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A gothic pallor paints these tracks, with their delicately poised e-piano phrases and shadowy synth sweeps. Occasional percussive effects are generally kept low enough to not overpower the lead elements.
Softly spattering percussion accents silky sheets of synthwaves in Where We Go To Die; airier passages merge with, but aren't pulled down by, deeper strains. A more symphonic aura surrounds Imagine Me, which swelters gently, somewhat forbodingly, yet beautifully, sometimes sparkling with glints of bells. An electronic beat with scattering cymbal-ism pumps behind the melancholy piano tricklings of Where It Begins, a trancey little number with faraway background swells.
Somberly droning woodwind and string tones hang over Trances, Dialogues; like a mist shrouding a neglected cemetery, the symphonic whisps of sound are equally vaporous.
A more "electric" rhythm and drumbeats stir the mix of Symmetry. The main ingredients are a burbly synth and echoey harpsichord-like lead refrain.
Under Starlit Skies returns to ethereal mode, with lush, gently rolling clouds adorned with faint bells and glittering rays of light (The piece reminds me of early Steve Roach).
An ethereal minimalism is the thing Of Stars and Wishes, when subtle nuances shimmer amidst a gauzey veil of night. Some Hope However Small returns to a beatier mode, allowing a staccato rhythm to drive the sorrowful strings and electronic burbles. While still traveling under the shadow of darkness, The Effects of Rabies on Angels (3:54) ventures further into the "beeps and bleeps" realm of electronics, providing a wonderful blend of styles... Techno-Goth, perhaps?.
Mara's Torment travels even further still with the closing track;
... Down For Go (14:32) seems to transcend this mortal world on an interstellar flight. The track evolves through spacey comings and goings of various bleeps and warbles into a prolonged silence, which is broken by speedy little guitar plucks, orchestral waves and e-beats.
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