷͕͔̐c̵̨͗̄o̸̼̪̒n̶̙̈̓d̷̮̿ ̷͕̓w̶̺͕͒̽h̶̜͂y̶̤̗͊̍ ̴̦̌͗a̴͕͒̔m̶͉̑ ̵̘̈̈́Ï̸̛͚ ̷̛̭͔͘d̶͎͌̀o̶̻̍͘ȋ̸̧͓n̸̠̂̆g̷͇͋ͅ ̷̞͚́̄t̶̜̿͊h̸̨̪̔̀ĩ̵̘̘s̷̤̪͑?̶͇̆̈́ ̷͖̐͛ I̵̝̝̳͙̒͊̕͘ ̸̑̃ͅh̷͙̩̊à̶̜̜̱̲̀v̶̘̙͗e̵͉̥͇̳͝n̴̝͌’̵̯̺̩͕́̚t̴͉͈̀̒̓̓ ̷̱̎ṛ̶̤̦͆̂̚e̶̖̾͝v̵͕͍͚͈͘ǐ̶̺̈̏̕e̴̙̎͝w̶͉͉̌e̵̺̲̖̘͑̇d̶̘̩̥͌͝ ̶̞͙͉́Ț̶̪̮̘͘̚h̵̲̪͐̀̐͗y̴̧͗̕ẋ̵̢̞̤͂̆ ̷͖͉̖̒̌͗̕b̷͇̲̜̆e̷͙̤̓͘f̴̢͓̮͂̍́ͅo̶̖̫͕͕̓͂́͠r̶̢̬̞̫͑̒̕ḛ̶̀̔̌…̶̟̻͎̓̂ ̴͔̺̦́͒͘ t̸̲͕̖̪̰̳͒̏͌̄̀͋ḧ̴̪̹̝̌̎͑̊ḙ̵̠̈́̂͘r̷̨̫͉̙̮̰̓̊͂̓͠e̸̪̝͇̼̥͋͂̉ ̵̧̻̬̺͐ǐ̶̹͔̏̑͛ṡ̶̭͗ ̴̝͙̪͒̽͆̐͛͑ǹ̷͉̫̦̮͚̄͜ó̴̲̋̿̃̈́̈́ ̶̹̟̜̙̤̺̐̆̈́̀͘l̸̡͈̘̥̲͒̓̈́̓̀̚͜ä̴́̈́̀͜s̷̲̾͘̚ţ̷̡̡̤̣͔̈́̉̆ ̷̢͕̥̱͋͐͊͑̄t̸̜̗̟̺̟͋̔ì̶̡̬̖̠̦͇̉m̵̨̦̥̱̓͝ė̷̢͈͈̟͖̜̈́͑̀̾̚…̴̟̟̘̠̦̫̚

 

 

 

 

 

 

 

 

 

Introduction: THYX isn’t a new artist. The name is new yes. You’ve never seen it on this site before. But I started reviewing the man behind this name all the way back in early January. Perhaps the whole introduction/last time/introduction bait and switch at the beginning of this review has keyed you in on exactly where this alternate alias comes from. It’s Mind.in.a.box, the artist behind the narrative of Black getting caught in the struggle between White’s Stalkers and The Friend’s Sleepwalkers.

 

But as established in the last Mind.in.a.box review, Stefan Poiss hasn’t devoted all of his time to the Mind.in.a.box narrative. After the singular non-canon album that is R.E.T.R.O., Poiss decided to create an entirely new alias for the songs that don’t quite fit into the story. Boasting four albums so far, the THYX discography is a neat little side project that I really haven’t spent enough time listening to.

 

Of course, since reviewing these albums requires me to listen to many of these song on loop for a extended periods of time, that may be about to change.

 

THYX – Spoil (7): Now then, I’m not going to avoid comparing this to Mind.in.a.box. Such comparisons would be inevitable and it’s only right to highlight a few nuanced differences between the two sides of Poiss. There is a lot of overlap seeing as their source is the same. The vocals are no different from what I’d expect from Black’s story. Perhaps a bit cleaner in tone, but it’s clear that the man behind the mic is still Stefan and he still expresses many of the same existential themes in his lyrics (more on that later). The music also still has a huge focus on arps that reflect a technological soundscape. This song in particular has some great guitar riffs that are in no way foreign to Mind.in.a.box. Just take a look at Machine Run and every song related to it by using the same riff pattern.

 

Unfortunately, from a reviewing standpoint, any differences between the two aliases are a bit too subtle for me to be sure how to describe them. The sound is, from what I can tell, a slight bit cleaner than most of the Mind.in.a.box songs. Oh yeah, there’s still some grit there. The drumbeat is actually above average grit for Mind.in.a.box despite the rest of the song being a bit on the chiller side. And there’s a bit more variety in that drumbeat as well, constantly switching between half-time, four on four and syncopation not keep anyone listening on their toes. Other than that, it’s just the usual fantastic technological soundscape I love.

 

The lyrics in this one are a bit tricky. There’s the chant of either “Get to me” or Come to me” for starters. I’m not sure which one it is, but I’m pretty sure there’s very little difference from the meaning of the end result so it works. The rest of the lyrics, however, speak of spoiling… something. Someone somewhere screwed up and brought another person to fall. There’s some implied regret in there, but honestly, it’s kind of tricky to visualize the scene that’s painted here.

 

Song still sounds good though so there’s that.

 

 

THYX – My Own Little World (8.5): I must say that as far as the music goes, this reminds me more of R.E.T.R.O. than canon Mind.in.a.box. There’s no connection to any Commodore 64 games and an entirely modern tone to it, but the bassline seems to remind me more of R.E.T.R.O. than the other 6 albums in the Mind.in.a.box discography. The bassline is especially responsible. Mind.in.a.box seems to tend towards incredibly fast arps for its bass or slower smoother basslines for its calmer tracks. This one appears halfway between, somewhat similarly to all of the video game covers from R.E.T.R.O. Either way, the bassline is only really relevant near the beginning of the song. I barely notice it later on as it takes a backseat to everything else.

 

Everything else has some decent development to it as every instrument intensifies as it goes on. The drumbeat starts off rather calmly with a few beats here and there, but by the end of the song, it has a strong prominent syncopated pattern. Not overwhelmingly energetic but still stronger than where it began. Also, the main melodic instrument of this song, I mistook for a simple ambient element, but by the end of the song, it morphs into a full-on guitar solo (less energetic than most, but still much more powerful). Even the vocals start with a whisper and end in a passionate cry.

 

And those vocals tell a fantastically relatable story. Not an overwhelming narrative story as in the other alias, but instead focuses more on the themes of Black’s journey without delving into the specifics of the Agency and the Sleepwalkers and everything else my favorite artist throws at us. Think of this song as an accompaniment to the themes of Machine Run and Redefined, though not nearly as powerful as the connection between those two greatly heighten my enjoyment. Plus, it’s focused more on the isolated sense of self one has in a crowd full of people. In my experience, the overwhelming pressures of society often cause me to keel under my own suffocated desires and isolate myself into any form of escapism I can. It’s the easy way out, but it’s not the healthy way out.

 

I too desire to renounce my habit of isolation that only poisons me slowly as I shut out even the projects I value (like this blog I find myself procrastinating on too often). I too, desire to change.

 

THYX – The Way Home (6.25): Titular track! Let’s take a look…

 

The last two songs had rather harsh beginnings. Gritty drums. Strong basslines. This song however opts for something calmer. One echoing simple melody. A mysterious way to start this song for the first 15 seconds before getting that bassline (and technological arp of course) introduced. Unfortunately, from there, the song doesn’t go through too many changes. It definitely sounds good, but instead of morphing over the impressive seven-minute duration, the song is really just easily divided into two sections. The first half being the upbeat 4 on 4 section (which I already just described) and the second half being a slower paced calmer vibe where the vocals serve as the main highlight. The second half is an appreciated change in pace, but it isn’t especially musically remarkable, and it doesn’t provide quite enough variety to justify the seven minutes.

 

The lyrics that those vocals present to us though, are incredibly cryptic and all too difficult decipher. I really wanted to try and scrounge up a meaning, but it all seems to be some sort of hallucination or dream (web?). There are some mentions of destiny and the world passing by which are neat concepts that are explored better elsewhere. But there’s no real narrative or message between them here so I guess we’ll move on.

 

 

THYX – Underdive (8.5): Kicking the album back into overdrive, we have the song titled Underdrive (don’t ask questions, just go with it).

 

Underdrive marks one of our peak for upbeat on this album. There are a few others that are fantastically upbeat too, but there’s only one that comes even close (which I’ll obviously talk about later. but this one does serve as one of the most energetic outings of THYX’s debut. There’s an incredibly solid kicking pulsing from beginning to end without a break. It doesn’t really tire though as the rest of the song provides plenty of variety (including a snare to keep the drumbeat bit more interesting). Plus, Poiss adds some signature arps which only increases that drive to new levels thanks to the rapid progressions. There’s also a bassline in there that’s a bit interesting, but it doesn’t really contribute to the drive of Underdrive so I’m going to pretend it’s irrelevant (my excuse for not having much to say about it other than it’s interesting).

 

So, the music is nice and simple. Easy to sum up and yet quite solid. Are the lyrics equally simple? Well they certainly aren’t as cryptic as The Way Home, so they’re at least simpler to look through. However, that does mean I actually have more to talk about seeing as there’s some actual meaning to this one. This soul-baring track is all about delving deep into one’s own soul. Trying to make sense of the inner workings of one’s mind while also making sure to keep a hold on the outside world. You can dive deep into the unknown soul for some time but you must always come up for air by finding what’s real. The journey of self-discover never truly ends and it’s important to keep a level head throughout.

 

Oh and one last odd thing to mention is how sometimes when Poiss sings “Back on track” it sounds like he’s bleating like a sheep. This doesn’t really affect my rating of the song in the way. I just find it to be amusing.

 

 

THYX – Black Hole (7.5): Following the incredibly driving song known as Underdrive, we have a song named after the enigmatic black hole, an area in space that bends reality to a point where its gravitational force sucks in everything around it, including light itself. Obviously, such an intense unrelenting object from beyond the stars would be one of the most intense song on the album, right?

 

Well, as Underdrive has shown, titles can be deceiving. Black Hole is actually one of the slowest and least energetic songs of the album. Compared to the last song, every melody and drumbeat here is progressing at a crawling speed. Looking at the arp alone, you can easily hear the beginning and end of each note. But that still doesn’t prevent the chord progression from moving smoothly from chord to chord. This arp takes the brunt of the music in this song alongside some soothing pads and a drumbeat that joins the song halfway through. These drums do give the song a slight bit more of a drive, but it’s still incredibly slow paced compared to the rest of the album.

 

However, while the tempo doesn’t fit the title Black Hole, the song isn’t fully false advertising. A Black hole isn’t just defined by a dead star that bends reality with its own gravity. It’s also a void of complete and utter darkness. And these lyrics are the bleakest this album has to offer. Even the vocals themselves sound as if the singer (almost said Black but had to remind myself this isn’t in any way canon to that auditory universe) has completely given up hope. And the lyrics? Even bleaker. Black Hole is about regret and the inevitability of failure. It declares life to be dark, cold and hopeless. And yet, somehow as the song closes, there’s one last bit of false advertising. “Together we will find another place… I will bring us home.” Hope may seem lost at certain points in life, but sometimes one just needs to move forward to find a new place to find peace. There is always hope.

 

THYX – Awesome (6.5): Continuing with the trend of false advertising, we have Awesome. Awesome isn’t awesome. Oh, it’s not a bad song, but it doesn’t really stand out in the slightest. Really just run of the mill for the album. Solid drumbeat. Good bassline to accompany that drive. And a melody to add a little bit of flavor to the rest. Overall, the song is pretty groovy. Not much variation, but the song is short enough that it doesn’t matter. Plus, it has some great robotic vocals that allow it to stand out among the other songs (which mostly use cleaner vocals).

 

The lyrics are a bit odd though. Poiss keeps on switching between three different vocal sections. The first is a conversation two robots have between themselves on how awesome the song is. I personally find awesome to be a stronger adjective than necessary, but these robots don’t think it’s strong enough, so they make sure to strengthen that adjective with some choice intensifiers that cause this song to be labeled explicit. Probably the most amusing of the three lyrical sections.

 

The second vocal section I hesitate to call lyrical, because it sounds like it’s made entirely of chopped up vocals so that they can be used as more of an instrument rather than a vehicle for words. Or maybe there are lyrics in this part too… I can’t make them out… and no matter where I search, I can’t find any sources that give me a hint of what could possibly be said.

 

The cleaner vocal section is a bit clearer though it really just sounds like the singer just wants to be told whatever it is that he wants to hear. Apparently what he wants to hear is endless ramblings on how this song is awesome. Oh… and he also wants poison… ok…

 

This song is not awesome but it’s good enough

 

THYX – Snow in July (8.25): Ok, not false advertising really, but it doesn’t snow in July. Or at least it shouldn’t. But it snows in April up here in Wisconsin so hey it’s a possibility. An unwanted possibility but a possibility, nonetheless. As far as I can tell, snow in July is an inconsequential concept to this song other than in title so hey maybe it is false advertising in a way. Not sure what it was advertising, but I don’t think we got it.

 

Snow in July is one of the most enjoyable songs to listen to on this album. It’s got plenty to offer and plenty to love. The variety in this song stems from how it becomes more powerful over time. It’s not quite as dynamic as My Own Little World, but still notable. The intro probably has the most rapid change as it starts out quite completely calm with the bass and the vocals echoing in the distance. But as time goes one, the drumbeat draws the vocals and bass closer together, reaching a passionate high as the singer (again, not Black, old habits die hard) declares he’s not better than the rest. From there, the song continues to build more as it introduced more melodies, more syncopated drum patterns and the most technological vibe in the album (or at least I find it to be the closest to the usual Mind.in.a.box style)

 

Oh and before I go on to the lyrics, I wanted to make sure I mentioned how much I adore the way the Poiss pushes the upper limits of his vocal range. I think I’d mentioned this in a previous review but a sudden increase in pitch in male vocals makes a song incredibly enjoyable to sign along to. They’re challenging their vocal range, so perhaps I shall too.

 

While the music is definitely enjoyable, I find the lyrics to be a bit iffy. Oddly, when I was first listening to this song while preparing for this review, I had the impression that this song was about finding your place in society as you reach your goals, making this one of the more inspiring songs of the album. I was partly right. Yes, there are glimpses of the inspiring aspects I mentioned (which was probably what threw me off), but there is an unfulfilled tone to it all. Yes, goals have been reached, but immediately after he claims that nothing has improved and nothing matters. He’s just another face in the crowd no better than anyone else. You know. Typical existential despair.

 

 

THYX – In the Past (7.25): Really not going to spend too long talking about the music this time. It’s a rather simple song with medium tempo and a nice groovy arp and the occasional guitar riff. Plus, it has a decent melody at the end that reminds me of classic Aviators (who you probably don’t know but I plan on reviewing him next week, so you’ll know soon). That’s pretty much it. Really not much variety in this one. That’s fine though. At least it’s not overwhelmingly long

 

Plus, we’ve got lyrics to make the song a bit more interesting. This song is a bit of a grab bag. The song starts and ends with themes of misplaced anger, a man wanting vengeance and yet no knowing why. He’s forgotten a piece of his past I guess (strangely similar to the Mind.in.a.box universe, but again, this stuff isn’t canon). There’s also a few lyrics in the middle of the song that reflect more on the isolation that was introduced in My Own Little World. And for a fourth theme, Poiss’ favorite theme, we have change, escaping the monotony and trying to find a way to move on to the next chapter in life. Change will happen, but it’ll happen more quickly if you work for it before the doors close around you.

 

This song has a lot of great ideas as you can see, but it’s so eclectic that I feel it would be a bit better if there was more focus. Thankfully, there’s plenty of other songs in this album and the Mind.in.a.box discography that do a lot better

 

THYX – Into the Realm (8.25): Into the Past, Into the Realm. Regardless of the song, we’re going in.

 

This song’s calmness rivals the relaxation of Black Hole, spending much of its time devoted to the ambient chords and a simple drumbeat and bassline. None of it is intrusive, but for the first bit of the song, none of it significant either. I actually don’t care much about the music of this song until after it breaks the mold of being relaxing. Around one and a half minutes, the song quits rivaling Black Hole with its utter relaxation and offers up a more upbeat chorus. The song still uses a rather medium tempo with only a tiny bit of syncopation, but it’s enough to break the silence it once shared with Black Hole. The song still remains relatively chill though. Just not the chilliest it could be.

 

And that’s fine. My opinion of Into the Realm is mostly about lyrics anyway. This song rivals Black Hole in another way by diving into some extremely bleak themes and ideas. And this time around, Into the Realm wins (Black Hole isn’t the darkest song on the album? False advertising!). Like a few of the other songs I’ve gone over in this album. Into the Realm is about isolation. But this song is the most broken of the bunch. The whole song is apathetic to existence, tortured by the monotony, trapped in an undesirable place in one’s life, and closing the entire world out, suffering alone…

 

This song is the darkest I can go without spilling over into overly edgy Ashbury Heights territory. And these days, it’s hitting me a bit too close right now.

 

THYX – No Voices (8.25): Just as Into the Realm attempted to rival Black Holes in its calmness. No Voices attempt to rival Underdrive in its intense drive. It’s not completely upbeat during the entire song, but that doesn’t prevent it from winning the battle. Not only is the BPM faster i ngeneral, there are several elements to this song that reach heights of speed that make them sound slower than they really are. Makes sense? Probably not, but maybe I need to be more specific. Look at the arp. It may be difficult to notice it’s there at the points, not only because nearly everything else is so loud, but because the notes play so undeniably quick. The song is already at 160 BPM as it is. And seeing as the arps sound like they’re made completely of sixteenth notes, that means that the arp is at a speed of 640 BPM. Not to mention the hats, which when present also seem to blend in with each other due to their speed.

 

Other than the insane breakneck speed this song has, there’s some other elements that make the song stand out among the rest. The song sounds the most experimental overall, as many if the instruments sound crushed and glitched. The bassline is quite odd from the beginning, as it sounds like it’s made of several layers of overly distorted noise, though hit does so in a way, that is strangely pleasant to my ears. There’s some synths that reach a pitch that could very nearly be piercing, but they barely skim the upper limits without breaking the painful threshold for me. The chord progression is rather simple, as it simply climbs upwards repeating the same four chords again and again, but it really adds to the intensity to the track. And lastly, the lyrics are repetitive, but the vocals are not as it sounds like every iteration of “No voices in my brain” has a different tone to it. It’s all unique and it all works.

 

No voices in my brain. Sounds like a good thing to me. Don’t know about you, but if there were voices in my brain, I’d find that a little bit horrifying, especially because in many narratives, voices that intrude on one’s brain tend to be of the malicious variety. I guess, if it was a friendly voice that just spoke nonchalantly of pleasant things, some of them being direct encouragement and others being just general fun things that the voice was interested in, I’d be totally into the company. A shame that this song implies that such a voice isn’t there. It certainly isn’t there in my life. Or maybe the voice is more subtle. What if the voices refer to thoughts themselves, the internal train of though in which we speak to ourselves in our head: neutral voice that sometimes ends up positive, sometimes ends up negative, but most importantly, the voice that truly represents our own true identity.

 

I don’t want to lose those voices…

 

THYX – Crack It (6): The conclusion of this album is kind of underwhelming. It’s not bad, but it also pales in comparison to many of the other songs, especially because the second half of the album is quite high quality. I guess part of it has to do with the fact that there’s no lyrical content to rely on, yeah there are vocals, but all of it is chopped up and nonlyrical, so there’s no unique message that could possibly heighten my experience. However, I guess that does serve to make this song a bit more unique. That’s really all the song has to offer though. The rest is rather unremarkable. It’s slow but not relaxing. It’s absolutely repetitive. And it takes way too long to fade out in the end.

 

Honestly that’s all I have to say on this song though. Bit of a lame ending in comparison to what preceded it, but they can’t all be winners.

 

Conclusion: The Way Home was quite an interesting album to review as I went in here completely blind (just haven’t found the time to listen to THYX for some reason despite being aware of the alias). Overall, I do enjoy the divergence from Mind.in.a.box. It has a slightly different feeling than Mind.in.a.box as this album did not stray from the technological instruments in the slightest, while Mind.in.a.box has been consistently using pianos and guitars. I do miss the narrative and that is part of what’s preventing this album from being solid like the Mind.in.a.box albums I reviewed, but it’s still a well-enjoyed experience.

 

Final Score: (7.5/10)

 

 

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Infected Mushroom – Converting Vegetarians (2003 album) pt 2/2

Part 2 – Other Side

 

Album links

Bandcamp: n/a

Soundcloud (Other Side only): https://soundcloud.com/infectedmushroom/sets/converting-vegetarians-the

Spotify: https://open.spotify.com/album/3LbcBylGvC80f5OTeQaVuM?si=DRj2Ry1zQ1qfIxNXrcvF9A

Youtube: https://www.youtube.com/playlist?list=PL718C82948CE653CE

 

Introduction: Alright! Time for the Converting Vegetarians review part 2! Not to be confused with the Converted Vegetarians part 2 review. That comes much later.

 

Anyways, we’re in for something a little different today. Last week was all psytrance so it felt a lot like one of the other Infected Mushroom albums I reviewed. The other half of the album however… the other side… It’s absolutely completely different. I guess I’ll let the music do the talking. I’d written the first half of this reviews if I’d release it all at once along with the Trance Side but that didn’t happen. So let’s just dive right in and let my words on the song, Converting Vegetarians tell you about the album, Converting Vegetarians.

 

Infected Mushroom – Converting Vegetarians (7.5): When the titular song of this album introduces itself, it ends up slightly jarring. The first ten songs all shared a common theme and together formed the “Trance Side” of the album. The “Other Side” has no theme to it. Unless you count the perpetual state of being odd in general to be a theme. Because a healthy portion of these songs are simply odd. Even if this was how the album began without over an hour of trance setting a precedent, the song is such a strange mixture of textural instruments and distorted vocals, that the majority of listeners might be initially put off by the vibes that Infected Mushroom is introducing in this album

 

I, however, love it.

 

I’m all for variety and this song definitely delivers on that front. There is such an interesting variety of carefully placed chaotic patterns to keep the song fresh and engaging throughout. Instead of catering to the psytrance side that Infected Mushroom has been known for up to this point, this song explores every corner of Infected Mushroom’s sound design, deconstructs it and reconstructs it into something new. The song takes on a slower pace with plentiful basslines, some a little too screechy (only true negative of the song in my opinion) and others that have a very deep unique groove. My favorite instruments in the song have to be the fully vocal ones though. The broken scatsinging in the background as well as the various voices used to display these lyrics (ranging from calm and slightly distorted to a cleaner voice belting out the lyrics without concern of losing his voice).

 

Those lyrics though… Oh boy do I have some lyrics to decipher. I mean, the likely goal of this song was to make a statement that the two of them aren’t limiting themselves to just the one genre any more. They shan’t sell out and give the people exactly what they want and expect, but instead explore other areas of their soundscape. It’s a song about transformation. And those that had been solely consuming their psytrance shallf be converted from their vegetarian diet (apparently psytrance contains no meat), to larger variety of genres (some of which is likely steak, I would like some steak right now, thanks).

 

However, I do find the mention that they’ve been converting these vegetarians since 1996 to be rather odd. If you remember back in my first review on this site, their first album dropped in 1999. Previous to that, they did release a song on a compilation 1998, but that’s still not back in 1996? What could have happened in 1996? I was born in 1996… Perhaps my meat looks so succulent that any vegetarian that looks at me suddenly wants to eat meat… Cook me up and take bite after bite of my flesh…

 

Oh wait. Erez and Duvdev started making music in 1996… They just weren’t Infected Mushroom at the time. Thank Wikipedia for easing my fears of sudden cannibals gazing hungrily at me (please don’t eat me).

 

Infected Mushroom – Elation Station (6.75): As we move deeper into the Other Side of the album, we’re met with many of the most relaxing tracks in the entire Infected Mushroom discography. Up until this point, most of the discography has been hard-hitting psytrance (and whatever that last song was).

 

For much of the song, Elation Station’s main focus is a simple piano melody. It’s the sole instrument at the beginning of the song and it isn’t until a good thirty seconds that any other significant instruments enter into the song. Some relaxing guitar, a calming arp, a slight bassline that’s more on the smooth side rather than funky or bouncy with a drumbeat to match. All relaxing elements.

 

And then that other synth comes in at one and quarter minutes in. I’m not as elated about this synth as the rest of the song. It feels a bit unfitting to the relaxing vibe that’s displayed in the beginning of this track as well as the end. The song would be a bit higher in rating if this synth felt a bit more polished, but it doesn’t distract too much from the relaxation, so I’ll give it a pass.

 

The middle, however, isn’t relaxing. It’s something else entirely. You may remember that the bassline this song introduces at the beginning is merely smooth. No funk. No bounce. The bassline introduced for the middle third of this song is the complete opposite of that. It’s all funk. This song is a funk sandwich with nearly relaxing bread. A funk sandwich that I would gladly assume is meat (not sure what kind of meat, funk is, but I’m going to eat it regardless). It starts out funky enough 2;20, but it only grows funkier as it goes on. Take a break to focus on some horns? It only gets funkier. Distort them a second to make them an octave lower? It only gets funkier. Get rid of the bassline entirely and return to the near relaxation the song started with? Well, the bassline doesn’t return after that, but I’m sure if it did, it would be incredibly funky.

 

Infected Mushroom – Drop Out (7): I’d say Drop Out is a strange song, but that could be said about nearly every song on the second half of this album, so I’ll try to restrain myself from saying such obvious things in the future.

 

It is quite strange though.

 

Let’s start with the overall feeling that this song has with the music. A lot of the song, especially in the beginning and the end has a lot of focus on a calmer glitched out vibe, not as calm as Elation Station, mind you, but still overall more relaxing than intense. And while the glitches with the drumbeats and strange arps and vocals do somewhat conflict with the relaxing mood, I feel that this song strays from the relaxing vibe in so many ways, that the glitched out behavior of several of the instruments (and those vocals) becomes the new overall feeling the song has. It’s not relaxing in a soothing way. It’s relaxing in a trippy mind-bending way. Regardless, this song’s relaxation works.

 

One part of the song that stands out, fitting perhaps the pure relaxation parts of this song, would be the guitar section in the middle. I don’t have much in particular to say about this, but I will make sure to mention that the guitar does a great job of providing a break between the strange vocals and other glitches, allowing one to get lost in the beauty of the simpler elements of the song. The more rock-oriented guitar near the end of the track serves a similar purpose, though I find it slightly less enjoyable and relaxing (It’s rock. rock is less relaxing than acoustic. That’s just how it works).

 

Speaking of the beauty of simple things, let’s take a quick look at the little lyrical content this song has to offer. When it comes to the lyrics, my original guess for the meaning of this song would be about dropping out of school as I have an innocent mind that views that quote of breaking free of the restrictions of thinking that the modern education system seems to enforce on the progressing generations as time goes on.

 

However, seeing as I’ve discovered this sample comes from an LSD documentary, it’s probably about dropping out of reality…

 

Via drugs.

 

Sometimes, you can’t escape the psychedelic messages songs of this genre display

 

Infected Mushroom – Avratz (7.75): Avratz passes by Dancing with Kadafi, becoming the longest song in the discography (up to this point). Beat it out by an entire second. Fantastic lead, I must say. When it comes to lengthy songs like this one, I must always ask whether or not the song uses enough variety to justify its length. In other words, does it count as a journey through sound? I’ll say yes in this case. It takes a long while for the song to pick up momentum on its journey, but the second half of the song has enough elements that make up for the slow beginning.

 

And I mean slow in two different ways. Not only does the song take a lengthy amount of time to get started, the music at this portion of the song is incredibly calm, focusing almost entirely on one simple melody that repeatedly climbs up and down. For the first two minutes, that’s all there is. Maybe a drumbeat here and there, but that variety isn’t looking quite good so far.

 

Thankfully, the conclusion of those two minute brings in a new piano melody. It’s a small change, but it’s entirely necessary to prevent me from losing my mind to the numb unchanging status quo. That being said, it does allow for some beautiful elements to be added to that melody the plays throughout much of the song, even beyond the halfway mark. It starts out quite beautiful though it does get distorted halfway through, but distortion is somewhat of a main them in this album so that’s to be expected.

 

The second half of the song is a bit more upbeat than what’s been shown so far. This upbeat switchup is where the song really kicks it up a notch. I don’t have time to go into every single element that this song throws into the mix so here’s a quick rapidfire rundown. We’ve got the more upbeat drumbeat with the introduction of a bassline that’s been missing for far too long. We’ve got some distorted vocals added in early on in this second half as well as bringing the song towards its conclusion (the latter being my preferred vocal bit). We’ve got a good progression of the bassline and the drums becoming more intense as the song goes on. We’ve got a sudden half time portion with a combination of a slightly more guttural bassline and a new relaxing guitar melody. We’ve got strings. We’ve got oddly unique arps that contrast with the rest of the song (in a good way unlike Elation Station). We’ve got a bassline that feels pleasantly broken as it builds up towards the conclusion of the song along with those vocals I mentioned earlier. And then there’s the bookend throwing back to the melody that started it all. Playing the song on loop makes it tricky to determine where exactly the song ends and starts anew.

 

All in all, this song is incredibly relaxing to the point where I almost fell asleep several times trying to review this song. Or maybe I’m just tired…

 

Infected Mushroom & Michelle Adamson – Blink (6.25): Blink is a strange song. I know I said I’d stop mentioning that, but when Michelle Adamson (spent a bit of time searching for that vocalist’s name, but I think I got it right) joins in to provide her vocals, it’s hard to say it just blends in with the usual oddity that makes up this album.

 

And I do believe that Michelle adds the most to this strange feeling this song gives my gut. After all, much of the music matches the vibe I’ve been getting used to as I listen through the Other Side. The bassline is slightly groovier, but it isn’t really groundbreaking in the same way that Elation Station’s is. The song has a solid halftime drumbeat that isn’t quite as glitchy as in Drop Out. There’s several mysterious synths that have somewhat of a relaxing feel to them, but Avratz has more. Converting Vegetarian’s vocals are much more heavily distorted.

 

But that doesn’t matter because Michelle’s vocals are more unsettling and discomforting with minimal distortion. I don’t dislike them. I just find them a bit… odd. The bridge especially sends chills up my spine. Her whispers as she talks of conquering demons and ignoring lizards feel as if they might be distorted, but it sounds so natural that I’m nearly convinced she might be some sort of otherworldly being herself.

 

As for the lyrics, it’s incredibly cryptic, but I’m not fully certain there was truly “no smoking or drinking” as they were being written. I’ve already mentioned the demon conquering and lizard whisper ignoring as I talked of the vocals. But there’s so much more in here that raises strange questions. There seems to be a song in her head leading her towards death. Then again, does that even matter because she also said she’s already dead (maybe inside?). And then there’s speak of bonding one’s mind in an intimate transcendent experience

 

Yeah, this one’s probably about drugs too. The Infected Mushrooms are not exactly subtle this time around.

 

Infected Mushrooom – Shakawkaw (7.75): Shakakaw is a short fun song with an entirely different feeling than Blink (especially in the vocals). Much of the song keeps a chill atmosphere to it, somewhat similar to the first half of Avratz with a simple melody dominating much of the song. That’s where the similarities end. Thankfully, this song develops much more quickly, adding more variety in the first minute that the calmer portion of Avratz did in its entirety (this song is over before Avratz really got going).

 

The simple melody is quite nice, but the instruments introduced to compliment are quite enjoyable. The bassline has a slight funk to it, most staying in the background, but definitely driving the song forward. There’s a couple of synths that contribute to the odd environment that’s integral to any song off of the second half of this album. Oh and the guitar.

 

The guitar definitely steals the show in its brief tenure. That seems to be typical on this album. Whenever, a guitar comes in, it’s the best part of the song for that moment adding in some beauty to the otherwise gritty oddity that is this album.

 

But the guitar isn’t the focus of the song. As awesome as it is, it’s not the most memorable part. The most memorable part would have to go to the vocals and their fantastic “lyrical content.” Ok, actually it’s just some guy yelling out the amusing title of the song, but that’s really the heart of what makes listening to this song so fun. Even when the “lyrics” stop, you can hear the singer who sun his heart out laughing as the song fades away. And rightfully so. This song is ridiculously amusing.

 

Infected Mushroom – Pletzurra (8.25): Pletzurra develops quite interestingly, especially near the end. But in order to truly appreciate the development of a song like this, I must first tell you of the trippy ambience at the beginning. There’s a pad whispering in my ear as the drumbeat begins and the piano joins in. Eventually, the oddly ominous gets covered up with all of the other instruments that make up this song in an attempt to send it back to the eternal abyss it came from. But just as the abyss is an eternal construct that we stare into throughout our life, the ominous pad is also eternal and never truly leaves the song. It’s always there.

 

Always waiting.

 

For something. Not sure what. It’s kind of just there.

 

Not exactly as ominous if nothing happens.

 

Unless something is happening and I’m just not noticing it.

 

Now, that’s ominous.

 

Maybe.

 

Ominous distractions aside, I’m glad that many instruments come in to cover up the ominous bits. Not because I hate that pad. I find it quite interesting. No, it’s because everything that this song adds to the mix from this point onwards is quite a pleasure. Or should I say Pleasuretzura? (I’ve decided I shouldn’t have said that. Forgive me for not leaving this pun alone). The piano in this song is one of the first things to start covering up that pad, providing the most beautiful melody on the entire album. With the help of a slight bassline, they cover up the ominousness almost completely. At least enough so that it’s no longer infecting my brain.

 

From there, the song takes a step back in quality, briefly being played through a lower filter, almost as if we were listening to a recording of the song being played on the radio. You can even here the tape spinning as the vocals begin to introduce themselves. The vocals sound pained at first but slowly develop over time to a more confident melody. None of it has lyrics of course, it’s merely a manifestation of overcoming pain with a choir to back it up. Probably reading too deep into it with that last sentence, but that’s the roll I’m on right now. Eventually the deep singing grows to be quite beautiful, the drums and the bassline do return to an ominous vibe. Thankfully though there’s a second melody and strings to cover it up as the song brings itself to close, proving itself to be an overall relaxing piece of music…

 

PSYCH! This song has a BANJO! And it’s AWESOME!

 

Infected Mushroom – I Wish (9.25): Undeniably my favorite song on the album. I’ve been listening through this album a lot as of late, trying to learn these songs inside and out and out and every single time this one comes on, I can’t help but sing along with that chorus over and over and over again. I guess I sing along to Shakawkaw too when it comes up, but that one’s more amusing than anything else. This one actually has meaning behind its lyrics. And unlike the trippy songs featuring Michelle Adamson (yeah there’s another one I’ll get to in a bit), I find these lyrics to be both decipherable and inspiring.

 

But music first. The music is great too. This time it’s all about the bassline. Well I guess there’s some other cool things too, a good chord progression, some syncopated drums with a few variations here and there. There are some slight whispering vocals in the background for a bit. And uh… the rest is bassline. And the bassline is great. The bassline has two elements to it. There’s the swinging more heavily distorted bass spotlighted best at the beginning of the song as well as after each chorus. And then there’s the more constant arpeggiated bassline that underlies the song’s drive. Together, these two parts of the bassline keep this song moving for the three minutes it exists. Not too much variety, but that doesn’t bother me too much. It’s the vocals that stand out.

 

First off, while I’d love to get into the lyrics, I did lie a little bit when I said this song is all about bassline. Sometimes, under certain circumstances, I’d consider vocals to be an instrument of their own. And this song is definitely one of those circumstances. These vocals are the most heavily distorted on the album. The immediate stuttering as soon as the first verse starts. The way each note seems to dance up and down, constantly wavering in tone. The end of each line being held perhaps a fraction of a second longer than you’d expect half the time and completely glitching out the other half of the time. It all comes to a head with the extremely catch chorus. Not only is the music best here because of the prominent chords, but the vocals are almost clean here except for a couple of perfectly placed accents at the end of some of the lines. The way the pitch slides upwards on “game” and “rain” is absolutely fantastic. I have a fondness for when male vocals suddenly soar in pitch without any pretense.

 

As for the lyrics, this song is about fresh beginnings (funny how often that message comes up in reviews of my favorite artists, wonder if that’s why I like them or if that just means I’m extrapolating my own meaning in order to match my innermost values). I Wish compares life itself to a game, a game that we won’t stop playing until the end of our time. Now, exactly how this game has gone in the past is a bit unclear, but there is something to look at through the singer’s desires to play the game without fears and regrets as well as his desire to rewind and kick it from the start. It’s clear that his past experience with this game has been… less than stellar. But like I said, he wishes to abandon those fears and regrets and start again with a fresh game. A game in which he takes control of his life and gives it his best possible. Sure, rewinding time would be nice (I’ve desired to do so more than once), but sometimes the main focus should be to be to push through the game, letting the rain ash away the flaws that hold you back.

 

Again though, I am likely extrapolating. Much of what I’m getting out of this song is somewhat vague. I enjoy it regardless.

 

Infected Mushroom – Ballerium (6.75): It’s always difficult to review a decent song after a spectacular song. Comparatively speaking, Ballerium certainly has nothing on I wish, but I still feel it’s an alright track. Has a good groove to it at points and it does stand out as one of the more minimalistic songs on the album, especially near the beginning. It has an ok variety to it, but much like Scorpion Frog from The Trance Side, most of it just kind of happens.

 

I think my main problem with this song is just how minimalistic it is. There are several points in the song where it feels empty, no ambience, just a couple basslines and a drumbeat. And while the basslines are relatively decent and the kick and snare definitely are stronger compared to many for the songs on this album, they don’t really hold up the song on their own.

 

Thankfully, the song does get better in the second half as there’s more melodies introduced here as well as a couple guitar riffs that add some nice flavor. The best addition to the song comes towards the end for we have a build-up from nothing featuring some gorgeous vocals spotlighted as all the other instruments have faded away. The way the bassline progresses (which serves as the build-up from the build-up from nothing) is also quite interesting during its brief stay before being taken over a bouncier outro. The last bit of the song’s vocals serves as a nice journey even if the song is a little lesser overall.

 

And that’s all there is to say.

 

Infected Mushroom – Selecta (8.25): It seems that on this album, even the most upbeat songs usually start out with a calmer section to build up to the upbeat. This song, despite being upbeat, isn’t one of those songs. No, Selecta wastes no time in getting that 140 BPM tempo out there in the open. Almost sounds like it should be on the Trance Side. It shouldn’t be though. I’ll show you why at the end.

 

The beginning of the song does differ slightly from psytrance. The psytrance bassline isn’t quite as prominent as usual, though the bassline it’s replaced with is still quite fast-paced. Plus a lot of the instrumentation does have a good balance between Trance Side vibes and Other Side vibes as it incorporates a lot of the new sound design without going overboard.

 

However, while I wouldn’t describe the introduction of this song as chill, there are some moments in this song that are a bit more relaxing than most. In particular there’s the middle section of the song winding down a bit after the two-minute mark. The drumbeat doesn’t change at all and the bassline is still there, but somehow the beauty of the new pad, overwhelms all of the energy and provides a soothing relaxation without eliminating the drumbeat entirely. Yes, after about thirty seconds there is a short bit where the drum is replaced by a simple melody instead, but that “nothing” part of the build-up from nothing only lasts a short bit before the “build-up” of the build-up nothing quickly returns.

 

The conclusion of this song is where things get a little bit iffy. This song does not belong on the Trance Side. Because out of nowhere, we have a funky little tune that feels more out of place than the banjo in Pletzurra. There is a piano appearing seconds earlier that might hint towards this little tune, but it sure ain’t an amusing little ditty like this one right here. Also, no horns. No funky little melody. This ending is just different…

 

Yeah, this doesn’t belong on the Trance Side and all.

 

Sure was fun though.

 

Infected Mushroom & Michelle Adamson – Illuminaughty (7): Michelle is back for round 2. Of course, that means we’re going to get into some whispery vocals with cryptic mysterious lyrics, but that can be an interesting divergence sometimes.

 

Now, I’m really tempted to compare the music of this song to Blink, but that’s technically not fair, because despite having the same singer, Blink and Illuminaughty sound like completely different songs. Blink was much slower paced and concentrated more on a funky bassline. Illuminaughty has a much more mysterious instrumental and I must say, I enjoy this one more. A lot of it has to do with it meshing better with Michelle’s mysterious vocals, but there’s also a lot more subtlety to this song in comparison to Blink. The ambient pads and the arps mesh together well when they’re alone and the bassline and drums enter smoothly onto the scene whenever it’s their turn to shine. Blink was by no means bad, but Illuminaughty brings it up a notch.

 

As for the vocals and lyrics, there aren’t quite as many whispers as in Blink, but the song is still the same level of unsettling, again raising the odd question of whether or not she’s truly human. An odd fantastical conspiracy theory that’s likely ridiculously untrue, but she does do some good convincing that she’s fallen from some other realm into ours. However, I’ve been looking over these lyrics and I find them to be so incredibly cryptic that I have so little to analyze. There’s mention of tasting the fruit which likely refers to the Garden of Eden (though in a completely different tone than in Andy Hunter – To Life to Love). And she also continues to walk the line between life and death, committing to neither side. Other than that, I have absolutely no idea what to say.

 

Infected Mushroom – Jeenge (6.75): This song immediately starts with the guitar that often steals the show in the other songs that present the stringed instrument. This time, it doesn’t really steal the show so much. That’s because whenever it’s present, there is no show to steal. The song instead opts for minimalism again. Though this time there’s absolutely nothing interesting in much of the front half of the song except for the guitar. The bassline is ok, but it doesn’t really stand out until the midpoint of the song.

 

That’s when things get a bit funky. The bassline has a more dynamic bounce to it and allows for a bit more variation it develops over the next four minutes as it bounces against other melodies and basslines. My favorite part of the song has to be the bass pattern introduced about five and a half minutes in. Not only does it have a nice swing to it, but every four bars it has a quick unexpected variation with shorter notes. It’s a fun moment, but unfortunately the front half of the song isn’t quite as fun.

 

 

Infected – Mushroom – Elevation (7.75): Final song on this all too lengthy album. Having 23 songs to review is a bit much for me, so I’m glad that there’s a divide in the middle of the album between Trance Side and Other Side. It made this whole review so much easier to handle. This album ends with its most relaxing track, it’s all ambience, piano and strings and all of it is soothing in comparison to the trippy textured instruments that clustered the rest of Other Side. Unfortunately, such a relaxing track doesn’t leave me with much to say. Maybe I’m having review fatigue…

 

The most important thing I can think of to say is that all of the elements in this song really have a beautiful feel to them and some of them mesh so nicely with the rest of the song, that I didn’t even notice them a first, though they do have an important supporting role in the song. The bassline especially fits this description as it’s always covered up by the higher ambience and strings whenever it’s present. The drums have a bit of a complex vibe too, made up of many of the same distorted synths we’ve seen on other songs, but they’ve been chilled down several notches, so they feel not that unlike a simple drumbeat. Though once I did notice them, I did enjoy the meaty flavor that they added to the song. The ambience also transforms into a stronger synth at some points, but it all feels so natural and relaxing that it fits along the more physical instruments without feeling out of place in the slightest.

 

A beautiful conclusion as we finally bring this alum to a close. Speaking of conclusions…

 

Conclusion: And so, concludes the two-week journey that has been Converting Vegetarians, a fascinatingly interesting album that serves as a transition into the expanding variety in Infected Mushroom’s discography. There’s plenty to offer in this album, but I think the Other Side suits me best. Then again, I might just be saying that because I Wish is on there. I love I Wish.

 

Well, regardless, the variety here shall lead into many fantastical developments in the journey through sound that is Infected Mushroom’s entire discography. We may be exiting the first phase of said discography, but there’s still plenty to catch up on…

 

 

 

Final Score of Trance Side: (7.25)

Final Score of Other Side: (7.5)

Final Score of Full Album: (7.25)

 

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Infected Mushroom – Converting Vegetarians (2003 album) pt 1/2

Part 1 – Trance Side

 

Album links

Bandcamp: n/a

Soundcloud (Trance Side only): https://soundcloud.com/infectedmushroom/sets/converting-vegetarians-trance

Spotify: https://open.spotify.com/album/3LbcBylGvC80f5OTeQaVuM?si=DRj2Ry1zQ1qfIxNXrcvF9A

Youtube: https://www.youtube.com/playlist?list=PL718C82948CE653CE

 

Introduction: Ah yes, if I were a vegetarian, then the first thing that would entice me to join the meat-eating side would surely be a human brain skewered on a fish hook. All that knowledge ripe for consuming. Absolutely delicious. Sign me up!

 

Please ignore my odd tastes in… taste as I delve into my much more relevant slightly odd taste in music. Specifically, my taste in Infected Mushroom. The last three albums I’ve reviewed from them have been purely psytrance. This album changes that. Oh yes, the first half, referred to as Trance Side is definitely psytrance and alone would seem much alike the previous three albums (except ten songs instead of nine. How adventurous!)

 

The second half, however, is referred to as Other Side. I’d talk about it here, but I actually haven’t finished reviewing the Other Side yet and so I’m going to be posting this review as a two-parter. I’ll introduce the Other Side next week. This review is going to be long enough as it is.

 

Infected Mushroom – Albibeno (6.5): Alright, let’s dive right in to the first song of the trance side. We’re starting out with a quintessential psytrance song. It has the perfect 145 BPM tempo. It’s got that quick paced bassline that almost feels like a slow arp. All of the synths involve have an unusual trippy vibe to them. What more is there to ask for?

 

Well, when it comes to Infected Mushroom, there’s always a little extra icing on the cake. This track’s layer of icing is a bit thin, but it still has some unique elements that cause it to be held above any ordinary psytrance song. The most substantial of these is definitely the synth at the beginning that almost sounds like a technological arp. Usually when I say technological I end up saying “Oh gee this could be in a Mind.in.a.box song! That’s my favorite artist!” but eh this one is a bit different. And yet, I enjoy it on a near equal level. It has a good haunting vibe to it as it introduces the mysteries this album has to offer. The second appearance of this synth is my favorite moment of the song, specifically because of its incorporation of the bass rumbling in the background, which allows for some suspense to take over for a short while.

 

Other than that, I don’t really have much to say, there’s some other melodies in here that are decent, but they don’t really diverge increasingly much from Infected Mushroom’s established style (though there is the occasional melody that seems a little bit closer to the newer style). This song could definitely have used a bit more variety and I’d have given it a bit of a higher rating if it did, but I find that it still stands out well enough above your typical psytrance song.

 

Infected Mushroom – Hush Mail (6.25): I have no idea what that animal at the beginning of this song is doing but I’m afraid to ask. Whatever kind of diseased creature is making that noise, I’d like it to hush. It’s disturbing me deeply.

 

This animal does remain present throughout the song, but thankfully, the creature spends a significant amount of time buried in all of the other much more enjoyable elements of the song (plus it wasn’t all that bad to begin with, just a little odd). Such coverup elements include some quite industrial drums, your psytrance bassline (plus variations) and another more animalistic distorted instrument that doesn’t disturb quite me as deeply. Altogether, these instruments provide an enjoyable experience along with a few melodies that aren’t special enough to note. In fact, the non-noteworthiness of every thing in this song means that I shall be spending as little time reviewing this part as possible.

 

The animal gives one final growl at the end. Whatever, its issue or activity was, it seems to be over. As is this song.

 

Infected Mushrom – Apogiffa Night (6.75): Apogiffa Night sees itself as such a special song that it starts with its own cinematic introduction to announce its arrival. This just means it puts its best moment at the start of the song. Well, I guess that best moment does return a bit later and it’s nearly equally as good there (nearly because I feel it just works better as an introduction rather than simply being inserted in the middle of the song).

 

Is it special though? Well, compared to that cinematic intro, not excessively much. The intro does definitely improve my overall opinion on the song, but the rest of my experience is admittedly underwhelming. This is the problem when a song puts its best foot forward, but then lets a bunch of slightly above average feet walk on the rest of the song. There are some good moments here and there like the fantastic textural bassline that dominates the song for about half a minute around 5 minutes into the song. But that’s about all that strays from the general path. Most of the song simply trudges forward with decent unrisky psytrance. That’s fine. The duo will make plenty of risks later, and they shall surely pay off.

 

Infected Mushroom – Song Pong (7.75): Song Pong is the song that should be proud enough to warrant some hyped up in an intro, as this is the one that really starts this song on a trend of 7s and greater (with only one song interrupting this pattern near the end). But instead of pumping the song full of energy with a cinematic intro, Song Pong opts for a calmer more soothing vibe in its introduction. There are slight signs of the energy that’s to come, but the main focus of this introduction is the automated pad that fluctuates in pitch as the song progresses. But the most important part is the arp that appears midway through this introduction. This arp is a core element in the essence of Song Pong.

 

There’s a reason this song starts off so soft and smooth. And it’s because, as in actual pong, this song has a tendency to bounce back and forth. Specifically, it bounces back and forth between two moods. The first is calm and soothing providing a chance for the heart rate to relax a little, but this contrasts with the other mood of the song, which is a bit more energetic and upbeat. This beautiful arp serves as the first transition between the two vibes. From there on out, the song does focus mostly on the upbeat vibes of the song, but it does take several short breaks for its 8 minutes of existence, often focusing on introducing new instruments and melodies to the table. Most of them are admittedly not as calm as the introduction, but they still allow for much more variety than the previous songs.

 

Seeing as the upbeat sections take up the brunt of the song and are more or less self-explanatory, I’m going to take a specific look at the calmer portions and how they develop the song. What better way to go over the most significant instruments? The first return to calmness happens at 2:15 and gives a slight nod to where the song started while giving a chance for a new melody to see the spotlight. It had technically already been introduced not long before this calm, but it’s barely noticeable and only becomes significant after the calm that highlights it.

 

Our second break comes in at about 3:45 which introduces a brand-new melody. Yeah, it still has the same texture as the melody that was introduced last time, but the variation is significant enough to highlight. I think I do prefer the first one as the one feels as if it has too much space in between the short notes and it doesn’t quite flow as well with the rest of the track.

 

Heralded in by my favorite arp is the break that at about 5:50 that cuts out many of the melodies briefly, leaving just the kicks and bassline. Of course, the true focus here is the melody that’s introduced shortly after. While the second melody was a downgrade from the first, this one easily is the best in the song. It’s a nice happy medium between the first two melodies (Goldilocks would have said the first was too fast and the second was too slow).

 

And as many of the songs of the first half of this album, this one does a quick bookend with exclusive focus on the pad with the fluctuating pitch, bringing this song to a close.

 

Infected – Mushroom – Chaplin (7.25): Chaplin’s main strength is shown right at the forefront. And this time around, that’s okay. Unlike Apogiffa Night from earlier in the album and Sailing on The Sea of Mushrooms from way back off the Classical Mushroom album, this strong creepy melody is here to stay. Well, it’s not eternally present, but it does return at a couple of instances in the song and that’s plenty more than the other two songs I mentioned. There’s something about this melody that makes the blood in my veins chill ever so slightly each time it reintroduces itself. And yet, I also feel as if the melody is somewhat soothing. It’s as if the melody is putting me into restful mood but I don’t trust it because it’s planning on killing me in my subdued state. I know that’s not actually going to happen, but there’s an instinctual part of me that still fears this melody for no apparent reason.

 

Other than that, this is a good psytrance song that plays a little bit into Infected Mushroom’s more modern distorted vocal style of sound design, while still keeping to the old school psytrance roots that had dominated their discography in the five years preceding this album. Because of that, this song has a fresh groove that is very welcome to the Infected Mushroom discography. However, because my first impressions of Infected Mushroom happened in 2014 with Friends on Mushrooms Vol 3, I have this urge to compare these distorted vocals to the ones of Rise Up and Kipod, the songs that drew me into this discography in the first place. It’s an unfair comparison and I’ll do my best to say that these are pretty solid for their time considering what I’ve looked at so far in these reviews. It’s just that the sound design gets much better over the next decade and beyond. Actually, to be perfectly honest, their sound design undergoes a huge transformation 40 minutes from now, so maybe we should use that as a benchmark.

 

Infected – Mushroom – Echonomix (8.25): Echonomix is a great mix of sounds that have an echo to them. It’s also the study of money and how we use it and all sorts of things (I never studied economics so don’t blame me if I screwed that up).

 

While the latter of those descriptions of the song is a bit irrelevant and not actually very true, the part about this song being a mix of echoing sounds is incredibly true. Every single instrument and melody here has an odd tone to it, much of it due to echoes and phasers. Now, that isn’t entirely unusual for Infected Mushroom, but I feel like it sticks out more distinctly here than many of the other songs in their discography. Let’s do a quick look at each of the echoey instruments that overwhelm this song (which is most of them).

 

The very first moments of this song contain a harmony that has undergone multiple phasers as the echoes of subtle melody scatter in the background. As the song progresses this harmony undergoes multiple transformations, but the echoes are always there. It would be wrong if they weren’t. There’s also a melody introduced in a short break in the song at 1:45. It ends up becoming the highlighted melody for the rest of the song. A plethora of other echoing melodies are introduced at the midpoint of the song, though most of them are just subtle little accents for the song. Really, a lot of them are just notes that happen to have an echo attached to them (they only seem like a melody).

 

There are a few other melodies and arps and drumbeats that don’t echo, but they don’t echo so I’m going to ignore them. Though I wouldn’t be surprised if there’s a subtle echo on them that I’m just not noticing. If so, nice job. I wish it was a bit more noticeable.

 

Infected Mushroom – Scorpion Frog (7.25): I’m not entirely sure what a Scorpion Frog is, but it sounds quite deadly. A slimy creature with a scorpion’s tail that can quickly hop towards me? No thanks.

 

Anyways, I painstakingly scoured through the last three albums to see what song these introductory strings are referencing. I could’ve sworn that one of the songs in the last few albums had a nearly identical melody and I thought it would be neat to show off such a little Easter egg. Instead I merely showed myself I was absolutely crazy and delusional. Bust a Move and Dracul have string melodies that sound mildly similar but it’s a strenuous connection at best. Ah well, regardless of where the melody does or doesn’t come from, it sure does have a very similar feeling to the strings that have been displayed throughout Infected Mushroom’s discography so far. Hopefully that was the intention.

 

The rest of this song is one of those journeys through sound. The mood changes from moment to moment and the variety keeps the mind interested and engaged. This is admittedly one of the lesser journeys through sound as the variety, while present, isn’t quite as dynamic as others. Plus, I hate to say this, but very few of these ideas are very interesting on their own. I never feel surprised whenever the song transitions to a new stage. I just think to myself “Oh that’s different than what we’ve been doing, ok.”

 

I’ll divide this song into 5 stages so I can quickly go over each change the song has.

  • Stage 1 is the strings. I already talked about the strings, they end at 1:25. They are strings and they’re great and remind me of older Infected Mushroom. Good vibes here.
  • After that we have stage 2, the glitched out bassline. This one’s ok. It goes through a couple of iterations and does have a decent bouncy groove to it, but it never really grabs my attention.
  • At about 3:20, we enter stage 3: the best stage. This one focuses on a calm, yet slightly off-putting vibe as the bassline rebuilds itself from the ground up. This melody is probably the second-best part of the song after the strings. It’s somewhat similar to the main melody in Chaplin, though it doesn’t quite reach the same heights of unsettling.
  • Stage 4 is the oddest of the bunch starting at 4:30. The psytrance bassline that has been building is traded for a phasing bass similar to the one at the beginning of Echnomix, but it’s not quite as good. There’s also a subtle melody that seems to be using some retro (or should I say R.E.T.R.O.) sound effects which rounds up this section nicely
  • Stage 5 takes up the last 2 minutes of the song, taking the phased bass from stage 4 and overlaying it with a bouncy bassline to provide a final build-up for the song (which works quite well might I add). Eventually, the strings from the beginning take over, wrapping up this song nicely.

 

Overall, this song is good, but it pales in comparison to what it could be.

 

Infected Mushroom – Deeply Disturbed (8.25): Deeply Disturbed is the only lyrical song on the trance side of this album. It is likely because of the lyrics that I remember it most clearly over the other nine (though I might have Scorpion Frog embedded in the depths of my memories somewhere what with that throwback mixup). The lyrics of Deeply Disturbed are… disturbing. If you’re looking for an uplifting feel-good song, then this isn’t really the place to look. In fact, you should probably tread all of my reviews with caution if positivity is what you want. I have a tendency to enjoy songs with darker themes (up to a point). Themes that might deeply disturb some. Themes that might make some deeply unhappy.

 

Actually, as dark and bleak as these lyrics are, they’re so out of context and so vague that I find it rather amusing more than anything. That’s probably not the right reaction to have and it probably reflects negatively on my sense of humor and internal psyche. But that’s it. That’s the entire song. He’d deeply disturbed and he’s deeply unhappy. What’s disturbing him? What’s sapping away his happiness? Is this man simply insane? We shall never know. But hey at least we get a good song in the meantime.

 

My memory of this song is also likely heightened by the overall music quality of this song. It’s certainly not the most complex song on the front half of the album, but sometimes it’s the simple things that prove to be the most enjoyable. My enjoyment of this song comes almost entirely from the guitar. Every single moment it’s there (which is basically any time the singer isn’t expressing his deep disturbance and unhappiness), it steals the show completely. Whether it be the ascending plucks played in the introduction of the song or the more melodic sections played shortly before each chorus, the guitar is truly the most enjoyable part of the song.

 

Of course, that doesn’t mean the guitar is the only good part of the song. The song simply wouldn’t be the same if the ambience didn’t give off that peaceful sense of dread at the beginning of the song. It wouldn’t be the same if the bassline didn’t have such a rolling groove to it. It wouldn’t be the same if said bassline didn’t become harsher in the chorus, while smoother elsewhere. There might not be a huge variety of instruments to work with in this song, but what’s there blends perfectly.

 

Infected Mushroom – Semi Nice (6.5): Semi Nice is the most playful song on the Trance Side of the album. It starts with an accordion of all things, which I find to be quite odd. It’s just not something I hear very often as my tastes usually don’t include the type of music an accordion would be involved in. But there is at least one exception. It’s this. This is the exception.

 

The song does stick nicely to that introductory playful mood to it. The sound design focuses mostly on the textured basslines. The typical psytrance bassline is there of course, but that’s not the one I care to talk about today. It’s there, being a consistent good as always. The bassline that stands out is the other bassline. For the first half of the song, it just gives a few notes here and there. Not too much in particular. But that playful vibe is definitely present when we reach the midpoint and the bass (now played at a bit of a higher pitch) starts to swing between notes. This funky middle section is probably the closest the song gets to matching the fun accordion intro. Shame that accordion wasn’t reintroduced

 

Instead, the last third song concentrates more on the less interesting elements of the song. There’s a new bassline playing exclusively lower notes with no experimentation whatsoever. And there’s a new simple melody with a few minor distortions, but that’s really just minimal experimentation if anything. Nothing wrong with this last third. Just nothing right with it either

 

Overall, this is a decent song. I’m still kind of in the middle when it comes to my opinion on it. The accordion definitely makes it stand out and I do think it would have been better off continuing to explorre the playful tone that the accordion introduced. Maybe reincorporating the accordion for later. It’s still a nice song, just not quite up to par for Infected Mushroom.

 

It’s Semi-nice.

 

Infected Mushroom – Yanko Pitch (7.75): Concluding the Trance Side, we have Yanko Pitch. With the exception of maybe Deeply Disturbed (which cheated by using the mantra of a madman for vocals), this is likely the creepiest trance song of the bunch. That also makes it one of the best trance songs of the bunch. When it comes to Infected Mushroom’s more psytrance side of their discography (I haven’t gone over anything non-psytrance yet, but I’ll definitely be doing so next week), the creepier songs are often the better ones. Probably because of all the emotions to be expressed through psytrance, fear is the easiest to convey. And a song that gives off a greater emotional reaction is a song that’s well-enjoyed (unless the reaction is utter disgust, then maybe don’t enjoy that one).

 

This song starts off right with the oddest creepiest ambience on the entire album. Deeply Disturbed had a great intro with the guitar that serves as one of the song’s core aspects, but this intro is incredibly trippy. The first twenty seconds are made completely of distorted synths that sound like the remaining echoes from a previous non-existent synth located in the negative area of this song’s duration. But now it sounds like something ominous is coming.

 

The rest of the song doesn’t quite match up with the creepy vibes the song starts with, but that’s mostly because the bar was set a little too high at that beginning. The rest of the song isn’t bad or disappointing. It’s just hard to live up to the expectations that intro sets. Not going to hold it against the song though because the song still maintains a relatively dark atmosphere and it does have some good unsettling melodies here and there. There’s a melody three quarters in that really stands out in the song, giving it some fresh upbeat variety as the general creepiness begins to go stale on its own.

 

That being said, it is admittedly a more simplistic song than the nine other trance songs on this album. The next thirteen songs, however, are a bit different…

 

Conclusion: We’re only halfway through this album due to its length, but it’s clear that the trend of Infected Mushroom’s quality continues to improve. Not all of the songs are winners, but they’re all consistently above 6, which is more than I can say for the past few albums. Plus, you get an extra song instead of the usual nine, so that’s a neat bonus. Of course, if I’d reviewed the full album, there’d be 13 more songs added into the mix and absolutely none of them would be trance, which I think would be an even better bonus. I’ll finish that up next week…

 

Final Score of Trance Side: (7.25)

Final Score of Other Side: (TBD)

Final Score of Full Album: (TBD)

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Daily Hat Track Roundup: March 2019

April has started so let’s reflect over the Daily Hat Tracks of March.

 

Daily Hat Track: March 1 (Ginger Runner – Deception of Light and Shadow): When I saw that there was a new Ginger Runner track I was prepared for some good chill jams but the DnB drop took my by surprise. Loving this.

 

Daily Hat Track: March 2 (Au5 & Danyka Nadeau – Eden): Best Au5 since Snowblind (so second best Au5)

 

Daily Hat Track: March 3 (Way Out West & Hendrik Burkhard – We Move in The Dark): Funky tune from Way out West. There may be some odd existential pondering in there but a lot of it is cryptic so it’s hard to say. The groove is clear though and for now that’s all that matters.

 

Daily Hat Track: March 4 (I am Waiting for You Last Summer – Lights Go Out): Perhaps I’m remembering incorrectly but I’m pretty sure I am Waiting for you Last Summer usually gives off rather chill vibes. Ah well, this DnB rock fusion works too.

 

Daily Hat Track: March 5 (Mr Fijiwiji, Laura Brehm & Agno3 – Pure Sunlight): Throwback to perhaps the best collaboration in Monstercat history. Definitely the golden age of the label in my opinion.

 

Daily Hat Track: March 6 (Azedia – Requiem for a New World): This incredible journey through sound gives a unique contemplation of existence over ten minutes. A religion could be based on this song. Actually this song is most likely based on a religion so never mind that. Still great.

 

Daily Hat Track: March 7 (Rotersand – Not Alone): Daily Hat Track: March 7 Capitalism Tm is my favorite Rotersand album but that’s mostly because of Hey You and Not Alone. Both have fantastic development with great inspiring vocals. This one is my preferred of the two at the moment.

 

Daily Hat Track: March 8 (Ghost Rider – Make Us Stronger): I can’t be the only one who hears Carol of the Bells at the beginning of this one. Anyways, this is your usual decent psytrance song with clips of an inspiring speech pondering life. The second half is pretty cool musically.

 

Daily Hat Track: March 9 (Worakls – Entrudo): The fact that there’s an entire Worakls album now is incredible to me as he’s only released singles previously. Haven’t listened to the album in full yet but hey you should definitely check it out.

 

Daily Hat Track: March 10 (Invocation Array – Hypogeum (Live in Studio): Invocation Array is an interesting duo of two women creating a great crossover between rock and EDM (my favorite kind of crossover) and some great vocals. Final chorus in this song is my favorite part of their discography.

 

Daily Hat Track: March 11 (Covenant – Call the Ships to Port): This another one of those songs where I visualize a music video, this one being about the destruction of a supernatural oceanic prison via a ritualistic funeral for those who are thought to be dead long ago but are only dying now.

 

Daily Hat Track: March 12 (Mind.in.a.box – Timelessness): This song from the fifth chapter of the Mindinabox story (which is a long ways off) is among the catchiest of the discography. The chorus gets into my head the easiest of many songs. Not the best but great vocals and good groove.

 

Daily Hat Track: March 13 (Joachim Pastor – Eternity): I’ve posted some Worakls before, but this is my second favorite artist from the Hungry Music crew (A trio of the best prog house artists). The marimba in this one is the highlight of this particular track.

 

Daily Hat Track: March 14 (N’to – Trauma (Worakls remix)): I’ve definitely had an appetite for Hungry Music as of late. Here, Worakls transforms one of the lesser Hungry songs (though no bad Hungry songs actually exists) into something incredibly new and infinitely better.

 

Daily Hat Track: March 15 (Worakls – Nocturne): Hungry music never ends! But how does it begin? This Worakls track was my very first Hungry song and the orchestral progression here remains my favorite.

 

Daily Hat Track: March 16 (3force – Resistance): This kicking synthwave journey was what started off my morning today. It’s now 13 hours later but I still love every moment of this. Feels much longer than six minutes, given it’s variety.

 

Daily Hat Track: March 17 (Inofaith – Nocturne): Inofaith’s discography is small, but all of it is incredible immersive and relaxing. This song in particular is my favorite as it really speaks to me as a creative.

 

Daily Hat Track: March 18 (Ben Prunty – Night Zen): Last song to speak of this evening is a song of night zen. Well that’s the title. The song itself isn’t as relaxing as Nocturne though. Much more suspense to this one. Really was my favorite discovery today.

 

Daily Hat Track: March 19 (Feint, Boyinaband & Veela – Time Bomb): Throwing back to early Monstercat days with a DnB song about time travel (my favorite storytelling concept). Also has some great vocals from Veela (Who is among my favorite female vocalists). Feint’s best work in my opinion.

 

Daily Hat Track: March 20 (Miracle of Sound & Sarah Murray – Force of Nature): I’m not a huge fan of Miracle of Sound but the first track I heard from him caught my attention with its majestic orchestras and Sarah’s gorgeous vocals. Sadly, Sarah isn’t a regular, so the other songs are a bit underwhelming.

 

Daily Hat Track: March 21 (Kebu – To Jupiter and Back): To Jupiter and Back huh? Sounds like white a journey. This one has a nice balance between beauty and playfulness.

 

Daily Hat Track: March 22 (Niteppl – Meat Grinder): This song’s got a weird creepy vibe to it. But mostly because of the implications of what exactly goes into that neat grinder…

 

Daily Hat Track: March 23 (VNV Nation – When is the Future): I’m currently reviewing the oldest VNV Nation album so here’s a song from the newest VNV Nation album dissecting the passage of time and questioning it’s flow. Where is the past? What is the present? When is the future?

 

Daily Hat Track: March 24 (Infected Mushroom – Slowly): Slowly is just Franks (the previous song on the album), but played in a slower manner. And I can’t help but enjoy that.

 

Daily Hat Track: March 25 (Ed Harrison – Scrap I/O): Running a little late on Daily Hat Tracks so here’s a song that switches between a beautiful piano and strings combination and some upbeat breaks that also includes some slightly glitched vocals.

 

Daily Hat Track: March 26 (PYLOT – Enigma): I really need to get back into PYLOT’s discography. The narrative seems to be improving and developing quite nicely. It isn’t Mindinabox levels yet, but we’re getting there.

 

Daily Hat Track: March 27 (Botnit – Ex Cathedra): Honestly, I find this song a bit amusing with its overhyped 80s praise. I’m sure the 80s were great or something. I wouldn’t know. I was born in 96. “SORRY BETAMAX” gets me every time.

 

Daily Hat Track: March 28 (Covenant – Happy Man): For a song called Happy man, the lead singer of Covenant sure sounds sad… I seem to relate to this song though… What does that say about my mental state?

 

Daily Hat Track: March 29 (Timmy Trumpet – Oracle): So this appeared in a trance playlist on Spotify today. I sincerely did not know Mr Timmy Trumpet did a psytrance song. Short, but it’s interesting enough.

 

Daily Hat Track: March 30 (Andy Hunter & D’Morgan – Technicolour): Best vocal performance of all Andy Hunter songs. That is all.

 

 

Here’s the full playlist of Daily Hat Tracks so far.

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VNV Nation – Praise the Fallen (1998 album)

Album links

Bandcamp: n/a

Soundcloud: n/a

Spotify: https://open.spotify.com/album/0px3A0GxRsm0GovO9yu6HS?si=E6sKIcteRpijNuRmxttARg

Youtube: https://www.youtube.com/playlist?list=OLAK5uy_lt_-_CtYzU6b87lOpOK-PZH5aujkgt4jo

 

 

 

Introduction: VNV Nation. This is going to be an odd review for me. I’ve been exploring my favorite artists’ discographies in chronological order (technically this isn’t the debut album as the first album was re-released with some bonus tracks, so I’ll take care of the true debut later), but the issue with VNV Nation is that Ronan’s first couple albums are drastically different in style over the first few years. It doesn’t even sound like the same artist at many points. So, while I actually prefer VNV Nation over some of the other artists I’ve looked at (Andy Hunter and Ashbury Heights), this debut album will be far worse than Exodus and comparable in quality to the all too edgy Three Cheers for the Newlydeads.

 

Usually the VNV in VNV Nation stands for “Victory, not Vengeance.” Today, I’m not so certain.

 

VNV Nation – Chosen (6): VNV Nation begins this album with an ambient story. Almost makes it seem like this artist is going to be another narrative discography like Mind.in.a.box, but that’s not the case this time around. This is just one song that tells one story. A story about war.

 

In no way, does VNV Nation romanticize war in this song. It is displayed as a disgustingly horrifying aspect of humanity (or lack thereof). Chosen specifically tells the story of a city that has been conquered by the enemy. All its citizens live in constant fear of the brutal army that has overpowered them. Fear for their life, and fear for whether any semblance of justice and reasons exists. Comparisons are made to the most devastating natural disasters, and yet, it’s clear to see that Ronan views the nature of war to be on another level of horror. There doesn’t seem to be any victory in this story. Only defeat. It’s kind of on the lesser end of VNV Nation songs lyrically, but for this album it’s par for the course

 

The music however, is quite good. It definitely stands out as one of the relaxing bookends of this album (most songs have the same driving drumbeat that’s absent here). There’s a good combination of ominous bass and eerie melodies throughout much of the song. And he strings in the background give a sense of beauty to the track despite the fact that the lyrics demonstrate the clear opposite of beauty. They get their own highlight for the second half of the song once the story has concluded. And as the track dies down it concludes with a piano

 

VNV Nation – Joy (3.25): Joy is a lot harsher than Chosen. Much of the album has this edgy monotonous drumbeat, making the entire album seem a bit angry actually. So much for “Victory not Vengeance.” There is little variety in this song to get into. The beat begins to drone on between the same kick and snare (with the only occasional variation (like the rapidfire build-up near the beginning of the song but that was kind of annoying anyways, so it barely counts). Other than that, there’s a few basslines, but none of them really strike me as anything worthwhile. There’s a melody in there every once and a while but it only gets to exist for a couple of seconds at a time. Really the strings are the only saving grace in this song. They come in every once and a while to provide a little bit of beauty and they’re greatly appreciated. However, that only undoes some of the edginess that permeates through this song

 

That edginess comes from the depressing lyrics. Honestly, the only joy I can hear in this song is that I’m pretty sure that the choir is singing the word “Joy” at the beginning. Everything else is extremely edgy. It’s not Ashbury Heights levels of glorifying of depression, but the nihilism is definitely present. Countless times in the song, Ronan questions whether any positivity in love is still worth it when there’s so much pain in the world. He describes a situation in which he finds no meaning in life. He compares it to a never-ending war, in which he is losing.

 

And honestly that goes against everything VNV Nation would come to stand for.

 

There is no victory.

 

Just vengeance.

 

VNV Nation – Procession (6.25): Procession starts out well enough with a lot of focus on melody. This melody comes from a soothing collection of the strings that have so far been the highlight of this album. And yet, they don’t sound quite like strings either at points. It’s still the most beautiful part of the song (though that’s not saying much. And that’s even with the odd siren tone pulsing in the background. I feel like I should have a problem with that, but I really don’t mind at all. Overall, this is a nice break from the pulsing uninteresting drumbeat that plagues this album.

 

A nice one-minute break…

 

Fine. I guess I’m being a bit harsh. This song actually does have a fair amount of variation to it. The drumbeat is still overbearing but all the other instruments have a nice enough variety to them that I can accept that. There’s a second melodic instrument that closes off that first minute that I rather enjoy. It especially does a good job of closing out the song (Yes, my favorite part of the song is when it’s over. That sounds more negative than it is). I also rather enjoy the horn that appears in the chorus.

 

As for the lyrics, I think we have a continuing unbalance with the vengeance threatening to take over this album. Well, there’s a bit of victory sprinkled in here too. The lines are somewhat blurred and this seems to be one of their more cryptic songs so it’s hard to tell exactly what the message is. I’m definitely going to try and parse through some moments here and there though. The victory in this song seems to focus on trying to remember the heroes who’ve been forgotten. The people that pave a way for new generations to live happily. But such people while perhaps being respected briefly are just as quickly forgotten. It’s hard to tell, but this song comes really close to almost glorifying war which I found to be slightly unnerving at first, but upon second glance, it seems to be more about respecting those who were in war. You know. A Memorial Day thing. There really is less violence and vengence here than I expected.

 

Except for when we break some worthless necks. Where did that come from?

 

VNV Nation – Voice (6.5): I really don’t have much specific to say about Voice, which is strange because it is one of the better tracks on the album. Parts of this song, specifically the arp, wouldn’t feel all that out of place in a Mind.in.a.box song (my current favorite artist as you may have noted me mentioning in previous reviews). There are also a few variations on the arp and a nice driving melody that accompanies the vocals. Unfortunately, the song does get a little repetitive. Could be a bit shorter.

 

You know what else is repetitive? The lyrics. I’m not going to complain too much as I don’t feel like the repetition of the lyrics bothers me as much as the repetition of the music (though it is further proof that the song would be better if it was shorter). The lyrics in this one are much simpler than the last few songs which is a welcome break. The lyrics are pretty self-explanatory. We are not the same and our voices must be heard. No particular voice rules over the others. We just differ. At least that’s how I’m interpreting it. And I like my interpretation so I’m sticking with it.

 

VNV Nation – Forsaken (8): Forsaken is one of the two songs on this album to be later featured on The Solitary EP. Because of this, when I started listening to this song, I thought to myself “Oh I know this one.” But I didn’t. The version I knew had much more to it as far as lyrical content goes. This has three spoken lines and that’s it. Not bad though. The most important though provoking part of the song is still maintained so that’s neat.

 

Music first. I like to leave provoking thoughts until the end. Forsaken is thankfully one of the calmer songs on this album, meaning this break from the drumbeat, unlike the one in Procession, takes up the entire 4 minutes of the song. And it is simultaneously unsettling and beautiful. The unsettling factors in quite immediately as all the song begins with is the main melody of the song accompanied by an unfortunate heart monitor. This main melody is a slight bit irregular and at first, with the ambience surrounding it, it plays well into the ominousness. But not a minute later, combined with the strings and the arp, there’s a peaceful beauty to the whole song. It’s still the same melody but the entire tone has been transformed due to its context and I find that to be quite amazing almost serves as a parallel to the ending of the song and its entire meaning.

 

Forsaken is about death. This is immediately apparent when the song starts out with a flatlining heart monitor, and it’s explicitly stated in the last moments of the song, which I remember the most. There’s a few lyrics on the way to that journey, one of which I found a bit too cryptic to figure out how it fits (For thirty years, I have plotted to bring down the party. I am sick in mind and body) and the other being so vague there’s nothing much to say about it (Help me).

 

That final quote at the end (from Jacob’s Ladder) though really does paint a good picture of the unsettling peaceful dichotomy that is death. You can either live your life constantly fearing death, running from it despite the fact that you can’t truly escape, or you can commit your limited time in existence to a goal or meaning. Through that, you can find peace from the chaos of this world and when you reach life’s end, death is easier to accept.

 

Yeah, this song’s a bit morbid, but it isn’t disgustingly so. I greatly appreciate it as an artful song that sticks out like a strengthened thumb of off the withering hands of this album.

 

VNV Nation – Ascension (4.75): Seeing as there are no lyrics in Ascension, I’m going to have to look at this song from a musical standpoint alone. I’m not going to have much to say…

 

The problem is that this song is 8 minutes long. That’s a long time to commit to listening to one song, and the experience I get from this one doesn’t really make it worthwhile. There just isn’t enough distinctive variety in here to justify such a length. It has a bit of interesting progression for a bit as it introduces the various instruments, but that only lasts a couple of minutes. After a certain point the song just plateaus, and it gets harder and harder to maintain interest. I did enjoy some of the bits with the bassline and the strings working together at some points, but over time, the monotony took over. I feel like if the song had more direction, I’d be able to enjoy it more, but otherwise, I can’t bring myself to care.

 

VNV Nation – Honour (7.75): The word “Honour” looks wrong to me, but that’s my own personal problem as an American speller (though this is the odd case, as I actually prefer colour and theatre sometimes). Ah well, it’s an irrelevant little thought that filled my head for a brief moment.

 

The music in this one is definitely on the better side of this album. The way the song begins with each of the strings, bassline and drums creeping up behind the main melody does serve as a nice introduction to everything you’re getting into with this song. And that bassline could do a very good job at keeping a good drive to the song, though the drum is so overbearing, it doesn’t really need much help (you could turn that down a little… I know you’ll balance things out in the future… but I’d enjoy this more now if you’d turn it down… he can’t hear me… I’m two decades too late). Ah well, at least it compliments the melody and strings nicely. There’s a recording or two in there related to war as well (those ground troops have got to be well notified by now), but they’re fairly inconsequential to the song’s music or message.

 

Speaking of the message, Honour is actually the song that I feel most closely follows the “Victory not Vengeance” message that VNV stands for, making it one of the better songs on the album. It still hides behind a wall of war metaphors though, which makes it a bit harder to decipher the message. In fact, the first half of the verse is entirely there to describe the image of the battle that will serve as the backdrop for this song (which takes place in 2012 despite this album coming out in 1998).

 

The second half of this verse and the chorus are a bit more meaningful, though they do have a slightly inconsistent tone to them. There’s a wavering confidence in these lyrics. At first, the singer voices his concerns of what had happened to justice and reason as the chaos of war had arisen (I still find this particular sentiment to be a bit too relevant today). He then calls on either God or the spirits of those who fell before him (or both maybe) to receive guidance on the attempt to rebuild a world broken by war. As we reach the chorus, the singer is temporarily filled with confidence, letting out a war cry to defend the values he holds dear and yet still in the back of his head there’s some doubt over whether those values are still intact. The whole thing provides for a slightly messy arc though I do think I have a slight hold on the message.

 

These doubts that plague his mind (as well as my own, this is a bit personal) have not left him even after he’d sought out the path to victory. However, he also continues to stand his ground and keep on fighting for that victory even when those doubts in his head threaten to overtake him. Maybe I’m self-projecting my own struggles in here but the song works regardless.

 

VNV Nation – Burnout (1): Oh no.

 

This is very bad.

 

Perhaps this just isn’t my genre, but this is the worst sounding song I’ve reviewed so far maybe excluding Swansong (even my low rating of Swansong was perhaps generous). But at least Swansong almost lured me in by sounding good on the surface. This on the other hand. I can’t get into this one at all. I already was uncertain of it at the beginning, but then this song did the magical thing of getting worse and worse every second. The drums caught me off guard at the beginning. A bit more violent than I’d normally prefer, but with the right context they could work. This isn’t the right context. This context is filled with loads of instruments that simply don’t work well together. Any ambiance is screechy at best. Any bassline is a bit too gritty and there’s often three of them layered on top of each other in an unfitting manner. And any semblance melody is missing (unless you count that high-pitched swinging ear irritater, which I don’t).

 

There’s some kind of interrogation going on at the beginning harking from an old classic movie harking back from 1936: Things to Come. I hasn’t seen the film and it was only through happenstance wild goose chase that I was able track down and confirm the source, but I must say that through my research I am quite interested in checking it out so at least some good came of this song. That’s not going to improve this abysmal rating though.

 

VNV Nation – Solitary (7): You would’ve never guessed this, but Solitary is one of the other two songs on the Solitary EP that I’d heard previously. A song called Solitary on the Solitary EP? Mind-blowing, right? There’s even a version of Solitary on the Solitary EP called Solitude but it’s still Solitary under a different name. I’m not going to go too much over which versions of Solitary I prefer more seeing as there’s four versions of it, but I’ll tell you that this one’s in the middlish as far as I’d rate it. I’ll do more comparisons whenever I decide to get around to that EP (really low priority unless someone requests it via Patreon).

 

Solitary’s musical structure is rather similar to a lot of the songs on this album. It has a pounding drumbeat made almost completely of kicks. It has some strings that fall and rise at certain points in the song. It has a simple melody that’s played on loop at several points in the song (this one is only three notes though). Add in a bassline and maybe another synth (both of which this song has) and you have your typical Praise the Fallen song. It doesn’t really stand out in any way other than familiarity due to its titular EP. Thankfully, unlike the all too long monotonous Ascension, there’s at least some lyrics to go over this time.

 

This song is all about change, and if you’ve been reading my Mind.in.a.box reviews, you’ll know I love that topic. In fact, this song shares a lot of similarities with the main themes off of Crossroads, seeing as it’s a song about leaving the guilty past behind and reaching out into the future. Nearly every song on that album was about that subject. Well let’s add another one to the list! Except this one is on a completely different album by a completely different artist and contributes nothing to the narrative whatsoever

 

My same feelings apply though. I am a strong believer in striving to take control of one’s life and changing it for the better, leaving the past in the dust if you must. The past doesn’t have to define who we are but we, at any point, have the power to define our future.

 

Overall, I’d say this song is the closest to resembling the modern VNV Nation I’m more accustomed to. It has its flaws but it’s a step towards the modern standard.

 

VNV Nation – PTF2012 (6): As we head nearer to the close of the album, we only have two calm instrumental songs to review. They’re simple beauties so I’ll be brief. I do want to note one odd thing about this title though. This technically is the titular track of the album. It doesn’t look like it, but there is an alternate title seen in the bottom corner of the album art that matches this song name. PTF is an abbreviation for Praise the Fallen. 2012 is simply a random year that Ronan Harris chose for a once futuristic date to set this album (see Honour).

 

I don’t want to say this track is just strings even though that technically is true. There are no non-stringed instruments present (actually after listening a couple more times, there might be a horn but I’m not absolutely certain). However, I feel like calling it “just strings” has a somewhat bad connotation to it. The song is beautiful, and it does have a rising feel to it from beginning to end, making it a much better progression than the twice as long “Asscension” from earlier. However, it isn’t especially memorable as nothing particularly sticks out to me. It’s just a decent stringed track cooling us down after all the heavy drumbeats we’ve had.

 

VNV Nation – Schweigeminute (n/a): I have seen evidence, that this song exists, but I am unable to find it anywhere on the internet. I’d probably have to find a physically copy of the album to hear it. That’s okay though, because it’s apparently just a minute of silence and should hold no weight on my final review score.

 

VNV Nation – Untitled (6): Wow, what a fantastically interesting title. Really tells you everything you need to know about the song. This is a rather bland conclusion to the album, so I’ll be brief once again. This song suffers a bit from repetition as it perpetually plays the same melody on loop for a good 90% of the song. It has a little bit of musical variety as there’s a second synth that fades in and out like a tide. Because of this, the song almost becomes a soothing relaxing conclusion to the album, but the melody doesn’t quite reach up to its soothing potential. Ah well, still a decent experience overall.

 

Conclusion: Really a poor start to one of my favorite artists. This is a far cry from what he makes nowadays. I’m all about a bit of edge here and there, but early VNV Nation isn’t quite the edge I’d like from them. VNV Nation usually admits that there’s negative vengeful aspects to life while simultaneously shining light on a path through the pain towards victory and peace. That path is absent from this album. It’s almost entirely focused on the darkness and it simply doesn’t work quite as well as I’d like (though I guess the edge here isn’t as bad as it was in Ashbury Heights’ Three Cheers for the Newlydeads).

 

The biggest problem with this album is the overbearing drumbeat. I like a good solid drumbeat but this one was too much, and it upset the entire balance of the song, nearly drowning out all of the other melodies, basslines and vocals. The lack of a drumbeat is actually a big part of why Forsaken (the only song on the album to get a rating higher than an 8) stands out.

 

I would highly recommend some of VNV Nation’s newer albums that have been released in the past decade (Transnational is my favorite). You’d be better off skipping some of the older stuff. I, on the other hand, have an obsession with order, so I shall be trudging through these edgier albums first. Ah well. Next week I plan on a larger scale review of a much better album.

 

Final Score: (5.75/10)

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Andy Hunter – Life (2005 album)

Album links

Bandcamp: n/a

Soundcloud: n/a

Spotify: https://open.spotify.com/album/5rO2qQQmQfMqFCPrKu6J2j?si=jcvN–UwRb2q6IYavNvHmA

Youtube: https://www.youtube.com/playlist?list=PLZlMg7JLqwdz0u9iESkVUKhds0NGZHbb2

 

Introduction: Alright, let’s hop right back onto the nostalgia train with Andy Hunter. This album’s a bit shorter at only six songs but perhaps I need a shorter review this week anyway. As I’d mentioned a couple weeks ago in the Exodus review Andy Hunter was my very first EDM artist, so a lot of his earlier stuff is extremely nostalgic to me. His first two albums in particular are the most sentimental to me as I’d discovered them both around the same time (my very first Andy Hunter song was on this album) and seeing as I’d reviewed the first of these two albums, it only makes sense to piggy off that nostalgia into the second (with an apparent Mind.in.a.box intermission form last week but the whole theme of R.E.T.R.O. was nostalgia anyway so it still works).

 

Andy Hunter – Open My Eyes (7.25): Of course, like with all of his albums, we must begin with a high tempo blood pumper to get the energy flowing for the rest of the album. Unlike Go, which has nearly two minutes of ambience and build-up before running into the upbeat tempo, this song has about… two seconds before bringing that energy into the forefront. The stabbing notes that play in unison with the drumbeat serve as the most memorable aspect of this song as they’re used a few times throughout the song. It’s fun, but honestly compared to many of the other album openers I’ve heard, this one is rather unimaginative. I’m not saying the whole energetic mood is moot because of its compared mediocrity to the rest of Andy’s discography. I just feel like there could have definitely been a few more moments to focus on some slightly more interesting melodies than the pounding stabs. Take the melody starting at 2:50 for example. I could definitely use more of that. And the break that comes in nearly directly afterword is great too

 

In fact, I think that break is my favorite part of the song. I briefly considered this to be a build-up from nothing, but really, Open My Eyes has a way of going from 0 to 100 quite instantaneously so there’s not really much of a build-up involved. It just sort of happens. But while we’re in that calmer 0 area, there’s some good guitar riffs and strings that provide a nice breather in the middle of the rest of the song. It’s not fantastic, but it does stand out and give an ok bit of variety to the rest of the song. There are perhaps a few other moments here and there that give a little bit of flavor to the song as well, but they aren’t quite as notable as this one.

 

Open My Eyes also has a few lyrics so I’m going to be taking a brief look at those before moving on to the next song. There’s not excessively much to talk about though. Like I mentioned in Exodus, Andy Hunter does include Christian themes in his music, so this song is quite likely a prayer to God to open his eyes to his glory and to breathe new life into his world. I really don’t have much depth to go into for that though, so we’ll be moving on now.

 

Andy Hunter – Come On (8): Honestly, I would have preferred it if Andy Hunter had started off the album with this blood pumper. Maybe it’s just because it shares a few similarities with Go, but it also might just be because I prefer the energy in this one over Open My Eyes. Perhaps I’ll get into both of those.

 

First off, let’s look at the similarities between this and Go, starting off with some of the obvious ones. Even before listening to a single note, the titles give off a similar vibe. Both of them seem to have a sense of urgency. A call to abandon one’s present location and to run somewhere new). Only difference is Go sounds like it calls for one to travel away from the speaker, while Come On beckons one to come with the speaker. Am I reading way too far into this? As always, that’s a definite yes.

 

There are also some similar musical elements that appear in both this and Go. This song, unlike Open My Eyes, actually takes a slight bit of time to get started. It builds off the ambience that Open My Eyes ended on (more seamless transitions in this album. They never reach the same heights as they did in the last half of Exodus but they still create an enjoyable immersive experience as one song bleeds into the next) and slowly builds up with some suspenseful drumbeats and growing ambience before the song kicks into high gear. Yes, this build-up isn’t even quite half the length as in Go. But that’s a bit better than the practically nonexistent 2 seconds in Open My Eyes.

 

Plus, there’s more dedication to the breakbeat drumbeat that gave Go a lot of its energy. Open My Eyes had some of this, but it also felt quite regulated to a four on four tempo at some points in the song thanks to the pounding stabs introduced at the beginning of the song. Seeing as I’m quite a fan of some good syncopation, this song gets a bit of an advantage over Open My Eyes. There’s also a build-up from nothing in the middle that works quite similarly to the one in Go, providing a quick step back to the initial build-up to give a breather in the middle of the song.

 

Other than that, it’s a bit tricky to figure out what to highlight musically. While Open My eyes didn’t really have too much in particular to point out, Come On has so many things to point out that I’m having troubles figuring out what to leave out. First off, one of the most energizing parts of the song is the rapid bassline coming from a distorted guitar underlying much of the song. I swear that this bassline is playing sixteenth notes in relation to the drumbeat and the song was already fast as it was. There’s also a few other good instruments I’d like to highlight including the slower bassline that has one rolling note every measure, as well as the other guitar melody (I think it’s guitar) that comes in for the second half of the song.

 

Lyrics are rather simple for this one. Come on and Can You Hear Me are both just hype-up phrases with no deeper meaning. 1, 2, 3 and 4… that’s counting. Counting isn’t anything special. The only lyric that has any possible significance is “Your Kingdom Come” which is part of the Lord’s Prayer that refers to God’s future glory. So there is something there, but I have no deeper thoughts on it.

 

Ah well, the lyrics are inconsequential this round. The music makes this a pretty solid energetic track anyways.

 

Andy Hunter & Christine Glass – Alive (9.25): This was it. The very first Andy Hunter song to reach my ears. This was the song that started it all with my taste in electronic music. My taste has developed and expanded a lot in the years since, but this beauty still captures my attention to this very day. A combination of things drew me to this song and to Andy Hunter as an artist in general. First off, I hadn’t heard anything like this up until this point in my life. Despite my obsession with music nowadays, I hadn’t really spent much time seeking it out until my early teenage years. Oh, I’ve definitely love music all my life, but in my single digit years, I just listened to whatever my parents put on for a good while (and none of it was electronic). However, once I got an MP3 player of my own, I started broadening my horizons a bit and Alive is what drew me in to Andy Hunter and the many subgenres of electronic music. Alive is where it all began.

 

The place where Alive begins is off the toes of Come On. One more count-up to four and we head right back into the syncopated drumbeat that we’ve been playing through the entire album so far. However, the tone of the drums has changed slightly. Each drumbeat is played a bit more softly, and the snare is especially toned down a few notches. Oh, and then there’s the toms. The toms are just a fun little treat diverging from what I’ve heard from Andy so far and they give a nice touch to the song here and there. And to top it all off, this song has a surprisingly funky bassline for what I’d consider to be the beauty of the album. Doesn’t really stick to one tone or note so it seems to have a lot of variety to it.

 

This song also feels a lot less busy in comparison to the last two. It’s a lot easier to parse the various basslines and melodies from one another. And yet, while it is easier to separate the melodies within my mind, they still move as a unified force throughout the song. Perhaps that’s due to the fact that none of the melodies are really arguing over one another. Sure, some melodies are more dominant than others at certain points, but there’s nothing really overshadowed. The main melodies of the song come from a variety of sources. There’s the main synth that shows itself at several points within the song and serves as the most consistent presence of beauty. And in addition to that there’s some strings that rise and fall in the second half, eventually bringing the song to a close. Plus, there’s a piano that graces the song with its presence in the center of the song. That piano is responsible for my favorite moment in the song.

 

That’s right. It’s another build-up from nothing. The very first build-up from nothing to reach my ears. And I was immediately in love. All of the different instruments unite here with very little influence from the drums. And like, I said, none of them feel like they’re hogging the spotlight from the others. It’s quite impossible to really figure out how to explain how much this section affects my soul as it reaches Angelic levels of beauty (and I’m referring to both the general adjective as well as the song from Exodus). This is simply one of my favorite build-ups in all of Andy Hunter’s discography.

 

While Christine’s vocals are slightly outshined by that build-up, they still do deserve a mention. You may remember her from Amazing on the last album (she was the one to start off the female vocal half in the middle of the album). Here, her performance is exceptionally better. Her voice has a better chance of drawing me in to a state of calmness. In a way, her own voice can be included as one of the many instruments as her vocals don’t distract from the rest of the song, but she’s not overshadowed by the instrumental either. She’s merely another facet to the beauty that this song encapsulates. The lyrics she sings share a similar theme as they do with amazing. It’s a love song to God (though if you’re not into that thing, it could be heard as a nonsecular love song if you so desire). I don’t have any specific lyrics to point out, so we’ll be moving on.

 

Andy Hunter & Kate Westwall – Wonderful (7.75): Wonderful is the slowest paced song on this album, but that doesn’t necessarily mean it’s the most beautiful and relaxing. Alive already stole that spot. However, a slower song doesn’t have to be exceptionally beautiful and relaxing in order to be good. Wonderful is actually a wonderful example of that.

 

There is still some beauty to this track. Good use of strings as well as a tropical drumbeat throughout the song. Also really love, the guitar that’s played throughout the song. Not sure if this comparison will really resonate with my audience, but it does somewhat remind me of the type of guitar you’d hear in a lot of popular worships songs a decade or so ago. Lastly, there’s Kate’s lyricless vocals (she’ll contribute to the lyrics later), which give some final touches on the chill atmosphere created at the start of the song. However, many of the instruments introduced later somewhat conflict with this relaxation. Thankfully, it’s not badly executed like Show was. There’s no real interference between the two vibes. The song merely transforms into an ever so slightly more energetic mood.

 

Now, this slightly more energetic mood is mainly the work of some other synths that feel a little less natural than what I’ve shown so far. This is where the electronic comes in. Two synths here give this song a bit of bounce. There’s the more quickly paced beeping tone melody that’s only present for the chorus, and what sounds to be a synth made of a distorted vocal (you know me and distorted vocals, or you will, I haven’t quite gotten to that era of Infected Mushroom yet). That second synth is the better of the two and it has a more prominent role overall. In the first half of these bouncier sections it just plays a short note here and there along with the other synth, but after that it focuses on much longer notes that soar along with the guitar, creating the most iconic moments of the song in my opinion.

 

Now, once this slightly energetic transformation does occur, it is nice to see that it isn’t permanent. There are several points where the pure soothing tropical vibe comes back in without the electronic distractions, most notably in the final iteration of the chorus (which also features Kate as a vocalist so neat).

 

Speaking of the lyrics, this song once again seems to be a love song. It’s a bit simpler in comparison to Alive. Only four lines:

 

You are beautiful

You’re the reason why

So wonderful

You make me high

 

That last lyric is a bit odd in my opinion. Perhaps it’s the fact that I know that Andy Hunter is a Christian artist and he likely wouldn’t intentionally try to reference drugs within his music, seeing as that’s what the state of “being high” is often referred to. It’s probably simply meaning a state of emotion that’s supposedly akin to feeling high on drugs. High on love perhaps.

 

Andy Hunter & Neil Wilson – Lifelight (9.75): This song right here is surely the most nostalgic for me. Of the original sixteen songs I’d discovered at first, this is the one that stood out the most. This is the one I listened to on loop for hours upon hours. This is the one that was once my favorite song of all time. While that title has been usurped by several other songs since then, it still holds its own against the works of the hundreds of artists I’ve discovered over the years.

 

So, what is it about Lifelight that kept me coming back? It’s simply how powerful the music is. Alive may be more beautiful sure, and that song holds a special place in my heart as well as the song that started it all, but Lifelight is quite close in comparison to that level of beauty. And then it wins in other categories of musical superiority. Alive’s beauty relied a lot on its more relaxing immersive vibe (despite being the same BPM as the more energetic songs preceding it). Lifelight completely ignores the relaxation. Sure, there’s a build-up from nothing near the end of the song that maintains a temporarily chill atmosphere, but for the most part, Lifelight goes in the opposite direction. It’s energizing drive might not be as intense as Come On’s heavy hitting energy, but instead maintains a better balance, allowing that beauty to seep through.

 

While Alive and Lifelight may differ on how energizing they are, the two songs do share a not so secret weapon: the piano. While Alive used it as the focal instrument in its fantastic build-up from nothing, Lifelight integrates it in the song from the very beginning as the first melodic instrument and its presence persists throughout the entire song. It’s more noticeably present in the calmer verse sections, but that’s only because there’s not nearly as many instruments overshadowing it. By the time we get to the magnificent chorus of the song, the piano does have to drop down a few octaves in order to be heard over everything else and in doing so It changes from beauty to powerful. And seeing as Lifelight isn’t going to beat Alive in the beauty category, going for powerful is the correct choice

 

But I’m getting ahead of myself, let’s take a step back. If I go straight to talking about the powerful verses, I’ll miss out on those great guitars in the second verse. Oh, they’re only there for a second but they do a great job of accompanying the pianos and helping the song reach its quick build-up into the fantastic chorus that serves as the heart of the song.

 

And oh, what a chorus. Each chorus begins with a quick drumbeat accelerating the song from the lesser sections, highlighting the dynamic difference between the verses and the chorus. The piano, as mentioned before, transforms into a powerful chord that resonates throughout the chorus. But I think it’s the strings that really take this chorus to the next level. There are soaring notes that play along with the chord progression, but more importantly are the lower notes. The lower notes constantly chanting underneath it all. The lower notes that take that piano’s resonance and accentuating it with the rolling notes. Those lower notes.

 

I would be a fool not to mention the build-up from nothing this song has. They get better and better as the album progresses (though Alive might be an anomaly as it’s better than the buildup from this and the last song). Still, this build-up does see a return of the softer piano, up a few octaves from the chords that have been struck for the past few minutes in order to be heard over the rest of the majesty. But in this build-up, they can keep up with the strings and the slower drumbeat without sacrificing their higher octave beauty. The buildup is a relatively short one, so it doesn’t take long to get right back into that energetic chorus that’s the heart and soul of this song. It’s still one of the best parts of the song though.

 

Lyrics of Andy Hunter songs are relatively inconsequential to my enjoyment these days. However, I feel that this one has a bit more of an emotional personal appeal to it that many of the other songs don’t quite obtain. Several of the songs in Andy Hunter’s discography are rather simple in lyrical concept. It’s your everyday worship song, but electronic. It’s a love song to God that’s electronic. It has a phrase or two with Christian themes in it… and it’s electronic. I feel like compared to all of these songs, Lifelight is a bit more fleshed out. Lifelight is about the light that shines out in the darkness of this world. Lifelight is about breaking through the death that preys on us all and embracing the life that we have in our hands. Lifelight is about the constant discovery of God’s glory as the world continues to surprise us with new forms of beauty. Lifelight is life itself, a light in the darkness.

 

Andy Hunter & Kate Westwall – To Life, To Love (8.5): The sirens sound as we transition from Lifelight to this last song. We’re at the finale. Kate Westwall returns from Wonderful to participate in the most technological song of the bunch. Definitely a step up from her first feature on the album despite how wonderful it was. It’s a step down from the majesty that is Lifelight but it still makes for a much better finale to the album than Intercessional did.

 

The sirens give way to a distant but powerful drumbeat. Then the growing ambience that creates an immersive atmosphere as the song begins to rise. Then the ticking of a clock as we countdown to the point where the beat truly drops in. Kate’s voice echoing a simple ditty of meaningless (but slightly catchy) syllables. And then it happens. The beat comes in.

 

This beat in this song is quite bouncy with a melodic tone hitting on the offbeat whenever possible. Combine that with perhaps a drumbeat that’s a bit harsher than the rest of the songs on the album and the contrast between the two really stands out. This offbeat tone serves as the basis for the rest of the instruments in this song. There are plenty of technological synths that stand out from the rest of the album, straying the line between melodic and simply rhythmic. It gives the song a unique feeling that works well with the bouncy bassline. Oh, and speaking of basslines, there’s another bass to this song, specifically a guitar strumming beneath the rest. That guitar serves as the main source of energy for the rest of the song.

 

The most memorable melody is the one that appears on either end of the build-up from nothing (which I always will inevitably talk about). It always makes me want to swing my arms around in circles for some reason. I can be a bit strange with my relationship between music and dancing sometimes. There’s plenty of other instruments and melodies that help flesh out the song a bit more, but these are the ones I felt needed the most highlighting.

 

And, as per usual, we have the build-up from nothing that I love Andy Hunter so much for. This is my second favorite on the album just after Alive. Here at the midpoint of the song, all the energy fades away except for one arp and a variety of strings that dance up and down in pitch for the first few seconds. They disappear in favor for the best moment of Kate’s vocals in the entire album. No lyrics, just beauty rising up and down as everything around her builds back up towards the energy that was lost. There’s a subtle melody in there that I like if I’m paying close enough attention. Otherwise it gets lost in the slightly syncopated drumbeat that makes itself present for this particular section of the song. Everything here works together nearly perfectly. Which is why this build-up is the second best on the album. Only thing holding it back from the top spot is that Alive’s build-up actually is perfect.

 

The lyrics in this one are a bit odd. First verse seems to make repeated references to the Garden of Eden, the original paradise that God had created before the fall of mankind. It might also represent the afterlife in heaven which is likely a paradise similar to the Garden. Could possibly just be the highest moments in life on Earth as one receives those glimpses of heavenlike beauties here in the present. It’s a bit cryptic and tricky to figure out but it is certainly referencing some sort of paradise and the wonderful life that arises from it. The second verse focuses deeper on the overwhelming desire to partake in this paradise, though it really almost sounds like a drug addiction… that’s the second time this album. Huh.

 

Well in an effort to make sure not to end this review on a druggy note. Let’s take a look at the chorus. Real simple stuff there. Not too much to talk about. There’s a lot of talk of unity either among an entire congregation of people or between two particular people (man and God I presume?). In the past, I’ve often opted for the former interpretation, but the second option is suddenly becoming equally likely in my view. Not really sure how to look at the song now. Well except for the fact that it’s a solid song. It’s quite a solid song. There. I said it. End Review.

 

Conclusion: Comparatively speaking, Life started out rough, but then it got better. You could interpret that as a statement on the actual life we’re living right now, but it works for this album too. Of course, I said comparatively as the “rough” in this case was Open My Eyes, which in reality is a good song. It’s just that everything that followed was clearly superior. Could the album have been improved if Open My Eyes was dropped? Maybe. But it doesn’t need much improving anyways as this proves to be the nostalgic highlight of Andy Hunter’s entire career for me. Songs like Alive and Lifelight definitely hold a special place in Andy Hunter’s discography for me as they’re my first and favorite songs from his. Maybe it’s just my nostalgic bias, but this was his peak in my opinion. Oh, he has plenty more good music to review later, but it doesn’t get quite as good as this one.

 

Final Score: (8.5/10)

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Mind.in.a.box – R.E.T.R.O. (2010 album review)

Album links

Bandcamp: https://mind-in-a-box.bandcamp.com/album/r-e-t-r-o

Soundcloud: n/a

Spotify: https://open.spotify.com/album/0ALIVYfLz7Pahmoq22y7HE?si=lZuIefmnRDmI2P2QzNNnvg

Youtube: https://www.youtube.com/playlist?list=PLF92F0FBECAC4CCB6

 

 

I̸̧̪̱̻̬̟̜̖̓́̍̃ṋ̵̨̬͓͔͚̣̞͖̘̒̇̓̓̈́̊̒̿̍̄̈̕͝͝ͅt̶͓̖̠̮̜̙̓r̵̨̞̹͕̝͎̜͓̥̩̤͔̈̑̑͒̔̀͐̈͊̈́̽̎ō̷̝͕̗͇̦̪̰̩̩͎̖̱̳̒͆͘d̵̢̑͌̋͋̏̐̔͗̽̽͒̑͒͜͠͝ụ̴͔͎̺̜̗͍̖͔̹̟̞̥͙̤̆̇̾̃̆̄̐̔͆̂͘͝͝ĉ̴̡̛̳̟̦͈̮͇͉̭̫͉̦͈̀̃̿͌͋͒̑̋̂̉͘̚̚t̵̢̧̛̯̟͕͙̖̪̻̩̗́̾͗̐̈͑̋͑͋͆̓̾̋̂ͅi̵̛̻͎̤̣̝̣̇̋̄͊̑͑̌͌͜͝͠ó̵̧̟͒͆̈̊̋̀̓̽͘͠͝ň̵̞̣̘̩̣͔̗̣̝̪͉̲̠̰͂̏̉͊̏̆͐͐̊̋̆͐͠: ………………………………………………………………………

 

 

 

 

 

 

 

 

Last time on Mind.in.a.box: Oh boy Black went through a lot of challenges in the last chapter of Mind.in.a.box. L̶͉̜͕̻̲̼̿̅́̕͜͝͝e̶̙̅̔̌͋̏̌t̷̛͚͌͛̐̐̏̈́͌̄̈̊̆͋͝’̴̢̺̩̹̦̠́̈́̄͜ș̵̢̪̬̥̝̭̗̲̈̕ͅͅͅ ̶̘̹̓̿̄̅̂̐̽̋̑͘͝r̷̮͐̏̀̇͠e̸̢̩̥̐̊̂̐̊͐͆̓͑̓̇̕̚͠v̵̭̰͎̙̼̑͋͛̑́į̴͇͉͚͎̻̫̣̪̳͒̇̽͌̂́̆̓̋͑͋̇ę̷̨̛͔̻̟̮͉͒̈́w̶̤̜̟̙͉͎̘̯͆̆͊̂͛̀͌ͅ ̵̪͌̿̀̏́͂w̶̢̨̛̗̦̭̺̘͇̳͂́̆̍̀h̸̨̧̛̞̪̲̮̣̪͐̀̒̈́͜͝a̶̫̭̹̖̼͔̱̫̫̭̙̺͚͐̄͐͂͗̔̽̋͗̒̇̚͜͠͠t̸̯̜̿̒͒̓͛̈́ͅ ̴̡͖̬͓̪͚͓͌̃̀̓̊͠h̷͖͍͍̺̩̳̐̄̀̓͊͊̅́̇͐̔̾͛͠a̶͔̭͔̱̙͆p̵̪͙̖͎̘̔͒̀͘͜ͅp̵͉̫̠̞͓̻̦͈͈͆ͅe̶̡̧̛͍̺͇̣̥͐̓͑͆ņ̸̦͚̗̣̻̣̝̑͆́̇̒͐́̊͊̕͠e̵̗̖͠d̴̤͇̣̖̈̈͗̽̅̿̂͛̚̚ ̸̤̗̘͂̐̌̈́͒́̎̄͒r̵̢̞̙̜͈̪̝̱̥̹̪̠̼̞̒͘e̷̡̧̧͔̘̳͙̤͕͠͝ã̴͔̳͈̮̱͓͇̍̈́́͋̈́́̄̈͘l̶̪͓̓̉͆̄̎̈́͒͐̿̕ ̷͕͕̊͊̏̈̓͑̿̏̈́̊̅̏q̵̧̪͉̞͇̯͓͇̲͓͍̙̈́̾̀͌͌̍̑̔͝͠ͅͅu̸̧͚͍̝͓̫͕̹͑͗̈́̿̽̎̊̾̾̄́̕͠ȉ̵̢̝̟̦̔͛̌͋̚͜c̷̗̋̏̏́̇̽̍͋ḳ̷̡̱͓͖̱̳̒͂ ̶̢̨̲̦͚̠̥̎̂̿̿̈̔̈̏̈́̏̀̾͝ḇ̴̪͍̲͍̞̤̄́̑̄̐̂̎̾̋͘̕͝͝͠ë̶̙̪͓͈̟͉͉̫̳̖̯̔̌̏́͝ͅf̵̡̖̝͕̝̿̈́̍̉̂̏͆͘͝ǫ̷̛͍̣̰̘̩̟̯͚̭͉͉̮̎̽͑͒̈́̀́́̌̚͜͝ŕ̴̻͖̬̹̀́́͂̔͆͝ȩ̷̡͖͕̯͙͓̪̝͇̭̾̑̓̈́…̸̗͓͓̩̓̀̕…………………………………………

 

 

 

 

 

 

 

Introduction: Actually, let’s hold on for a second. This may be a Mind.in.a.box album but there’s no need to recap the story this week. For the story is generally irrelevant to R.E.T.R.O. Think of it as an intermission of sorts. None of the songs in this album hold any bearing on the story we’ve been traversing through over the past 2 months or so. Here, Stefan takes a step back and just makes a handful of songs inspired by games off of the Commodore 64. A retro flashback to his nostalgic days I presume. This is unfortunately his most popular album. I say unfortunately because I rather prefer the storytelling songs rather than the slightly more attempted nostalgic style that much of this album takes on. It isn’t a bad album but… You know what? I can explain my feelings on the songs of this album while I review them. Maybe I should start on that.

 

Mind.in.a.box – The Last Ninja III (6): Not to be confused with The Last Ninja (which appears later on in this album) or The Last Ninja II (which is completely irrelevant to his album but I’m sure it exists). A large number of these songs are somewhat remixes of games from the Commodore 64. This one is the first one. I trust it to be based off of the game, The Last Ninja III, but I wouldn’t know because I haven’t played any Commodore 64 games as I hasn’t grown up in that era (earliest gaming system for me is the original Xbox so I’m kind of in the late middlish I think).

 

However, despite my lack of knowledge, I decided to take a second and look up the theme music of this game I only just heard of just now (I’m a listener of music, not a player of games) and it sounds like this is a pretty faithful recreation involving a slightly more updated feel as the technological sound of Mind.in.a.box has taken over many of the melodies and drumbeats of this song. There are a few portions that maintain a very similar sound to the original game soundtrack (the section at 1:11 being the most prominent example)

 

However, I don’t really feel that this is the strongest fusion of electronic and retro chiptune. A lot of the elements work well. The main melody has taken on a more modern feel and it fits quite well with the drumbeat and bassline. And there’s some subtle arps added in the second half that really flesh out the full Mind.in.a.box feeling (or at least as close as we can get). The sections that are a bit closer in tone to the original Commodore 64 game however… it’s a bit of a clash to be brutally honest. This song just really doesn’t strike me as anything worthwhile. It has some good ideas here and there, but it could have been executed a lot better.

 

Mind.in.a.box – Lightforce (6.75): Lightforce feels a bit more polished and seems to fit the general Mind.in.a.box mood much better. The introduction to this song in particular feels a lot like it could be part of the story of Black and his explorations through the Dreamweb. It’s not about that. None of the album is about that (well, it’s debatable for some of the later songs but we’ll get there when we get there. No, this song is a throwback to the soundtrack from an old space shooter known as Light Force (hence the title. Titling songs after the game it’s based on is a theme for a good half of the songs on this album). It’s a pretty faithful modernized recreation from what I can hear after looking up this game I hadn’t heard of prior to reviewing this album.

 

Everything in this song meshes a lot better than we saw in The Last Ninja III. I still don’t think of retro chiptune melodies when I think of Mind.in.a.box, but at least this song doesn’t really distract with its 8-bit elements. Perhaps it helps that much of the song, particularly the arp and the bassline, have a rather simple tone to them as well. Because of this, everything feels much on the same level, unlike the weird mesh of cinematic and 8 bit we had back in The Last Ninja III.

 

My only complaint is that this song is a bit excessive in length. I do like the occasional lengthy song, but there has to be enough variety for the song to earn it. And to be honest, I feel like this song could get along just fine at half the length. Ah well. Still a decent track.

 

Mind.in.a.box – The Last V8 (7): The Last V8 tells of the chaos arising within a family that all wants a can of V8 veggie-fruit juice. But there is only one left. And so, they engage in a never-ending battle over the last V8.

 

Actually, it’s another song that references a game of the same name. I mean, what else did you expect? That’s all this album has been so far. It’s not going to change soon. As usual, we have a decent modernized version of a decades old song from a classic video game that I’m sure makes Mr Poiss extremely nostalgic.

 

This one seems to be one of the closest to the game that inspired it based on what I could scrounge up. The stronger bassline and the smoother melodies really fit together quite well. I especially love the combination introduced right at the beginning. There’s less instruments and vocals distracting from the simplicity of these two instruments as they bounce off each other. Nothing wrong with the instruments and vocals or anything. I just enjoy the simpler vibes a bit more. The whole point of this album might be focusing on being R.E.T.R.O., but honestly, the 8 bit portions are often my least favorite part.

 

Oh yeah. This song has vocals too. It almost sounds like it belongs in the Mind.in.a.box storyline. As I’ve established already, it doesn’t. Pretty sure the lyrics here are referencing various elements of the game this song is based on. So, there’s not as much to get into with these lyrics. It’s a bit more fun when I get to delve deep into Black’s mind and the world that he lives in. Could’ve nearly fooled me though. There ae a lot of mentions of a guy in white… but that couldn’t be our White… Could it?

 

Mind.in.a.box – Supremacy (7.25): You know the drill. Supremacy shares the theme with a video game of the same name. The game was retitled Overlord when it came over to the US (where I live, though I wasn’t living when the game was released), but that fact is completely irrelevant. Mind.in.a.box is Austrian anyway, so they needn’t care for the renaming.

 

The mood of this song is completely transformed in this case. Oh, the melody stays the same. It wouldn’t be much of a remix if it didn’t contain a melody from the original title theme of the game, but when I went ahead and looked up the original song form the game, the mood was completely different. The game had a bouncy upbeat feel backing the melody that Stefan chose to base this song around. However, when we get to the remake in question (I am reviewing Mind.in.a.box, not games from two and a half decades ago), the song focuses a lot more on ambience.

 

I definitely prefer this transformed calmer mood. Maybe I’m biased because Mind.in.a.box is my favorite artist and it would be quite nearly impossible for me not to prefer his version over anyone else’s, but I feel there’s a bit more variety with what Mind.in.a.box creates by creating a calmer atmosphere and building off of it. Over time, the song grows slightly more intense, pulling away from the ambient vibe that the song started with and growing in intensity with increased arpwork. Eventually, the song reaches its climax in which the main melody from Supremacy. Only difference is that instead of committing to the bouncy mood of the original. Mind.in.a.box opts to aim for a more cinematic feeling with a slower drumbeat and some slower basswork (almost sounds a bit like a guitar, but not nearly as much as Machine Run).

 

Overall, this is one of the better adaptations of a game soundtrack to be seen on this album. The overall progression and variety really makes it stand out above some of the less interesting or overly lengthy tracks I’ve reviewed so far.

 

Mind.in.a.box – Shades (6.25): As far as I can tell, Shades does not come from a Commodore 64 video game. That’s different. Well there are a few other songs like this as well, the soundtrack recreations only take up half the album and we’ve looked at the majority of them already. How about a short break for something a bit more original? Shades, while not taking inspiration from any particular game, still maintains a similar retro feeling within its core. Many of the synths used to imitate the 8-bit melodies are still present here. Or at least there’s something similar in play.

 

After spending so much time comparing the covers to their original counterparts, it’s kind of weird to look at this track as its own original creation. I guess I’m just stuck in comparison mode. Ah well, I can still compare this to the last few songs on the album. It’s really par for the course. There’s plenty of decent elements to the song but few of them really stand out.

 

The drumbeat is kind of in the middle as far as tempo goes. Wouldn’t say it’s plodding, but it definitely isn’t driving either. There’s a bit of nice variety to it with a few extra syncopated kicks added into the mix at some points in the song.

 

As for melodies, they aren’t really distracting like in The Last Ninja III, mostly because they have longer notes with smoother transitioning. However, it just doesn’t feel quite as dynamic as it could be. There’s just not really much to work with. Some simple melodies play in the background but they don’t really add much to the song from what I can hear.

 

And then there’s basslines… I guess. I really don’t have much to say about these basslines. Inoffensive but completely forgettable.

 

I want to enjoy this song, but it really has nothing to offer that can’t be given by the other songs on the album.

 

Mind.in.a.box – 8 Bits (6.5): Here it is. The most popular Mind.in.a.box song. It shouldn’t be a song from this album, but it is. 8 bits may be enough for some people, but not me. Ok that was too harsh. I just wanted to do a pun on the song lyrics.

 

8 Bits and its counterpart, I Love 64, seem to tell their own narrative in a way. Not saying it’s connected to the narrative from the other albums. Not nearly as good as that. No, these songs seem to follow a virtual being made of code, though the tone doesn’t quite fit with the type of code I’d consider to be related to the Dreamweb. Interestingly, the world of 8 Bits is the reverse of the main Mind.in.a.box universe. Instead of escaping into the virtual universe known as the Dreamweb. An emulated entity desires to transcend its world perhaps to enter into our own reality. That would be a bit crazy though, right?

 

Both stories do have an element of trying to escape the world we see in front of us and redefining reality to maybe find a way to live comfortably with ourselves. And I think both themes are worth looking into. But this song feels somewhat cheapened. With everything that the rest of the discography shows, 8 Bits is very shallow in comparison. It’s alright but it just feels shallow.

 

The brighter happy music does contribute to this. Simple drumbeat and bassline with no harsh elements. And the melodies are made completely of short little chiptune bleeps and bloops. It’s definitely a happy mood. Maybe that’s my problem. I do seem more attracted to slightly edgier music. This song just doesn’t do it for me in the same way. It’s a good song despite my negativity, but it pales in comparison to everything else.

 

Mind.in.a.box – Mindkiller (7.25): All this time we’ve been putting the mind in a box, but now we’re killing it? Well this has taken a violent turn. Mindkiller is surprisingly not from a video game called Mindkiller. It’s actually supposedly from a game called Parsec. It’s only called Mindkiller because those are the sole words spoken throughout the song. Or are those words spoken because the song is called Mindkiller. Why isn’t this song called Parsec?

 

Actually, come to think of it, does the music here come from Parsec? Because I looked up the game on Youtube and I can’t find any moment anywhere in the surprisingly varied soundtrack (in comparison to the other games I’ve looked at) that sounds like what I’m hearing in this song. I’ll be honest, I got that little tidbit of info from Wikipedia which is possibly not the most reliable source. It is possible I missed the similarities though so if anyone else magically hears it, let me know.

 

Anyways, enough of the pondering of the song’s source and title. That information holds no weight on my final rating. It’s the music itself that matters. And this music is definitely different from what I’ve heard so far on this album. In fact, this is one of the three songs that I might consider to be suspiciously similar to what I’d expect from the more narrative albums. Perhaps the melodies are a bit more simplistic in the beginning, but the rest of the music here sets up a great dark atmosphere. The drumbeats are constantly changing, focusing on an eclectic range of kicks, snares and claps to keep that unsettling mood going. Not to mention the creepy breathing down the neck that builds as the song reaches the midway point.

 

The second half of the song sounds much like the Mind.in.a.box I know and love. That technological arp really is a staple that’s been missing for a lot of the songs in this album. The drumbeat does return to more regular four on four beat here, but it still maintains a bit of its edge to keep that unsettling vibe in place. And of course, there’s the titular lyric: Mindkiller. I theorize that this as well as two other songs later in this album are deleted scenes from previous albums, this one being the least developed of the bunch. The Mindkiller could be a deleted element from the Mind.in.a.box universe that was cut in favor of some of the other mind-bending elements sch as the Dreamweb and the Stalkers. I have no idea what a Mindkiller would be, but it could very well fit in with what Stefan has already created for us. But we shall never know what it would be, for if it was ever part of the story, it has since been removed.

 

Mind.in.a.box – The Last Ninja (7.25): Not to be confused with The Last Ninja III (which appeared earlier on in this album) or The Last Ninja II (which is completely irrelevant to his album but I’m sure it exists). A large number of these songs have been remixes of games from the Commodore 64. This one is the last one. I trust it to be based off of the game, The Last Ninja, but I wouldn’t know because I haven’t played any Commodore 64 games as I hasn’t grown up in that era (earliest gaming system for me is the original Xbox so I’m kind of in the late middlish I think).

 

But enough with recycling content, now that I have a soundtrack to compare it to (unlike with the enigmatic Mindkiller), I can faithfully say that this is a pretty good recreation. When I’d scoured through the soundtrack on Youtube (much easier to sort through than Parsec), I found a song that confused me because it sounded exactly like the Mind.in.a.box remix at the beginning. More accurately, the Mind.in.a.box version sounds exactly like the beginning of the original piece, but that simply isn’t the order I heard it so that’s not how I experienced the comparison.

 

But a good remix isn’t just about making the song sound similar to the original. It’s about improvement. And Mind.in.a.box’s modernization is certainly an improvement. As far as composition goes, this sounds like a direct copy of the original soundtrack with some drums added into the mix. However, it’s only the beginning of the track that truly sounds identical to the original. As the song travels forward in time as far as duration is concerned, it also travels forward in time in the modernity of its sound design. It may start with the simple 8 bit melodies, but it isn’t long before this songs starts using more guitars and modern synths to display the melodies originally composed three decades ago. And it definitely works quite well, as it sounds in some places that the original Commodore 64 wasn’t quite up to par with its instrumentation for some of these melodies (or maybe I have a bias towards Mind.in.a.box). It still incorporates some chiptune elements in there to maintain the retro integrity of the song, but there’s some great guitar added into the mix as well as a fantastic breakbeat portion in the middle.

 

Despite its intense modernization. This song serves as the most faithful recreation of the other recreations this album has to offer.

 

Mind.in.a.box – I Love 64 (6.5): And now to continue in the two-song universe of the emulated soul trapped in an 8 bit world. Fittingly, I love 64 refers to 64 bits. A bit of an upgrade from the 8 bits we had in the last song. I love 64 follows our eight-bit emulated entity as it discovers a second being made of 64 bits. 8 falls in love with 64 and romance begins to blossom between the two as 8’s eyes are opened to an entire new world beyond the one it had been stranded in back in the last song. Filled with desire, 8 wants to upgrade to become part of 64’s world but worries about whether their love will last through the transformation.

 

Honestly, it’s a cute love song with a unique spin on it. It serves as a nice logical sequel to 8 Bits as it allows the protagonist a window to embrace its dream to transcend into a greater reality. And in doing so the story of a search for meaning also becomes a search for love. There really isn’t much in particular to say about this one. It’s pretty similar to 8 Bits in tone and serves as a bouncy happy distraction before we get to the last two edgier songs that conclude this album.

 

Mind.in.a.box – We Cannot Go Back to the Past (7.5): This could have very well been a song on Crossroads that just ended up getting cut and left aside to be released later on this album. One of the very themes on Crossroads was moving on from the past. A song of not being able to go back to the past would have fit the album perfectly. However, it really just states an idea and it hits the nail pretty hard on the head. There’s really not much added into the narrative by including this song so that might explain the reason it was cut (if I’m correct at considering this song to be a deleted scene). The remaining songs gave this message out clearly enough on their own.

 

Seeing as the more narrative driven side of Mind.in.a.box is what I like most, this song is a bit closer up my alley. The C64 covers are fine and the short 8-bit storyline is suitable, but it’s Black’s journey that got me into Mind.in.box. This song gives a small taste of that feeling, even if it really is just stating the title of the song on repeat… kind of like Mindkiller did. Unfortunately, all that’s to be said about moving on from the past was said in my Crossroads review so you should probably just go ahead and read that one. Best album I’ve reviewed so far.

 

As for the music, it’s got a really solid bassline introduced at the very beginning of the song that serves as a backbone to the rest of the track. It’s dark. It’s a bit mysterious. And it honestly has a lot more texture than any of the other basslines I’ve heard from Mind.in.a.box. Like if the song Mind.in.a.box on Mushrooms ever came into existence (it’s not going to but that would be cool), then I’d likely expect a bassline like this one to be a main element. It doesn’t sacrifice its iconic technological nature, but it still creates something new that I haven’t heard in any of the other songs as far as I can remember.

 

Really, the bassline was the only musical element I wanted to highlight. Maybe if I weren’t so late on getting this review out (not going to stress too much about that. I cannot go back to the past), I’d try and dig deeper into the other parts of this song, but nothing is really as prominent as that bassline, which is fine because the bassline carries the song very well.

 

Mind.in.a.box – Whatever Mattered (8.75): Saving the best for last. This song could have definitely replaced The Place from Crossroads. I’m not entirely certain which one was produced first as I’m the one calling them deleted scenes and for all I know, I’m just making assumptions, but if he was choosing between this and The Place, I personally think he made the wrong choice. Really, it’s mostly a musical preference. The Place definitely had some flaws that held it back from me enjoying it. It was just a bad combination of musical elements that didn’t quite fit, making it the worst song on the album.

 

This, however, is the best song on this particular album. While The Place had conflicting moods between the piano and low end technological synths, this song focuses on a very smooth collection of instruments the feel somewhere in between. It does focus more on the relaxing side of Mind.in.a.box just as The Place did, but all of the melodies feel a lot smoother. Sure, they don’t stand out as much as the piano in The Place, but they do serve the song well in creating a deeply relaxing and introspective mood. And seeing as Whatever Mattered is all about introspection, then that works quite well for the song.

 

I will admit that when it comes to lyrics, The Place is a little bit better. It goes a lot more in depth to where Black is in his life (though it surprisingly doesn’t give much details on where Black is physically considering that the song is called The Place). This song is a bit more simplistic focusing only on the concept of moving forward into the future despite the past. And yet, stripped of much of the narrative detail, it does maintain the soul and message that was there in The Place. It’s more simplistic, but I feel that only makes the message stronger. Living in the past does not make the present a comfortable place to build one’s future.

 

Plus, it sounds good so there’s that.

 

Conclusion: This is Mind.in.a.box’s worst album. Don’t get me wrong, it’s a good album, but I can’t help but prefer the more unique narrative that expands exponentially as the discography continues. Worldbuilding is just a passion of mine.

 

This album is simply different. It instead serves as a tribute to the Commodore 64 and some of its games as well as testing some new waters without contributing to the storyline. Maybe I’d like it more if I’d played these games as part of my childhood, but I wasn’t even alive at the time they were released, so you can’t really blame me too much for overlooking them (again, gaming is a minor pastime for me, not a passion).

 

While I may suggest skipping it if you’re listening to the discography chronologically for the narrative, I still think it’s worth coming back to once you finish listening to whatever the most recent installment is in Mind.in.a.box story.

 

Final Score: (7/10)

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Andy Hunter – Exodus (2002 Album)

Album links

Bandcamp: n/a

Soundcloud: n/a

Spotify: https://open.spotify.com/album/0kfUvTWsUJnIkCDj1zkDLS?si=jXpT6Ns-TzSq_iRfYevbXg

Youtube: https://www.youtube.com/playlist?list=OLAK5uy_nqiT5K2O0UP2K9BxQd-DuEB83N5sTdqyM

 

Introduction: What’s this a new artist? You may have thought I’d be reviewing the same three artists for all eternity seeing as that has been the pattern for the first couple months of this blog, but now that it’s March, perhaps I can venture a bit further into some other favorite artists of mine (this March line was more profound when the review was scheduled to be released on March 1 but oh well. Still the first review of March).

 

Andy Hunter… This is extremely nostalgic for me. Maybe a bit too nostalgic… You see, Andy Hunter was the very first. The very first artist that I heard that made me want to delve into electronic music. He was my number one artist for quite some time. However, seeing as I’m only now getting to him, I clearly consider him to have backslid a bit (Mind.in.a.box is currently winning, recently stole that spot from Infected Mushroom). Will I have some bias in this review? Well, music is incredibly subjective so I have some bias by default, but I will admit that these songs may have some emotional connection as I’ve been listening to this guy for nearly a decade now while most of my other favorite artists only reached my ears in the past five years or so. Regardless of my likely skewed ratings, I’m happy to share this piece of my childhood (early teens still counts as childhood yes?) with you.

 

However, before I get started, I do want to note one last thing about Andy Hunter. He is the rare occurrence of a Christian DJ/electronic artist. And because of this, a lot of his songs have subtle religious messages in them. There may be some who disagree, but having a Christian background, I can somewhat enjoy the messages I hear within these songs (though I am more prone to edgier music these days. I’ve grown to be somewhat of an agnostic to be honest). Really just wanted to give that context here and now before we got into any “lyrical analysis” (not much to speak of in this album when it comes to lyrics).

 

Andy Hunter – Go (7.5): Andy Hunter always does a fantastic job of introducing his albums. From Exodus to Glow (The Presence Project is a whole different animal so I’m ignoring that for now), each album/EP starts out with an energetic upbeat track to get the blood pumping. From there, the rest of the album ranges from mostly high energy songs, to the occasional more relaxing track.

 

Go is one of these opener songs (which was obvious from the get-go seeing as it’s the first song on the album but bear with me). The first couple minutes are admittedly calmer, but in a way, that only makes the rest of the song all the more energizing. Instead of throwing the listener directly into the energetic breakbeat tempo that makes up the majority of this track, the song begins with a simple heartbeat. And as that heartbeat plays onward, synchronizing your own heartbeat with the tempo, a stringed melody slowly builds along with some vocal synths as the song slowly builds up to its full potential

 

And then after a couple of record scratches and an echoing cry of the song’s title, that energetic breakbeat kicks in. Andy reintegrates those strings from the build-up into this more energetic portion and introduces some groovy basslines and computerized vocals (along with some other melodies and textures, but I find them to be less important compared to that bassline and the vocals so I’m only mentioning them in parentheses).

 

The bassline pretty much speaks for itself. It gets its own spotlight at the tail end of the build-up before the drums take over and they’re demoted to the background. I will admit that the bass isn’t flawless in this track. The main groove definitely works, but there are some points in the song where extra elements are added on that I don’t appreciate nearly as much. The part that stands out the most is that higher pitched note that sounds like it’s part of the bassline. It’s first introduced at 2:20 and it kind of feels out of place. The rest of the song fits quite well together, not perfectly, but not noticeably bothersome like the high-pitched bass note I just mentioned. The continuation of the strings as the song progresses is really what holds this all together (also the main groovy bass that isn’t an octave or two too high).

 

As for the vocals, they’re pretty simplistic. I don’t have much to discuss when it comes to any of the three lines, this song has to offer. There “Go,” the singular word that serves as a namedrop of the song’s title. There’s the line “Release Yourself,” which serves as the better half of the moment occurring at the 2:20 mark. Really not much to go off of there. And then there’s the chant “Born to Worship. Birth the Freedom,” which is the most cryptic of the three lines. Those first two looked pretty meaningless on their own, but this one deserves at least a bit of an extra look.

 

“Born to Worship, Birth the Freedom” can be translated to the sentiment of dedicating one’s life to worshipping God, finding freedom through doing so. Rather simple message and I can see some truth behind it as I know many who find peace through religion. I don’t believe that religion is fully perfect, and that it can be abused to hurt others (which I frown upon greatly), but if it brings peace, then I can’t help but respect that.

 

Overall, Go is a pretty good opener. It’s by no means perfect, definitely has some flaws, but it’s a good beginning to a good album.

 

Andy Hunter & Lyle Day – Wonders of You (8.25): So now that Go has established the breakbeat tempo that the first third of this album relies on, Wonders of You doesn’t bother itself with two-minute of build-up to reestablish itself. It does take about thirty seconds for that beat to fully establish itself, but compared to the two minutes of peace that began in Go, these thirty seconds have a lot more energy. Not saying that makes this intro better or worse. Just noting the difference.

 

One other thing to note as we move on from Go to Wonders of You is the transition. Exodus is an album that prides itself on flowing from one song to the next seamlessly. If it weren’t for the fact, that I knew this album so well (Been listening to it for a decade), I might not even notice as we transition from one song to the next. This transition is a bit less interesting than some of the later ones, as it relies on nothing but shared ambience. Still, I think it’s a noteworthy element to experiencing this album.

 

Enough about the first thirty seconds of the song! What about the other 7 minutes? I’d say that this tune is an improvement over the majority of Go (Go did have a beautiful start). The bassline is much smoother as it climbs up and down throughout the song. And unlike Go, which had some less pleasant accompaniments to that bassline. Every instrument in this song blends quite well with each other. And there are so many little tidbits in there, that it’s hard to point out the best ones. This might not be as highly rated as Walking or Redefined from previous Mind.in.a.box reviews, but I think that this song still deserves at least a short bullet point list of the best elements you can find in here.

  • Lyle Day jumping in there right at the 1-minute mark with an insanely energetic rap. More about the lyrics for this one later. He’s got some good wordplay between the words cross and fade in here.
  • Not ten seconds later, there’s a subtle little synth that sound like echoing water droplets.
  • And a minute after that at 2:10, we’ve got that quick little build-up that works as a transition to introduce the first short appearance of strings (which offer nice variety by the way). The same thing happens around the 3:40 mark and it’s just as good the second time around.
  • This simple five-note melody introduced at about 2:40 is the main melody of the song (odd how it appeared so late), Other than Lyle, this is the most memorable part of the song to me.
  • The way Lyle says “Fire” and “Desire” at 4:45 just stands out to me for some reason. That is all.
  • The outro is mostly there to transition into Radiate, but I do enjoy how it sounds as the key changes (plus that last synth introduced at the end has a great distorted vocal vibe to it, which now reminds me of Infected Mushroom oddly enough).

 

The true star of the show is definitely Lyle and his two verses. Bouncing right off of Go’s declaration that we are “born to worship,” Wonders of You is a rapid-fire unconventional worship song. This isn’t a hymn, that’s for sure. Lyle only spends about 40 seconds of the song rapping, but man does he jam pack those 40 seconds with praise. I’m not the biggest fan of rap but I used to abhor it. And yet, I’ve always enjoyed Lyle’s verses. Maybe I was just enjoying the album in its entirety, but I believe they still hold up even though the album has taken a couple steps down in my general taste.

 

Some last-minute notes on the lyrics, I do quite enjoy that wordplay between cross and fade in the first verse as well as the energy behind fire and desire in the second verse (but I already mentioned that). I found it interesting that some of the lyrics in that second verse, there’s some references to the events within the book of Exodus, the book likely behind the name of this album. God appeared as both a burning bush and a pillar of fire to Moses and the Israelites. And there was a lot of wandering in the desert for about 40 years. Small things, but I find them interesting.

 

Andy Hunter – Radiate (8.75): Now this is a much better seamless transition. Not relying on ambience this time. Instead, Radiate starts with the same exact beat that Wonders of You ended with and incorporates elements of the previous song within its introduction. That main five-note melody? You can still hear it for about thirty seconds before it fades out completely. How about vocals? Well, maybe I’m just going crazy, but I think I hear someone repeatedly saying “wonder” in that intro. Doesn’t sound exactly like the vocals in Wonders of You, but that could be because Wonders of You had some more distortion on that chorus.

 

But that’s just the transition, the first minute of the song. As the longest song on the album, we still have seven and a half to go. What does it have for us? Well there’s that trance drumbeat for starters. I think I’ve established well enough in my Infected Mushroom reviews that Trance has a great tempo, and while Andy Hunter is in no way psychedelic, there is a nice sliding feel between the snares on the second and fourth beats. Any BPM between 135 and 145 is an excellent drive. This song just barely reaches into the low end of that.

 

Anyways, enough rambling on and on about the little things (I sure do love going in depth this week). Perhaps I should talk about some highlights within this song. Radiate is one of those Journeys through Sound (initially and frequently mentioned in Infected Mushroom reviews). And because of that there is so many different moments I could look at within this song. I am going to have to leave a few out as I have noticed I am getting a bit lengthy here in this review. I need to tone it down a notch.

 

Let’s have a little intermission with the lyrics before I continue on with my favorite elements of this song. Just switching things up a little. I shan’t be long here. Radiate appears to be focused on letting God into one’s self, his perfection permeating through the soul, shining brightly so that it shows throughout one’s life. And that’s all there is to say about that. The wording of it is a bit violent though. Radiation, Eradication. Burning. Very destructive words. Ah well on to the rest of the music

 

In addition to this song being a Journey through Sound, I also want to highlight another element I enjoy in several songs, Build-ups from Nothing. There are two points in the song where the beat completely drops out of the picture and all that remains is ambience and a simple melody. A calm in the middle of the storm if you will. But the silence doesn’t last forever. It can’t. But it wouldn’t do to suddenly interrupt this soothing calmness either. So instead, the song builds upon that calm beginning. Slowly but surely, the song returns to its past power. The two build-ups included with this song are rather similar to each other in form. Both start with that ambience. Both have a similar melody. Both introduce the sliding snares part way through (before introducing the kicks). The only real difference is that the first one has a piano at the beginning, meaning the electronic melody has to battle with the piano for the spotlight (piano obviously wins). However, the piano is absent from the second build-up allowing the other melody to have a chance in the spotlight (after getting creamed by that piano). Well, both build-ups are amazing (no pun intended considering the next song) and definitely stand as my favorite parts of the song.

 

Before I move onto the next song, I want to quickly highlight a few more little parts of the song that I feel deserve noting. First off, there’s that bass that introduces itself midway through the song after the second Build-up from Nothing. It definitely overtakes the song at that point, giving it a slightly harsher feel as it throbs along with the beat. Another thing that I enjoy in this song is the strings. They don’t reach the same levels as the beginning of Go, but they are quite good. They serve mostly as transitions into those Build-ups from Nothing (A lot of what I love about this song seems to center around those) and at the end of the song as we prepare for Amazing.

 

Andy Hunter & Christine Glass – Amazing (7.75): Amazing kind of breaks the seamless transition that this album has. There’s a moment of silence at the end of Radiate which means that it doesn’t matter what Amazing starts with. It has nothing to work with. Ah well. The introduction still does share some similarities with the conclusion of Radiate. Both feature a heavy amount of strings. Both are at a very similar BPM (though Amazing takes a little while to get started so that BPM isn’t immediately apparent). I guess that counts somewhat as a transition, but it’s the least interesting transition on the album if so.

 

Amazing has vocals though. Not slightly filtered vocals from Andy Hunter himself. No, these vocals come from Christine Glass. This song and the four after it make up what I’m going to call the female vocal half of the album. Each of them features a different female vocalist, though some are less integral to the song than others. For this song, Christine Glass is definitely integral. Her soft vocals are smooth as glass (pun definitely intended) and are definitely the most memorable part of the song. The strings come as a close second, but they blend in so well with Glass’s vocals that I almost think of them as an extension of that beauty. Whenever the strings are present, I have a tendency to ignore all the other instruments as they simply can’t compare. There’s a good bassline, and a couple little melodic touches (though the main melody is kind of eh). Overall, the music of this song works well enough. Maybe, a balance could be given so that other instruments mattered more, but there’s nothing in there that I outright dislike so that’s a plus (the next song won’t be as fortunate).

 

Lyrically, this song isn’t as religiously focused as some of the other tracks on the album. It do believe the intention was to be a song focusing on experiencing the majesty of God’s power, allowing us to experience things beyond our comprehension. But without the context of Andy Hunter’s tendency to write song’s religiously, it sounds more like a love song. I don’t mind either way, but as of this point in my life, I’m not really drawn to either option either.

 

Andy Hunter & Michelle Prentice – Show (4.5): As Amazing ends with a whisper, it leads into Show, one of the calmer songs on the album. It is also the worst song on the album. Sorry for the harsh words, but even the best albums have to have a song that takes that spot. Ah well, let’s go backwards and talk about the lyrics first, because they’re relatively simple and I really would rather conclude my thoughts on this song by discussing a certain instrument…

 

Show me glory. That’s it. That’s pretty much all the lyrics. There is a bridge in the middle of the song which has Michelle saying a couple of lines about Opening one’s eyes and heart to God as well. But I don’t have much to say about those either. There that’s all of that. Wouldn’t that be a shame if I ended this particular summary with this lame paragraph about lyrics. On to the music!

 

I’d say a good half of the instruments in this song are beautiful and relaxing. The slow tempo works well for the relaxing mood, not to mention some of the moments that focus a little more on ambience. As for vocals, most lyrics are said with a whisper. The female vocals in the background are a nice touch, both the clean unedited version and the more synthetic choir that is added in from time to time. The bridge is a sight bit strange, but I do feel like it makes a good centerpiece to the song. If only the rest of the song was like this…

 

The bassline doesn’t fit. It has a nice long rolling feel to it, and I would consider it to be one of the better parts of the song, but it doesn’t quite fit with the rest of the relaxing stuff. But that doesn’t compare to the screechy synth that is completely out of place. It first appears at 2:17 and I find it to be quite annoying. But the real nail in the coffin is just a tiny little beep. I’ve looked across countless versions of the song hoping the beep was just a glitch but no. It’s there and it ruins an otherwise decent song. Am I perhaps complaining a bit too much? Maybe. But this little beep breaks the song in a jarring manner. I find it to be a bother every time it interrupts the otherwise smooth experience and gives me a slight bit of a headache. If it were absent, this song might get a higher score, but this song is a disgrace to the rest of the album anyway.

 

Andy Hunter & Cathy Burton – Translucent (7.25): While Show could have been the most relaxing song on the album, it ended up flopping spectacularly as Andy Hunter’s worst. And so instead we have Translucent as the most relaxing song on the album. And it is a major improvement. Everything here is pure relaxation, no weird trippy divisive instruments and absolutely no annoying beeping. This song is truly a beauty to listen to. If Show’s main goal was to beg for glory to be shown, then Translucent does just that by taking the ambience from show and building it into a glorious introduction.

 

Much of the song is simply ambience fading in and out throughout the verses. It’s not exceptionally interesting, but Cathy’s vocals (which are the best vocals on the album) do well to prevent the lack of variety from becoming a bore (there’s not even any drums here). The chorus is a bit better with adding some stuff in there. There are some very subtle drums as well as a simple melody added in there and it thankfully works well with the relaxing vibe the rest of the song has, which is more than I can say for Show (which I apparently love to hate seeing how often I mention it). The only instrument that I could possibly consider unfitting is the more electronic synth used in the final chorus and the outro. But it’s used subtly and doesn’t interrupt the glorious feeling so much as it adds some variety and some transitioning into the next song. This whole track is a much better example of Andy Hunter’s chiller side (the side he’s devoted his time to in recent years with his Presence Project).

 

The lyrical content in this one is quite intimate. The whole concept is opening one’s self to God showing your entire soul and self to him as he washed away the sin that mucks up our life. The chorus is where this concept is most explored while the verses focus a little more on God’s incredible majesty and glory. And then there’s the bridge which mentions Angelic sounds filling the air. Speaking of Angelic sounds…

 

Andy Hunter & Alisa Girard – Angelic (8.5): That final synth I mentioned in the last song brings us into Angelic, our first nonlyrical song of this album. Plenty of gorgeous vocals from Alisa but not a single word is voiced. This song is a transition back into the more upbeat music that I prefer from Andy Hunter, at least for this album, but it is also the most beautiful song this album has to offer.

 

Angelic has two main focuses, the piano and the vocals. Sure, the other instruments in there have some presence too. You can’t have a good drive without a good drumbeat and the strings and ambience definitely do some solid background work to add to the beauty that the main stars of the show create, but those main stars are definitely the vocals and the piano. And how can I describe their beauty and why this is one of the best tracks on the album? I’ve pondered how to explain it for a good while now, but there isn’t a way to explain it other than tell you how gorgeous it is. It’s impossible to really go into detail because this track is a simple beauty.

 

Part of me feels like somewhat of a failure of a reviewer for being unable to review this lovely song, but really, it’s something you have to experience for yourself. Just know that it’s beautiful.

 

Andy Hunter & Tasia Tjornhom – Sandstorm Calling (8.5): Not to be confused with Darude – Sandstorm.

 

This song right here is an absolute classic. I understand that a lot of these songs are great classics to me even though Andy Hunter is a slight bit more obscure than some other electronic artists from the time. He was my childhood though and this was once my favorite song from him. My opinions have shifted slightly but this still remains to be one of the most nostalgic songs for me. Other than Tasia’s occasional vocal this song is fully instrumental, and to be perfectly honest, since Tasia only has a small note here and there (no lyrics), I could probably count her as an instrument herself if I felt like it, making this the most instrumental song on the album.

 

But this song doesn’t need vocals to be one of the greatest songs on the album. Right from the start the song transitions smoothly from angelic with a heart pounding drumbeat shared between the ending and beginning of the two songs respectively. And when I say heart pounding, I mean it literally. This drumbeat sounds like a combination of a heartbeat and some heavy breathing and it has the same effect as the drumbeat from Go at the beginning of the album, except this time that heart is pounding a little bit faster. Also, it comes back into play a couple more times in the song where Go’s heartbeat only really mattered for the intro.

 

The most prominent and memorable part of this song would have to be the horns that play the main melody. It’s not so prominent that it feels overused, but it is definitely the clear motif of the song if it has one. Besides the most obvious iterations of the melody shown at 1:27, 2:36 and 5:37, there are several subtler points where the melody is used. From fairly obvious parts such as the fractions of the melody played in the song’s introduction to slightly more hidden points such as the quieter melody underlying the song whenever we aren’t in full melody mode (or build-up from nothing mode but I’ll get to that). Everything else the song has to offer, the basslines, the strings and Tasia’s vocals, contribute to the mystical feeling this song presents to me. Nothing feels out of place. Everything works together.

 

My favorite part of the song, of course, has to be the build-up from nothing. After the second chorus of the motif melody we reach the midpoint of the song and as I’ve explained in previous songs with a Build-up from Nothing, everything drops out. The drumbeat, the melody, the bassline. All of it. Nothing remains. Well, almost nothing. Andy Hunter leaves a bit of ambience in there to work with as he refreshes the rest of instruments over time. There’s a few notes that sound like water droplets in the beginning which I love as they kind of remind me of a cave. In a way, it kind of helps me visualize the rest of the song with this short portion taking shelter from a cave in the middle of a tortuous sandstorm before the safehaven collapses. I have a vivid imagination when it comes to some of these songs, pretty sure I used to visualize a music video for this entire album when I was younger, this is the only part I remember though.

 

I got distracted. Let’s talk about these strings for a second. The way they’re introduced really is the heart of this build-up and the remainder of the song following it. They don’t gradually introduce themselves with a rising crescendo (unless you consider the ambience to be an introduction to the strings, though I’m pretty sure that ambience is made up of the sweeping notes of a bass (the actual stringed instrument, not just a general term for low notes). These higher strings begin at full volume along with some cinematic drumbeats to accompany them. As the stings build- growing more intense, eventually playing a quicker melody, other elements of the song are introduced and reintroduced. A new bassline joins in first followed by a return to that literally heat pounding drumbeat from the beginning. And all the while there is a slight nod to the main melody (albeit this iteration is played a bit lower so it sounds quite different in tone).

 

And after that build-up concludes itself, the song returns to its usual tempo and energy. This time highlighting those strings as the star of the show, once again letting them develop in a similar manner, starting off slowly and then shifting the notes around bit more rapidly as the song progresses. And with one last iteration of that motif melody chorus, we have a fantastic closure to a fantastic song.

 

And so, concludes the five female vocal songs of the album. Only two more to go.

 

Andy Hunter – Strange Dream (8.25): These last few songs on the album transition quite well between each other. Sandstorm Calling ends with a rising scream that drops right back into the breakbeat style we had at the beginning of the album. Strange Dream is a return to where we started and, living up to its name, it’s definitely one of the stranger songs on the album. Unlike the last couple of songs, this song returns to having lyrics, but if there’s a message behind them I can’t seem to figure it out at all. There’s a dream. It’s strange and funny. Only way I can think of this working biblically is one of the many stories of dream interpretations. Only problem is… none of these appear in Exodus so I really can’t tell you how that connects. Maybe Andy over here just had a strange and funny dream one time and felt inspired to build a song around the concept.

 

What’s the dream about? Well there’s so few lyrics, I’m afraid I can’t tell you. It’s strange and funny, I can tell you that much, but the rest of the vocals don’t give much information to work with (if any information at all). As soon as the song begins, you’ve got two lines: “You wasted basics for that, dude” and “Down, sit down, See you down.” What do they mean? Who knows! My guess is that our man Andy here has a subconscious self-criticism of how he continues to waste the basic elements of his life on… something… Also, he forces himself to sit down to try and ponder this self-criticism he has. Am I looking too deep into this and almost certainly misinterpreting any meaning Andy has for us (if anything)? Yeah. Pretty sure I am. Am I self-projecting? I don’t know possibly. Self-criticism seems to be a problem of mine, but I didn’t actually put much thought into this theory. I sort of just vomited out the first existential possibility that came to my head when looking at these either cryptic or random lyrics. Maybe my subconscious is the one we need to look into…

 

Ok, well regardless, of how vaguely I try to analyze these lyrics, the penultimate song of Exodus does have some pretty good music on it. After the introduction is done about a minute in, the song returns to four on four, which I find to be a bit disappointing (Syncopation is such a pleasure of mine). Still, the conventional drumbeat doesn’t interfere with the rest of the song. There’s some great bass design throughout, be it the harsh funky notes in the intro, the nearly arpeggiated pattern that plays for most of the song or the cleaner lower synth that joins in around the three-minute mark (though to be fair this could count as a melody).

 

This song divides itself into two different vibes. There’s the upbeat vibe that takes up the majority of the song and a couple of calmer breaks at each third-way mark in the song. I’ve already talked extensively about the former when it comes to the basslines as that’s the most prominent focus there. There is a synth that I haven’t mentioned that has a nice swing to it and plays the main melodies of the upbeat four on four areas of the song. Plus, there’s a couple of points in the song where an extra instrument is layered on top of the arpeggiated bass to give it a much-welcomed accent.

 

The latter of these two vibes is the calm between the storms (not sandstorms, that was the last song). The song takes two short breaks to strip away the kicks and basslines from the song, creating a more relaxing environment focusing more extensively on melody and strings.  There’s a chilling main melody in here that gives me extra nostalgic vibes for some reason (even more nostalgic than the usual Andy Hunter and I honestly don’t even remember it somehow so there’s definitely something fishy going on in my subconscious music memory). Regardless, I enjoy these two portions of the song the best. I wouldn’t say they’re build-ups from nothing, but at the end of each one “Strange and funny dream,” tends to get me a smile. I especially get a kick out of the “straaaaaaaange andfunnydream” at the end of the first calmer portion. As strange (and funny) as they are, these vocals are definitely the selling point on this song.

 

Andy Hunter – Intercessional (7.25): Final transition of the album smoothly leads us into Intercessional with a bassline not all that different from the main one in Strange Dream. It’s a bit higher in pitch, but the rhythm is quite similar (though I think I prefer Strange Dream’s). However, this bassline is only important half of the time in this song as Andy continuously switches back and forth between the already mentioned bassline and a second rhythmic bassline introduced about a minute in, which I find to be a bit smoother. I prefer the latter of these to be honest. That smoother vibe is definitely better in my opinion.

 

As for the rest of the song, I’m not all that impressed. It’s still a good song but compared to all of the other stuff we’ve seen in this album. The singular melody that this song seems to have isn’t especially interesting except for the ending of it’s first iteration where we spend a small few seconds with that syncopated drumbeat. Some of the best few seconds of the song, though the rest of the melody just doesn’t carry the song very well.

 

After those few seconds of breakbeat, the song does reach a calm as it prepares for a small build-up from nothing. There’s a decent choir introduced in there (which is used throughout the remainder if the song which is a welcome bit of variety), and the breakbeat drums do continue as the song builds up. Some good subtle touches here and there make the build-up work quite well It’s nowhere near as remarkable as the build-ups in Go, Radiate and Sandstorm Calling, but beating those songs is a tall order anyway.

 

As for the lyrics, there’s not really much deep to go into. The song is called intercessional. An intercessional is a prayer. The song is about prayer. The song is about an intercessional. It’s all pretty self-explanatory.

 

Overall, this is a pretty weak closer for the album. The song is good and all, but it doesn’t reach the same heights as many of the other songs on the album.

 

Conclusion: that review was a lot longer than I’d expected it to be. A good half of the songs had full on essays of things to talk about which might be a bit excessive (even my Mind.in.a.box reviews are shorter than this and they have more songs plus a whole narrative to deal with). Regardless, I definitely enjoyed immersing myself into the intricacies of Andy Hunter’s early works. The album does have some flaws (take a look at Show, his worst song), but overall, it’s been a great nostalgic experience working on this review. As much as I had to say in the body of this review, this conclusion is pretty short. I guess I already summed it all up.

 

Final Score: (7.75/10)

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Daily Hat Track Roundup: February 2019

It was here that Tuesday Newsday ended, but we don’t talk about that. This is just the February Daily Hat Track roundup post. Nothing more.

 

Daily Hat Track: February 1 (King Gizzard & the Lizard Wizard – Cyboogie): Cyboogie walks a surprisingly thin line between a fun groovy vibe an oddly ominous vibe slinking along I’m the background.

 

Daily Hat Track: February 2 (Kick Bong – This Charming Violin (TPOT remix): End of a long unfortunately unproductive day. So today I’ll just mention the song having a food vibe and some beautiful violins and female vocals. It truly is quite a lovely track.

 

Daily Hat Track: February 3 (Ashbury Heights – Spiders): Remember the all too edgy Ashbury Heights album from a couple weeks ago? Here’s a song that’s a step in the right direction of edge. Actually the track that introduced me to the duo (with revolving door of female vocalists).

 

Daily Hat Track: February 4 (Myndflame – Club Thrall): I didn’t get far into my Discovery Weekly due to download troubles but this song in particular had a good drive and variety to it. That’s about all I have to say about it at the moment though.

 

Daily Hat Track: February 5 (Electric Universe, Hilmar & Chico – Rockers and Rollers): The moment I see an Electric Universe song I think psytrance. The moment I see the song title referencing rock n roll I think kick-ass guitar sections. This song delivers on both counts and I love it.

 

Daily Hat Track; February 6 (Bliss & Alex Berserker – Warriors Guitar Mix): A couple days ago I shared a psytrance song with some rocking guitars. Well, today I’m sharing THE psytrance song with rocking guitars. This eleven minute experience is well with your time.

 

Daily Hat Track: February 7 (Infected Mushroom i-wish (Acoustic Live Remix)): Each time, I listen to this acoustic version of I Wish, I like it more and more. It used to be my least favorite from IM21 pt 1, but now it’s second favorite right behind Bliss’ remix of Bust a Move (which is unbeatable).

 

Daily Hat Track: February 8 (Mind.in.a.box – Amnesia): Today I’m just going to throw back the song that introduced me to my current favorite artist. Really pulled me into the computerized vocals and the existential themes. Probably one of my best musical discoveries of all time.

 

Daily Hat Track: February 9 (Infected Mushroom – Dancing with Kadafi): I’ve shared a lot of long songs as of late, but I consider this one to be the epitome of journeys through sound. It’s an absolute classic.

 

Daily Hat Track: February 10 (The Anix – TECHUNTER): Only just finished up Friday’s Release Radar and this nearly cinematic technological wonder was one of the last ones in the playlist. It’s also the best one in the playlist.

 

Daily Hat Track February 11 (Eisfabrik – Walking Towards the Sun): Actually got all the way through my Discovery Weekly in one day (which is rare). And this was bothering the grooviest and most inspiring of the bunch. It’s not often that you find such good futurepop with an uplifting vibe.

 

Daily Hat Track: February 12 (Mind.in.a.box – Redefined): I have no words right now or too many words. Either way, I’d forgotten how great this song is (definitely one of my all time favorites). Music and lyrics are dense with power and meaning and you should listen to it right now

 

Daily Hat Track: February 13 (Infected Mushroom – Frog Machine): Does this track make anyone else envision a giant monstrous frog throwing it’s little normal frog coworkers into a fiery furnace before usurping it’s boss that happens to be a corpse of bones lying in the corner? Just me? Ok.

 

Daily Hat Track : February 14 (Infected Mushroom – In Front of Me): Not much to say about this one. It’s just resonating a bit too much with me right now. Every line is filled with relatable existential anguish.

 

Daily Hat Track: February 15 (Worakls – Cloches): Worakls and his Hungry Music fellows are always a treat to listen to. Therefore this is one of my favorites of this week’s Release Radar.

 

Daily Hat Track: February 16 (Infected Mushroom – Return to the Suace): Here’s another song that makes me visualize a music video except this one makes less sense because it’s a sea voyage adventure involving a sea serpent and a time distortion device. My imagination is vividly random.

 

Daily Hat Track: February 17 (Infected Mushroom – Demons of Pain): I usually tend to listen to the remix from the Return to the Sauce album, but my love doe the existential original still holds today. I may have been listening to too much Infected Mushroom lately though.

 

Daily Hat Track: February 18 (Kick Bong (Progress in Happiness Remix)): Here’s a funky groove of happiness from Kick Bong for yesterday’s Daily Hat Track. Sleep schedule adjustment is making me forgetful.

 

Daily Hat Track: February 19 (Scatman John – U-turn): Didn’t really listen to Scatman when he was alive, but I have been enjoying his music for quite a few years nonetheless. This one about healing one’s soul with a new beginning is the most applicable to my life at the moment.

 

Daily Hat Track: February 20 (OVERWERK – Reign): I’ll admit I’m really only into this one for the bassline. It has a good groove overall, but the bassline is what makes it.

 

Daily Hat Track: February 21 (Infected Mushroom – Saeed): I already knew this was my favorite Infected Mushroom song, but after relistening to it today. It’s even better than I remember. Every moment in this track, be it lyrical or musical, is incredibly powerful.

 

Daily Hat Track: February 22 (Electric Universe – Dragonfly): Psytrance songs named after winged insects are good ok? What else is there to say?

 

Daily Hat Track: February 23 (Andy Hunter – Go): Andy Hunter was my first electronic artist. Go was his first song. If you’re guessing I have some nostalgia attached to this song, you couldn’t be more right.

 

Daily Hat Track: February 24 (Liquid Soul – Hypnotic Energy (Pitch Bend Remix): As I was scouring through this week’s Release Radar in search or tracks worthy of mentioning for Newsday Tuesday this fresh psytrance track proved to be the most worthy.

 

Daily Hat Track: February 25 (The Luna Sequence – Veil Walled Garden): Today’s Discover Weekly reminded me how awesome The Luna Sequence is at blending electronic and rock elements. All of her stuff definitely has an energetic vibe to it.

 

Daily Hat Track: February 26 (Andy Hunter – Sandstorm Calling): An Andy Hunter classic. One of the two nonlyrical songs on the Exodus album. Definitely feel some nostalgia listening to this.

 

Daily Hat Track: February 27 (Ayria – Feed Her to the Wolves): Isn’t it great when you discover an oddly catchy song during lunch and have to spend the rest your workday trying not to sing of how you had a woman eaten alive wolves and then displayed her body to intimidate your enemies?

 

Daily Hat Track: February 28 (Carpenter Brut – Paradise Warfare): Carpenter Brut is great but Carpenter Brut with a saxophone? Mmmmmmm

 

Remember to follow Twitter for a new Hat Trac every day and to take a look at the Daily Hat Track Playlist linked below.

 

https://open.spotify.com/user/beretbeats/playlist/4CIZYAQAzctqYqFG89HIv2?si=hzGhZDDaRV6bgotZiPxheA

 

One last thing. I wanted to apologize for missing the review last Friday. As I’d mentioned on twitter I ended up having to take the week off due to health issues but I’ll be putting extra effort into keeping on track for these reviews from now on (Getting rid of Tuesday Newsday should help