Kushna - Ta-Bitjet

Review by Karl Magi

Overall Album Impressions

Kushna’s Ta-Bitjet is based around scorpion goddesses from around the world. He weaves together powerful percussion, ferociously attacking synths and an oppressive sonic atmosphere to evoke all of the danger and venomous threat of these powerful deities. This is synth music that stings, envenomates and devours.

In many ways, Ta-Bitjet is dominated by the tremendous, shadowy and aggressive power of its drums and bass. The drums have intense weight and power while the bass forms a  surging, jagged-edged tide that sweeps the music along. The low end sounds combine to produce an atmosphere shrouded in darkness and alive with danger.

The synth choices on Ta-Bitjet are full of rage, violence and sharp edges. All of these seething, rending sounds form a soundscape that is unrelenting and angry. There’s a feeling of deep threat that often erupts into overt assault. Kushna is a master of using synths to evoke emotion and paint musical imagery and he does so to great effect here.

I enjoy the conceptual nature of this album and the way in which Kushna honours it. The music evokes the incredibly potent nature of the goddesses to which the track titles refer.  The album weaves together many sonic threads to create a cohesive atmosphere of shadowy, deadly power that flows throughout.

My Favourite Tracks Analyzed

“Ta-Bitjet” opens as overwhelming bass smashes into the track along with a tremendously heavy drum  assault. The percussion has gigantic weight and the bass is harsh and chest-pounding. The rhythmic elements form an angular slashing line that oscillates with angry purpose. I am drawn to the intimidation inherent in the drums and bass.

A writhing note pattern wriggles through the track before breaking to gritty, warmer synths that rise over easier feeling drumbeats before the music's full intensity returns. A swirling, twisting sonic snake moves and again the raging, demonic storm of fierce drums and crushing bass rushes on towards a conclusion.

Rapidly seething, trembling synth moves in shifting notes as massive drums and gargantuan bass start off “Hedetet.” The drum and bass tide is lacerated by nasal-sounding, elevated synth carrying fear-stricken notes in wandering bursts. Underneath the other sonic elements, crunchy, jagged bass moves in entangled patterns and the drums slam down their raging beats.

The ghostly notes feel lost as they drift into a segment in which a sound reminiscent of dry bones rattling together moves through. The music sweeps into a shadow-haunted sonic space before the hard-hitting, towering drums and lacerating bass are joined by pulsating, terrified notes that drift in pulses. Kushna does an excellent job of creating music that is full of threat, rage and a horrifying feeling of evil rising to devour and destroy.

“Malinalxochitl” comes into being with incredibly heavy, guttural bass interspersed with flashes of high, harsh sounds that charge into the open space into which drums reverberate. Now a medium-low, broad-sounding synth with a bassoon-like quality carries a stuttering melody with a juddering sense of motion.

A shattering drum and bass surge propels the music while the nasal-sounding, deep synth’s melody effectively evokes a ritual dance. The drum and bass wall forms a solid background that strikes with tremendous weight and sharp-edged power. Once again the darkly dynamic, bassoon-like synth carries the rapidly dancing melody and is inexorably forced forward by the intimidating drums and heart-stopping bass pounding.

Huge, steady kick drum pulses move below intertwining, wriggling synth that harshly vibrates above them as “Ishara” comes into being. Other percussion elements join in to add different textural qualities as the huge kick still hits heavily. Slashing synth carries a rapidly jumping line before the medium-low, razor-edged synth carries an agitated, savage pattern over the angry drums and bass. I am drawn to the muscle and dark energy pouring from the music in waves.

Angular synth cuts like a diamond blade over the oppressive drum and bass heft that collides underneath. The music here is a slab of impressive size and terrifying weight. All of the jagged crenellations of the lead synth jab as the heaving drive below continues. The evolving lead synth spins out in a ripping attack as the drums and bass create leaping propulsion. A tensely wound sound howls out and again the creaking lead synth slices while the tumbling, interwoven drums and bass growl with malicious intent.

“Serket” starts as a steady, ticking drumbeat is cut into by massive, harsh synth that scratches as a tightly wound, growing maelstrom of sound erupts. The bass becomes a wall as gargantuan, ripping synth bursts tear in an agitated pattern and higher sounds cry out with a horrified wail. Kushna has crafted an intensely fearful atmosphere here that works well.

Medium-high, bright synth carries a drifting pattern of arpeggiating notes over the martial tattoo of the drums. Synth with an almost bagpipe-like sound carries a darkly majestic melody. The rending synth pattern snarls through the music while the incredibly dense, hellishly powerful drums and bass throb.

Conclusion

Ta-Bitjet is an album drenched in a horror-filled atmosphere studded with deadly threats. I am drawn towards the skill that Kushna displays as he creates sensations that range from dark majesty to outright terror from his synth palette. To learn more about Kushna, go to his Bandcamp page here.

The Boathaus - Slasher

Review by Karl Magi

Overall Album Impressions

The Boathaus’ Slasher captures all of the seething danger and dark power of a horror movie, but leavens it with emotions that are gentler and more tender. The mixture of muscled guitar with an interesting series of different synth sounds creates atmosphere while strong percussion and deep bass provide support. Topping it off, there are melodies mixing darkness and melancholy that move through the album.

Atmosphere is at the heart of Slasher. The way in which the gritty, surging guitar charges combines with synths that can feel haunted or gleaming helps cement the cinematic landscapes of the album. The music weaves together contrasting emotions of fear and growing energy. When the thundering drums and shadowy bass are added, an element of forward motion and urgency is created to move the sonic storytelling along.

The melodic content of Slasher is another reason I enjoy the album. The melodies move between emotional states in a way that interests me. They aren’t content to stay in one feeling, but often combine shadows with gentler sensations or feel simultaneously triumphant and pained. This could have been a simple darkwave album, but is more interesting because it adds extra elements into the mix.

I also want to mention the way that The Boathaus creates contrast in the music. The overlay of lighter, more diaphanous sonic elements with heavy, aggressive elements balances them out and forms a deeper overall emotional connection with the listener. Each element helps the other to be more distinctly expressive.

My Favourite Tracks Analyzed

“Rise Of The Machines” comes into being with thundering drums, colossally heavy bass and a rough-edged, medium high synth spinning in slowly arpeggiating patterns.  All of the sonic elements coalesce into a throbbing pulse below hollow, twisting synth carrying an undulating pattern.

A shining guitar cries out, carrying a melody that mingles victory, melancholy and a sense of imminent danger, which works well for me.  The drums pound heavily, the bass growls and the guitar unfurls in intertwining, majestic notes. There’’s a drum fill as the pulsating bass rumbles and the guitar cuts sharply through undulating, nasal-sounding synth.

The drums guide the music with their steady, heavy beat while the arpeggiating synth notes add shape. Gruffly whirling guitar churns out a repeating pattern that hypnotizes me. Now elevated, rapid arpeggios whirl while the guitar’s hard edges vibrate and then fade into quiet.

Densely interwoven arpeggios form a gravelly, textural background as “The Overlook” starts off. Ethereal, ghostly synth carries a wandering melody that effectively emanates a sense of loss and pain. The guitar adds a thick, powerful series of chords beneath the howling, drifting melody that haunts the music.

The guitar’s growl fades as quickly dancing arpeggios weave a sonic tapestry. Now the guitar plays a churning pattern beneath the lead synth melody’s spectral float and the drums propel the music over the steady bass pulse. Drums fade, interleaved arpeggios flicker and the lead melody combines a bereft feeling with an aching emotive quality before silence falls.

“Dream Warriors” opens with elevated, bright arpeggios whirling as a steady drum pulse moves behind rapidly growling guitar as mad laughter dances through the music. The drums are massive and have a distinct heartbeat while the arpeggios unfold with wild abandon. Tight, metallic, distorted synth plays notes that burst in over the hard-hitting drums and a minor key, round synth plays a shadowy melody.

I enjoy the way in which the twisting, nasal-sounding synth that comes in carries a melody mingling yearning with hurting feelings another, slower arpeggio pattern continually spins and the tense, metallic synth lightly touches the music before the track ends on gentle chords.

An angular, slowly moving note pattern unfolds before the guitar cuts into the music with similarly angular, shifting chords to kick off “Dancing Dead.” Nasal, medium-low synth carries an energized melody with an aching feeling that I feel works quite well to create atmosphere here.

Twisting, metallic chimes ring out and the angular note pattern below them repeats. The drums add a chugging beat over the surging bass. The guitar charges in chords that underpin the lead melody’s dynamic, but slightly sad feeling and the angular synth pattern below fades away into silence.

“The Shape” commences as jagged bass throbs slowly while gigantic drums batter. Hollow, empty sounding synth repeats a howling, haunting note pattern and the guitars surge with sinewy energy. A worried, high synth plays a nervous pattern as the charging guitars churn below the open-voiced synth with its ghostly sensations.

Now gleaming, tightly wound chimes play a terrified note pattern as harsh guitar trembles below them. There’s a profound sense of unease within the music that I find darkly engaging. Battering drums add motion below the heaving guitar’s muscle and the horror-filled, hollow synth as it cries out. The guitar has a huge, heavy presence that underpins the ethereal, spectral presence of the lead synth. After the jagged bass pulses once more, the music fades.

Conclusion

Slasher takes me on a trip through soundscapes that move from darkness, through loss and gentleness, into terror. I enjoy how The Boathaus is able to create all of these different sensations through sound and maintain a storytelling feeling as the album unfolds.

To learn more about The Boathaus and to purchase their music, find them here.

Echoberyl - Mother: Remixes

Review By Karl Magi

Overall Album Impressions

Echoberyl’s Mother: Remixes takes already shadowy, twisted music and enhances the icy, threatening and darkly intertwined elements contained within it. The album is full of seething power, emptiness and a miasma of lurking danger as well as driving, throbbing beats and bass,

Even in chopped up, broken form Cecilia Dassonneville’s chilly, austere vocal performance is key to Mother: Remixes’ effectiveness. Her voice is strong, but blows like an icy wind to freeze the heart. The bleakness and hollow feeling in it matches the nature of the song lyrics. The way her vocals move within the remixes complements the album’s atmosphere.

I enjoy the way the remixes capture the sensations and auditory impressions of the original songs while deepening their darkness. The remixers involved have put their own personal spins on the songs, but in a way that keeps their basic integrity intact. I appreciate their skills as they embrace the shadowy, industrial atmosphere that permeate the music and increase the sensations of alienation and cold within it.

The interplay of sonic elements on Mother: Remixes is another strong element on the album. There’s a great deal of deftly layered, intertwining sounds that combine to drench the whole recording in a dark veil. The sheer weight of the drums and bass is a constant along with the balancing of harsh sounds with smooth, adding quick flashes of brighter sound and interspersing haunted musical moments with surging power.

My Favourite Tracks Analyzed

“Mother Solitude (Dissonant Goddess Extended Remix” starts off as thick, pulsating bass throbs into the music with a lone voice crying out in the distance. The bass is dense and oscillating as a slipping sound doubles it to add more motion. Wideband, medium-low synth undulates in time to the pulsating drums and bass, the distorted voice moving as rising strings float through and cut in.

Bright, sharp synth cuts in quick lines and forms a gleaming, hypnotic note pattern falling through the music. Cecilia Dassonneville's distant voice flows in a melancholy melody which effectively radiates painful feelings. The minor key melody is carried on a flashing synth that repeats the tense main melody over the relentlessly throbbing drums and bass.

The string section carries a delicate, gently touching melody before the lead synth flashes again. Cecilia Dassonneville’s distantly floating vocals wander in an ethereal line over the driven rhythm section, As the rough bass oscillates, the angular synth carries a shining melody that increases feelings of progress. Once again, the main melody arcs through the music and we end on trembling strings, the rough-edged bass creaking and throbbing as pounding finally ends.

Hollow, pounding drums that tattoo out an uneven rhythm and twangy bass are joined by a rapidly pulsating synth to open “Au bout de ses forces (La Goutte Remix).” Cecilia Dassonneville’s chilling voice echoes and a steady, elevated synth with a string-like quality vibrates. The unrelenting drum and bass propulsion imbues the track with rapid motion as the icy vocal tones wander above it.

The way in which the cosmically gliding string section swells in enfolding and fragile notes to contrast with Cecilia Dassonneville’s empty feeling voice deepens the music’s emotional power. String sounds shiver and resonate as the charging weight of drums and bass keeps moving.

Vocal sound becomes an accenting element as the strings intertwine and emanate velvety shadows. The beat and bass give the track a continuous feeling, like it could simply go on into eternity. An extra percussion element increases intensity as the vocal fragment moves with a breathy, repeating sound and the drums pound with the oscillating bass.

“Blue Ophélia (Dissonant Remix)” begins as tripping, gentle drums and round-sounding synths bend and together in a rising, glowing pattern that fills the track with a vague, portentous feeling. The drums and bass push on and Cecilia Dassonneville’s vocals are distorted and cool.

An oboe-like instrument carries nasal-sounding notes that call out into the music, carrying a touchingly poignant melody. ice-cold vocal fragments wander and the trembling strings briefly shimmer. The plangent oboe undulates in notes clotted with pained emotion as quick strings flicker. Drums and bass provide a solid underpinning as the nervous string sounds add a worried feeling.

Once again, the oboe’s rounded notes give off an aching timbre as the string section shakes and intertwines with anxiety. Climbing strings shift as a metallic background sound rises and falls and the gruff bass pounds ceaselessly before a windy flow and then silence

Thunderous clashing drums and deep bass are joined by a volleying, high synth flickering back and forth to commence “Medea's Revenge (Steve Object Remix).” The drums provide a shaping throb as wild laughter cackles out. Now the drums and bass become a huge, forward moving surge. Cecilia Dassonneville’s voice echoes out over the oscillating bass, her vocals simultaneously aching and alienating.

Now the heaving drums and dense bass push the track on with a wide sound flowing through below volleying higher sounds. Gasping vocal sounds are incorporated into the music, becoming a distinct sonic element, sounding panicked and hitched. I enjoy the way in which the track oozes tension and stress.

Cecilia Dassonneville’s lost, chilling vocals come in while the drum and bass wall thuds onwards. Seething power emanates from the music while angular, battering synth is underpinned by the ferocious rhythmic pulse that animates the track. Nervous, jittery synth trembles through and the unrelenting drive below rams the music home.

“La Dame en Rouge (Cage Exsanguinated Mix)” kicks off with heavily throbbing bass that’s touched by lighter, airier sounds. A warm, slowly shifting synth pulse shines in contrast to the cooler vocals. Throbbing bass adds strength while a trembling, rapidly moving higher synth pulse adds texture.

Sharp-edged, low synth cuts with gritty growl over the continuous bass heartbeat while Cecilia Dassonneville’s vocals add a superb sense of mystery. Bright synth flashes in high, tightly wound notes over the huge pounding weight underneath it and the drums add more forward motion. Rough, hard-hitting synth slashes and warmer ripples dance through in contrast to the echoing vocals.

The insistent drums and bass are joined by slightly fuzzy, rapidly trickling higher synth and Cecilia Dassonneville’s hollow vocals. Raised synth vibrates though over the unstoppable beat and out into silence along with rounded synth bubbles.

Massive bass pulsates while fat string-like sounds echo out to begin “Overwater.” The drums hit hard to push the music forward while haunted higher sounds float in. Cecilia Dassonneville’s slightly distorted, frozen vocals flow over the aggressive drums and bass.

Clashing, shining synth trumpets out in powerful flashes over the shadowy vocals and underneath it all, the drums and bass heave and surge. Broad guitar twangs briefly and the unrelenting rhythmic pulse shapes the music. Cecilia Dassonneville’s voice feels bereft in a poignant way as the metallic guitar reverberates into open space in mournful lines.

Huge synth chords burst out in thick, shining lines and again the drums and bass drive onwards with muscled energy. The intense synth blocks add gleaming weight and the beat jumps while a twisting rope of medium-low synth winds through before silence falls.

Our narrator speaks of surviving a storm by staying still, commanding the waves and pulling “every rope until blood starts to dry off, but don’t give up.” She says that there’s no other way to pass the storm and “break the winds on your tired face.” She adds that in “just a moment, one last moment” they will remain “overwater.”

The storyteller talks about fighting without winning or losing. She points out that “if you see wonder” the cold will vanish but “you can’t give up, there’s no other way.” The narrator goes on to say that “the salt in your eyes” won’t be painful much longer. Once again, our storyteller talks about one final moment of being “overwater” before the song concludes with one word: drowning.

Conclusion

Mother: Remixes does what all good remix albums manage to do and enhances the existing music. The remixes here take what was good about the original songs and increase the intensity of those elements. The end result is music that fits in well with the source material’s intent while extending it and deepening its power and meaning.

To learn more about Echobery'l’s music, visit them here.

The Last Years - The After

Review by Karl Magi

Overall Album Impressions

The Last Years's The After is a powerfully affecting, musically lush and lyrically expressive musical exploration of hope, love, pain and longing. It weaves together strong vocal performances with skilled guitar playing and interwoven synth sounds.

One of the most effective aspects of “The After” is the lead singer’s voice. He has a strong, extremely expressive and wide-ranging voice that captures the emotional tenor of the lyrics. There’s an aspect of his voice that manages to be both powerful and full of melancholy, imbuing each word with deep feeling.

I also find the lyrical content of the songs on “The After” a major draw for me. The lyrics are well-crafted and capable of reaching deep into my heart and extracting the emotion within me. The way in which the words explore complex and contradictory feelings is clear and hard-hitting. I appreciate the skill that went into their writing here.

This album effectively uses the other musical elements to support the lyrics and vocal performances. The guitar has an expressive quality to it, the synths that weave through the music are all well suited to complement the singing and the drums and bass create a strong underpinning. Taken together, the musical backing helps the vocals and lyrics to shine.

My Favourite Songs Analyzed

“Past Lives” comes into being as shining, hollow synths ripple quickly over metallic percussion and expand. A bright electric guitar flashes out in slowly unfolding notes and spinning, shimmering synth arpeggios are guided by the pulsating drumbeat. The lead singer’s strong, resonant voice fills the song, carrying the aching vocal melody and skillfully imbuing the words with deep feeling.

Drums throb and propel the music onwards as the guitar spins out a tightly woven line. The rising expression in the lead singer’s voice joins the as guitar cascades and gleams over the steady drums and solid bass throb. The vocals leap out, emotive and soaring, the melody tinged with nostalgic yearning. Glowing arpeggios dance and the drums add shape below the soaring vocals as the guitar also yearns and climbs.

Our narrator looks back at the layers of our lives and their lingering influences. As the song begins, he speaks of looking “behind the paths we shared” for the memories there that are “so few and proud.” He talks about how we are coming closer to “the falling edge.” As we slip down, we are “losing ground in the fight we’ve made, promises we’ve held.”

The storyteller talks about the different lives within our own lifetime that hold us down. He goes on to say that “we’ll find our way” as we search for the liens that “call out and beg for clarity” as well as those that “we draw through sand and time” as they ask for certainty.

Now the narrator states that “behind each heart is a failing love” that fades out. He speaks of the “old bones of our wasted years” feeling nearer. There’s a heart-wrenching poignancy as the narrator speaks of the “lives we lost and gave away, our youth is dead and gone.”

Bending, shadowed synth with a nasal quality is swept by flowing winds as “Small Hours” opens. A steady bass throb moves as the vocal melody caresses the listener’s ears. The lead singer’s voice is intensely expressive and and the vocal melody is softly touching.

Trembling synth vibrates before the drums thunder and the lead singer’s voice leaps upward again, full of deep feeling. The song moves into a segment in which fragile, tremulous synth vibrates over gently throbbing bass. The guitar charges, the drums batter and the lead singer’s powerful voice soars pleasingly out over the glittering guitar.

Now the guitar’s extended notes glide, flashing over the heaving drum weight and rumbling bass. The vocals hurt and hope as the guitar trips out in resonant notes. The drums and the reaching vocal melody echo alone before the guitar flickers out again. The song ends in an impassioned intertwining of rippling synth and crying guitar.

Life is a struggle between our darker and lighter feelings and impulses. The storyteller speaks of being “deep in the quiet now” and as he’s surrounded by stillness he is just “holding on.” He says that he’s unable to move as the dark night “holds me down and never looks back.”

Our narrator talks about reaching out for a helping hand but only finding “the lies that we’ve held tight.” He goes on to speak about our hearts “failing in the light” as our dreams die along with our pride. In the end, we have to “push through to make it through the night.”

As life unfolds we find ourselves walking through “the dust and the pain” to which we’ll close our hearts and “wipe away the heartache.” Inevitably we wait “for the morning to come to fight the night again” and wipe the heartache away. As the song ends, our storyteller says “We close our eyes and push through to find the light.


“Out Of Focus” starts as massive drums clash and a bass flow adds a softer weight underneath them. Swirling synths interlock and a bright guitar with an open feeling carries lightly slipping notes that float through over the drum pulses. The guitar has a loose-limbed quality that I find quite attractive.

The lead vocals are soft but strong, emotion pouring from the gentle melody that they carry over the oscillating synth background. The drums add needed direction to this song. The lead singer’s voice trembles and mourns as the distant guitar carries over the gigantic drums and underpinning bass.

Now angular synth vibrates underneath the other musical elements. As the drums pulse, the guitar howls upwards before the singer’s strong, emotional voice calls out once more. The glittering guitar accents the music as the song fades on fragile chimes and swirling breezes.

There are many ways in which to fail and stumble in life, but people seem bound to repeat old errors. The narrator talks about how he’s “fallen on this sword so many times that I’ve lost count.” He adds that it is all we know so “what’s one more?” Our narrator points out that the “broken bones” won’t let him go but says “they’re all we know, that’s something.”

The storyteller muses that “our misspent lives” form the paths that we leave in our wake but “it’s all we know” as we all fall down. Eventually “the lines that mark our faces fade to dust” but “we fall” and it’s still all we know. In vain we “reach for fools and comfort” as we “fall through the darkness.”

Ominous, shadowy sounds shift darkly into open space and a flowing, deep synth carries a roaming, vibrating note pattern to commence “The After.” The flowing synth notes climb triumphantly, buzzing above throbbing drums. Now the vocals cry out, adding a sense of mingled emotions that I feel fits the lyrics well.

The angular synth wall moves again, the drums driving on as the lead singer’s voice flies out to fill the song with deep expression and energy. The guitar slices out in bright, impassioned lines before the darker, gentler synth flow moves. Drums cascade and powerful synth leaps up along with the guitars that coruscate with feeling to match the earnest expression in the lyrics. The guitar slows and moves in shining lines that float into quiet.

This song examines heartbreak and loss as it unfolds. The storyteller talks about how he has to pick his heart off the floor adding that “it’s broken but we’ve been here before.” In his mind there’s a “worn out tape” that he’ll listen to as he “hear(s) the way I feel tonight.” Now the narrator shuts his eyes and as he crosses the line, he says “it’s cold but I’m on my way.”

As the broken relationship in the song fell apart, the narrator says that they ran out of time and went “drifting through the fighting” before being “buried by goodbyes.” They now find themselves “underneath the after” but that’s alright as “the after won’t mind.”

Our storyteller points out that a “slow and steady call” is comforting “in these moments.” He says that as their “song nears the end” they will be alright and start again. He concludes, “I open my eyes one last time and it's cold and I'm on my way.”

“Floods” opens as swirling synth tides move under shining higher notes that shiver through the music. Wide, gleaming guitar forms a dancing pattern as sharper-edged guitar cuts through in a dynamic, energizing line over the drum and bass motion below. The lead singer’s voice mingles power, emotion and an underlying ache that I find quite moving.

A climbing, strong chorus explodes over the textured guitars, full of intense feeling. The guitar briefly moves alone before the shaping beat comes in again and the vocals burn with emotion. Trembling synth vibrates in and the guitars charge in a hard-hitting line. A guitar solo cries out, flowing in a rough-edged melody mingling loss, hope and dreamy feelings as xylophone-like sounds add richness. The song comes to an end on trailing guitar.

Love is a wistful and heartbreaking thing and this song explores those feelings. As the song begins, the narrator speaks of “ripping through the cover” that moves through the darkness. He says that for those who knew it from the start, it was a “broken whisper.” The narrator muses that if they could be “the last lovers tangled in forever, failing to become one” then with a “clever parting glance” that put blame beneath them, the song’s subject “knew we’d never stand a chance.”

Conclusion

The After is an album that effectively combines all of its musical, lyrical and vocal elements to create an emotive, expressive examination of the impossibly complex mess that human beings all have to muddle through in our lives.

To find more info on The Last Years, visit them on Bandcamp here