Fabrizio Brugnera & Man From Mars - The Conquest of Happiness

Review By Karl Magi

Overall Album Impressions

Fabrizio Brugnera and Man From Mars’ The Conquest of Happiness mixes beautiful melodies, well-chosen instrumentation with a textured, subtle synth tapestry to create deep and detailed musical vignettes. I am drawn to the layered detail and expressive strength in the music on the album.

Melodic composition is clearly a strong point for Fabrizio Brugnera and his collaborator and that’s showcased on 
The Conquest of Happiness. Each melody is clear, memorable and full of rich expression as it unfolds. The way in which the melodies mingle varying emotions gives them strength and creates engagement in me as a listener.

The instruments have been carefully considered on The Conquest of Happiness and that adds to the overall musical impact. The simple cleanliness of the piano, textured richness from the strings and ear-grabbing synths all interlock to explore timbres, textures and emotional states as they unfold. I find myself touched, moved and drawn into the music.

For me, the musical pieces on the album function like individual poems in a collection. Each track is like individual poetic moments, capturing a different emotional state. When all of those small vignettes come together, the result is nuanced and powerful.

My Favourite Tracks Analyzed

“Guilt & Shame” begins with worn vinyl record crackles and a warm, distant series of piano chords. The piano flows into a string section, trembling with pained emotion, as it carries a solemn, delicate melody that touches me. The melody is accented by sparkling light as a synth pulse trickles in on a tense high instrument.

Metallic bells tinkle and an underlying bass oscillation shivers through. A light hi-hat touches the track as sweeping wind moves. Drums reverberate below mournful, aching strings that carry the wistful melody out over rippling low end synth. Expressive piano takes up the melody, supported by rich string textures as a violin sings out, dripping with emotion.

Motes of light flicker again and thin synth runs like a silken thread through the music. A dense bass wave washes through as the piano conveys a sorrowful sensation. Higher, undulating synth trickles through in a glittering pattern to accent the piano as it fades.

Fragile, but full synth notes slowly descend in tentative steps, now rebounding out to open “Meaninglessness.” A smooth, broad arpeggio slowly floats underneath elevated, gleaming synth that is full of vulnerable emotion. Vocal ounds call out breathily as the bass rises.  A smoothly flowing arpeggio shifts below as high synth shimmers.

The piano is pleasingly full of longing as emotive strings deepen the melancholy over the shaping drums and swelling bass. The vocal sounds add a living quality as piano and strings soar upward in a surprisingly uplifting melody. Arpeggiating synth waves add more texture as elevated light shines and the track fades into quiet.

“Envy” starts off as far away piano is broken by raised, flashing synth that drifts through, reminiscent of a heart monitor. An airy sonic flow swirls around tremulously drifting piano notes a surging bass oscillation. The piano carries a gently touching melody, deep with a mixture of tenderness and glow. Vibrating, elevated synth moves through while the string section adds shadings of pain.

A huge, arcing arpeggio adds lush weight to the music as bass glides smoothly and the piano’s melody is full of intensely expressed loss. Whorls of synth intertwine through the regretful strings. Elevated piano notes glitter high above the strings which add resonance along with horns that have a brassy ache. The voice over repeats that we are all as one. Arpeggios on string-like synth rise and fall as the piano’s fragile notes drift into silence.

Deep, tidal bass flows as full, open sounds move below trembling piano to open “Boredom.” The piano carries a slowly moving melody full of tenuous, painful feeling. Steady string sounds move while airy noise flutters and bass depths grow into a massive current. The piano repeats an evolving pattern, forming a compelling hypnotic line.

Bright, high synth glimmers in the distance and the low end of the track is full of strength and weight. Swirling, dense sound fills the background as full notes buoy up the delicate piano and the music fades into quiet.

“Fear of Public Opinion” starts as flashing, cascading synth full of intense brightness carries quickly varying arpeggios. A throbbing drumbeat comes in to drive the track forward with accelerative energy. Now the piano melody dances in, full of infectious motion and flickering light, while breezy sound floats below the interwoven piano notes. The steady drumbeat propels the gleaming piano melody.

Trickling chimes glisten above the flying piano as it spins out through the music. The main melody conveys a sense of dynamic forward motion as arpeggios whirl, hard-hitting drums pulse and sparkling synth accents flutter. Background sounds form a cloudy support for the piano. Twinkling chimes and warm chords add a pleasantly reverent, ethereal feeling as the track ends on the smoothly gliding melody.

Organ-like notes add reverberant feeling to “Fatigue” and soft, hissing sounds brush over the top of the organ. The bass depths are touched by worshipful choral synth as round-sounding, distant notes echo out into open space with a bending distortion.

The choral  synths are accented by medium-high synth that creates a glowing line. An oscillating sonic pulse adds texture and lush synths climb as the bass begins to throb underneath. The medium-high, gentle lead synth carries a melody that reaches yearning tendrils upwards as massive bass slips out below like a river.

Now resonant, deep sounds lift the music as extended chords tremble. There’s a hopeful quality to the rounded synth sounds that climb along with choral synths before the organ sound drifts along with a slowly sweeping wind into silence.

Conclusion

The Conquest of Happiness is an album that spills over with emotion, expression and a layered musical exploration of humanity. Fabrizio Brugnera and Man From Mars strike me as a thoughtful, skilled composers with a unique sensibility.

Manhatten - Specific State

Review by Karl Magi

Overall Album Impressions

Manhatten’s Specific State is a lusciously layered, airy and intricate musical journey. Rich bass, strong percussion and varied synth sounds mingle with beautiful melodic moments and a gliding feeling to create relaxing, engaging music.

Layer upon layer of sound wash and flow together through Specific State. Manhatten draws from a deep, broad selection of synth sounds and lays them down like a painter building up an image from many different paints. The tones, timbres and textures all interact in fascinating ways that keep my ears well engaged.

Despite the gauzy, summery sensations that permeate Specific State, percussion and bass still plas a crucial role in the overall musical picture. The drums have depth and weight to them and a series of other percussive elements create additional layers and sonic interactions. Undulating bass waves buoy up the other sounds on the album and carry them in an easy flow.

I also want to mention Manhatten’s melodic writing on the album. He has crafted gem-like, delicate melodies that soothe and sometimes hurt a little. As the melodies run throughout the tracks, they weave gossamer threads to enrapture the ears and touch the heart.

My Favourite Tracks Analyzed

“First Steps” opens as far away, open-sounding synth carries a dynamically shifting melody over a steadily gliding beat. The string-like, medium high synth accents hollow, pipe-like sounds carrying a gently uplifting melody over the steadily moving drums and deep bass.

There’s an ethereal, summery ease that draws me in as pipe-like synth flows through and softly shaping drums move underneath it. The track moves into a breezy segment with short drum bursts and elevated, nasal synth drifting through.

The light beat is accented by intertwined string sounds and panpipe synth singing out a fragile line as distant sounds tumble through the music. Airy synth frolics gently as full sounds climb around it before the track easily flickers into silence.

Twisting, scraping sounds start off “I Know” followed by a swirling, distorted, balmy synth cloud flows in pillowy notes. A distant voice moves before solid drums pulsate below pipe-like notes that slide out into the music. The drums have an uneven motion and the misty, delicate background is broken by trembling pipes.

Bending, flute-like synth carries a hazy and caressing line out over the stuttering drums and vibrating bass throb. Fluting synth glides along through the intertwining sonic whorls to create a calm soundscape. The panpipe’s hollow voice gently drifts along with bright flute-like notes shivering out into the unctuous background as a distorted voice calls out. The music has  a settling and fragile feel as the track ends.

“The 808 State We’re In” begins as dense bass and heavily pulsing drums are joined by xylophone notes tapping out. Weighty bass shifts as elevated notes wriggle and clapping percussion trembles.

Bendy sonic blocks move along with the woodsy xylophone’s clacking and extended notes echo out as creamy bass moves far below them. Natural sounds cry out and the distant, indistinct vocals also shift while the drums stutter and the thick bass undulates. A high, fluting sound flows through in a vaguely melancholy line that I find touching.

Xylophone shimmers with a brittle sound and mingled, interlinked notes wash through. The drums shake and flutter while the echoing vocal sounds also wander past. Solid bass underpins a tumbling sonic cascade as night sounds end the track.

Vibrant, round-sounding panpipe synth opens “In The Name of Love.” The lead synth carries a pleasantly heart-warming melody full of aching feeling as the massive drums burst and pulsate. The repeating melodic pattern is cut by elevated, string-line notes before a medium-high, resonant synth takes up the caressing melody.

A tambourine adds more percussion as disembodied voices flow past. The melodic pattern washes out and comes in again on breathy panpipes as the hard-hitting drums have a wide feeling as they burst into the music.

A hissing rush moves and broad, medium-high synth carries an enfolding melodic pattern. High chimes double the lead synth while the vocal flow bends. The track ends, washing away into silence after a gigantic drum burst.

"You Showed Me” comes to life as medium-high, gleaming synth and ringing chimes slip through in a gentle line as the bass oscillates. Full-sounding, glittering synth carries a smoothly touching melody that shines out over the easy-going drums and upwelling bass. I find the melody engaging in this track.

Tender light glows from the lead synth, elevated and shimmering, while the drums grow in strength to match the bass pulsation. Raised synth carries a bright, warming melodic pattern that trickles through the music over the bass depths far below. A robotic, distorted vocal sound that moves with the full main melody and out into silence.

A single, resonant bell rings out before wide-sounding, bursting drums and a hazy bass throb move to kick off “Try So Hard.” Elevated, flashing synth flickers and distorted voices briefly move into the track. Breezy panpipes carry quickly leaping, feather-light notes over rich bass. Entangling, circular synth winds distantly through as the bell rings, digital sounding bass rumbles and piercing synth glitters.

Wide drums burst and misty bass intertwines as bells ring out to accent the glowing synth.  The panpipes flow out with a summery ease that I enjoy over the glowing synth light around them. Bass density washes in waves and medium-high synth calls out with a gentle touch before one final bell rings and silence falls.

“Building  A New World” begins with a hissing, distorted bell tolling as undulating bass waves ripple. A jumping bass line and metallic percussion form a shaping pattern as whorls of medium-high, lush sound drift and deep bass cascades.

The drums propel the music in a slightly broken pattern as angular bass drives on. Metallic percussion adds a brittle element as a distorted voice briefly twists as the warm pastel of the background wraps around itself.

Dense bass wanders far underneath as reverent, tremulous synth glides in an enjoyable line. Broad, more powerful, medium-high synth sweeps as gruff sounds shiver and rise. The drums keep moving as the creamy mid-range synth adds an open-voiced feeling before the music fades.

Conclusion

Specific State is an album that calms and glides, while still possessing a strong percussive heartbeat, powerful bass rhythms and some beautiful melodies. Manhatten has spun off in a new and interesting direction with this release.

D r e a m k i d - Dreamkid

Review by Karl Magi

Overall Album Impressions

Dreamkid’s self-titled album explodes with the distilled essence of retro sound, refined into a cocktail of well-produced music with intensely felt guitar performances, strong vocals and a synth tapestry that bursts with energy and melodic depth. The end result is a neon and pastel hued journey through the emotional complexities of life.

One of the defining factors of the album is Dreamkid’s guitar chops. He delivers intricate, energizing and emotive performances that see his guitar fly and howl, dancing through well-crafted solos and propelling the album forward. There’s a high octane exuberance to his playing that galvanized me.

Another reason I am drawn to the album is Dreamkid’s vocals. They are full of power and life, expressing strong emotion and imbuing the songs with a heartfelt feeling. He captures the emotional depths of his lyrics within his voice and delivers them with conviction and presence.

There are lush synth layers that build up throughout the music, giving it depth and detail. The overall synth palette is full of ear-catching variety and interesting contrasts. When one adds Dreamkid’s ability to write melodies that increase the expressive nature of the music, the end result hits home with a mixture of retro sound and crystal clear modernity.

My Favourite Tracks Analyzed

“Restart” opens with the sound of rain and a cartridge going into a console. This soundscape is joined by creamy smooth bass swirling below and slowly turning, medium-high arpeggios circling.

Gruff synth bursts quickly in angular motion as an elevated string-like sound intertwines with it.  Dreamkid’s full, expressive vocals chant out over the massive retro drums, adding a unique touch. Sparkling synth light shimmers along with 8-bit digital sounds and slow arpeggios spin. Creaking, sharp-edged synth pulses cut through while fragile sounds swirl.

Gigantic drums batter while Dreamkid sings, “Screen on, all night, locked in, feels right. Round one, game on, hold tight, street fight” Now his guitar cries out with heartfelt emotion in a yearning, dreaming melody.  Higher synth flashes in to bathe the track in starry light before it ends.

Glittering synths ripple rapidly over an oscillating bassline far below them to commence "Broken Heart Airlines.” Full-sounding, medium high synth drifts in repeating, melodic patterns before hard-hitting retro drums add guiding motion over bass oscillation. The drums propel the music with deep power as the bass keeps undulating and flashing notes dance. Raised, cosmically spinning arpeggios and trickling xylophone fall through the music over the weighty drums and solid bass.

After a drum fill, cascading, shimmering synth tumbles down over low end weight. Tight, high synth sings out a glowing melodic line over the bass oscillation and glassy lights gleam and a pipe-like synth cries out in an airy voice. I am drawn to the chest-thumping drums as the bass throbs and the higher notes add lambent shine to the music before it fades out.

“Revenge Boy” starts as wide, lush arpeggios slowly move over undulating bass and a quick pop of distorted pipes adds a bouncing quality. Dreamkid’s voice bends in before the main vocal melody moves in jumping lines. The vocals are strong and expressive as the drumbeat and bass oscillation drives on, accented by an energetic thumb piano-like sonic flutter.

Dreamkid’s vocals capture youthful energy and a sense of action. A guitar solo wheels out and flies upwards with boundless dynamism. Leaping drums launch the music forward again. The vocals have irrepressible liveliness that I find enjoyable. Quick, glimmering notes add a sparkling ease to the song. The guitar cries out again in twisting, quicksilver motion over steady drum drive.

Solid, oscillating bass keeps the song moving forward while the angular guitar arcs in slightly choppy lines. The chorus hits again, flying out as the beat pushes on. Crystalline synth bounces and gleams as a drum fill hits and the wide arpeggios twist over the beat and out into silence.

A song of loss, triumph and a little bit of revenge unfolds as the narrator talks about how “she’s looking good” but feels the disappointment as “God damn she’s back with him.” He goes on to point out that the new boyfriend took a swing at him on the last summer, but “every dog will have its day."

In the chorus, our narrator reminds him that “it’s time for your revenge boy” because he owes it to himself. He adds that he’d better have his way because “you gotta do what’s right. Stand up, own the night.”

Now there’s a “fist pump in the air” along with “cold looks” from sidekicks” because it’s “time to show all who means business. One chance is all you get.”

Thunderous bass pulses as wide, hazy synths slowly spin out and whispered voices move to begin “Fatal Attraction.” Flashing chimes ring out with shattered glass sound over the hammering bass as Dreamkid’s vocals flow out, full of power.  Intense toms add weight as they charge into the music along with an orchestra hit. The vocal melody is mysterious and lightly gleaming synths accent it.

The drums drop out over a pastel synth swirl pierced by laser-like sounds as the massive drums heave below as orchestra hits split the music and flickering chimes add lustre. Dreamkid’s voice fills the sonic space, effectively capturing the lyrics’ dark lure. Bass rumbles with surging energy and ethereal voices echo into open space.

Now glittering synth lights flare and the vocals call out, Guitar arcs in a flying line as the vocals fill the music with emotion and strength. A dynamic guitar tide washes through the music as the track ends.

Our narrator talks about a woman whose “eyes point like a loaded gun” and when she has you in her sights, her plan will be put into action because “she’s hungry like a wolf.” The narrator warns people to get away and adds that “you better know the reason why she wants you.” He points out that she’ll upend your life and send it off like “a rollercoaster into darkness.”

The narrator says that she’ll “lure you in with her cherry lips” and her poison tastes sweet. He says she’s “like a panther to its prey” and no one can escape. He likens her to a “python wrapped around your neck” that will pull you down. He warns everyone “don’t be fooled by her deep green eyes, they distract you from the lies.”

“Game Over” begins as dense bass forms a gargantuan underpinning and airy sounds sweep as slowly descending synths glow. Metallic chimes carry undulating arpeggios that move in waves to add tension as huge bass floats. Chanted, distorted vocals repeat “life isn’t always like the movies, even though we want it to be” as trembling, delicate synths flow in pink clouds.

Drums burst in a dynamic line as broad, darkly pulsating synth and angular sounds intertwine and bounce. Twisting, bright sound shifts as the razor-edged bass and massive drums collide. Tense, elevated notes slowly fall through the music, delicate in contrast to the hard-edged bass.

The guitar moves slowly, doubled by chimes as wind sweeps. Colossal drums and broad, unevenly pulsing bass propel the music. Again the guitar leaps out, full of infectious energy as it whirls. I remain impressed by Dreamkid’s guitar chops as the album unfolds. Drums hit hard, the guitar gruff and full of potential energy while a worried arpeggio spins before the track ends.

The sound of typing is hit by all pervasive, heavy bass that swells out along with a tapping hi-hat and a tense snare to start off “Officewave.” A voice answers a phone and a slightly unsettled  arpeggio ripples in before slap bass adds funky flavour and a hollow drum keeps tapping.

Glimmering, slowly shifting synths tumble down in flickering interlocking lines and a bouncy, medium high synth plays a quickly moving pattern, adding exuberant life to the music. Rounder synths fall in over the rapidly thudding drumbeat and slap bass. The track bursts into jumping, metallically ringing synth repeating a sharp-edged pattern as full, glowing synths circle below and the endless drums keep hitting.

After a drum fill, a worried-sounding arpeggio twists above the yawning bass chasm below it.  Guitar slowly echoes out and after a windy sweep, a metallic synth bubbles over the drums and unfolding slap bass.

“Hearts Don’t Beat The Same When They’re Hurting” begins as far off, quickly spinning arpeggios dance out over oscillating bass and the drums slam in. Dreamkid’s aching, echoing voice flows out over the pulsating bass and colossal drums.

The big, bold retro beat is cut by splinters of gleaming synth as the vocals ring out over the propulsive drums. Flickering chimes sparkle and arpeggios keep whirling as the song flows into a smoothly gliding section split by quick diamond light. Dreamkid imbues his voice with deep feeling and retro sound in a way I find quite pleasing.

The drums and bass form a heartbeat as glassy lights shimmer. Circling arpeggios add shape and the drums’ heavy presence is undeniable. A soaring synth solo twists through to add a yearning feeling as distorted voices pop and gossamer light shines.

Heartbreak, bitterness and loss fill the lyrics as the storyteller says that he hasn’t heard from the song’s subject for three weeks and asks if he was nothing at all to that person. He says that the other person has moved forward while he’s still sitting there. He adds that he “can’t get my head around how you played me like that” and easily twisted his arm.

Now “this drink and sunset are the only things holding me” because “hearts don’t beat the same when they’re hurting.” The storyteller points out that they are still “young and learning” as they play “vicious games.” He adds that sometimes he can't get up "when everything is so damn fucked.” Our narrator concludes that he probably didn’t mean much to the other person and remembers “the way you looked last time, your black Ray-Bans and that dead smile staring back.”

Resonant synth smoothly glides in waves as a distant siren cries out along with a police radio to kick off “The Fugitive.” Feather-light, warm synth wanders and sparkling chimes fly out as the big drumbeat and throbbing bass move the music forward. Chimes add a rippling glow as the main melodic pattern creates a sense of motion carried on a shining synth.

The retro drums have serious weight to them as broad, bell-like synth carries an uplifting melody. Dreamkid’s guitar soars out in a hopeful, encouraging melody. Luscious, shiny synth flashes with animated light and the giant drums push the music onwards. The guitar unrolls into the music, lifting it up with inspiring energy.

The track breaks into glittering, bell-like synth floating over top of seriously dense bass. A slower, reverberating beat thuds out along with a tom fill as synths like light on aquamarine water rise.  Dreamkid’s passion-filled guitar helps guide the track to an end.

"Night Ride” Lost, distant drums have a muffled beat that grows along with lambent arpeggios and a solid, throbbing drumbeat along with a steady bass flow. Dreamkid’s voice is full of dreaming hope, a nostalgic yearning for what can never come again.

The drums and bass are a heartbeat as the vocal melody mingles wistfulness and affection. Quick, glowing synth motes flicker through and the hard hitting drums and bass keep moving the song onwards. Dreamkid injects intense emotion into the words as the percussion thunders on.

Metallic synths glimmering with gentle ease before the guitar slices in, singing out a melody that reaches for the sky. I enjoy how the guitar brims with desire and melancholy, all intertwined. Sonic layers build up as the song ends, filling it with richness before fading on the rising guitar and feather-light chimes.

Our storyteller’s regret is clear as he says that if he could do things over “we may be still more than friends.” He adds that he tried to repair what was left and points out that “if I could go back in time, I would.”

The narrator talks about how he’d take the song’s subject on a “night ride” like the last time with “your face reflecting car lights” and like the last time he wants to “make us feel right, tonight.”

The storyteller is asked to see the other person’s point of view “before it all falls through.” As the song concludes he asks why the song’s subject had to leave and ends by saying “if I could go back in time, I would.”

Conclusion

Dreamkid’s debut album comes charging onto the scene with energy and conviction. The way it mingles pin-sharp production, emotional expression and a rich musical tapestry results in an excellent first effort. I was transported down the neon streets and through Dreamkid’s auditory world on a thoroughly enjoyable ride.

Sotoyoto - Other Words For Dusk

Review by Karl Magi

Overall Album Impressions

Sotoyoto’s Other Words For Dusk is a work of intense complexity and instrumental depth. It carries listeners on an intricate, multi-layered sonic journey through moments of dark sorrow and soothing peace. Sotoyoto interlaces his complex synth palette into lush, shadowy and delicate soundscapes that unfold in emotive lines.

Sonic richness is a signature of Other Words For Dusk and all of the fascinating sounds combine to paint strong auditory images as they interact in multiple ways. There are trembling strings, mournful woodwinds and indefinable sounds that evoke a vast range of emotions and aesthetic responses as Sotoyoto thoughtfully layers them. The end result is captivating and intriguing in equal measure.

A keen ear for musical contrast also sets Other Words For Dusk apart as an album. Sotoyoto works at juxtaposing moments of beauty and light with more shadowy and unsettling experiences. The way in which these differing elements interact results in a tapestry of sensations and images. Those feelings deepen the auditory storytelling to be found throughout the album.

My Favourite Tracks Analyzed

“Wanting To Fly” begins as distant, lonely sounds are joined by a smooth, delicately flowing synth swell that rises in the background. Wind sweeps through the track and soft metallic chimes float as ticking sounds also sprinkle into the music.

I enjoy the creamy sonic tide that glides like silk through the track as deep, slowly shifting bass wells up and drifts through the music. Gentler, higher sounds become an easy going float that sends relaxation through my body.

A slowly unfolding, gruff bass sound opens “Ambition.” The bass quickly moves into sweeping chords that plane underneath medium-low, easily breathing synth whorls that glide above shadowy depths. Round-sounding, lingering synth notes move over the undulating depths far below the raised synths.

The music creates  superb impression of aquamarine waters. Massive and tidally powerful bass rises as reverent synths weave into subtly uplifting notes.  An airy rush moves over slowly trembling synth that trails tendrils out over the rich upwelling of medium-high sound.

Reverence and peace pour from the gently interwoven synths as majestic, extended chords add sweeping power to the music. Higher sounds stream out through the music as vocal-sounding synths increase its reverent feeling. Deep peace and shadow touches the music as it ends on breathy air and watery float.

“Ghost In The Gong” starts out as gently swelling synth glows and a rich, woodwind sound floats out. Softly twinkling chimes and a steady, crystalline tapping also accent the music. The airy breath of the woodwind synth has a pleasing caressing feeling initially, but grows more uncomfortable as it evolves to create interesting contrast.

The glassy tapping sound is a constant, far away presence. Underneath the other elements, bass rises as pipe-like synth adds a twisted feeling. A high, steady sound adds to the vague unease produced by the trembling synth. The woodwind synth has resonances in it that are not reassuring.

Delicate, distant tapping contrasts with the hollow, pipe-like sound while bass rumbles and rushes like wind through a cavern. Vibrating, rough sounds add another layer of complexity to the music, while the pipe-like synth taking on more uncomfortable resonances. The track's cavernous low end of the track yawns wide before silence falls.

Extended, elevated sound echoes out into space in a metallic-edged drift to commence “Labotari_A.” Thin synth drifts as massively heavy bass drops in below it along with a steady, medium-high sound that grows out into the wide sonic planes around it.

A lost, piano-like note briefly sounds as resonant bass adds more weight to the music. Higher sounds stream off into space like vapour trails behind a comet. The low end of the track has a cosmic majesty to it that I enjoy as ethereal synth moves with a diaphanous breath around it. Gigantic bass rumbles far below to lift the other auditory elements. A sense of vast, velvety blackness pervades as chiming notes play a melodic fragment with melancholy through it like a fine thread.

Soothing breezes sweep as forlorn, metallic notes hover and a towering wave of powerful sound adds immense depth. The rumbling bass tide sweeps the track out along with the elevated synth's floating emptiness.

“The Starmaker” starts off as fragile, string-like notes and an ethereal vocal sound drift in. Darkness and distant pain tinge the music as feathery synth moves in waves.  A xylophone tremulously plays tender notes while the faint hint of something worried adds a nice contrast.

Smoothly lapping, string-like synths add a fluttering feeling while dense bass wells up with shadowy power and synths reminiscent of contrabass and cello add a woodsy depth. Vocal sounds combine with a minor key twist to introduce a vaguely unsettling feeling before soft wind sweeps the music away

Smooth, feather light synth glides out in softly touching notes that move through “Hakub” with a trembling touch. Clarinet adds lush depth and nasal roundness to the music as a higher sound intertwines with it. The low end has the dark tones of a bass clarinet moving in waves that shape the music. There’s increased tension as shadowy sounds surge and intersperse with more tentative sections.

Reverberant strings create a rapidly dancing pattern, imbuing the music with propulsion. A hammered dulcimer sails in, playing a melody full of evolving drama and sparkling motion. Woodwinds and strings create a textural energy as brushing percussion adds more motion. Rapidly, lusciously rippling piano adds another sonic layer, the interwoven notes full of a constantly dancing life.

A darbuka or similar type of drum taps in and elevated dulcimer sounds trickle high above. Intricate strings are cut by bright trumpets and massive bass rises below the shimmering, interlacing higher notes. The percussion has drive as cello adds angular motion. The densely interlocking complexity of this track captures me and draws me in.

“White Flame Pyre” opens as wobbling, droning synth moves through while winds blow and deep bass vibrates. Medium-high, gruff edged synth wanders in a mournful melodic pattern as digital sounds shiver in flickering lines. Deep bass with a round sound rises to support the other elements.

Now a poem is recited, a poem written by Sotoyoto. The poem’s beautiful imagery unwinds in a recitation by beat poet Meh Toole. While the depths swirl and rise, dark notes with a mournful feeling lend more weight to the music as rippling synths scamper through. A solemn bass sound gives strength to the low end of the track, as sere winds guide it into silence.

The imagery and wordplay in the spoken word part elevate this song. The narrator talks about how the “white flame burns bad things” and lyrically describes it in phrases like “turns mourning into dusk” and “lingers long like lovers after lust.” Our narrator talks about the fire between our head and our heart, describing it as a “white glow burning powder-ashed & tinder-piled.”

It results in the things of sadness becoming “cinder riled.” He says that when the white flame burns “everything must go, even things you’re scared to know” and the thoughts never to be shown. The storyteller ends by talking about performing a ”hurting throw of stacking ills to set alight and burn on white flame pyre.”

Rough, twisting and wide-sounding synth grumbles in shifting lines that move into open space to kick off “Saddest Hill.” Higher, melancholy sounds ring out in the background, slowly moving into prominence as the gritty soundscape growls beneath them. The music is evocatively aching and full of forlorn feeling as the richer synth chords add depth.

There’s a pained sensation here, tempered by something soothing. Despite gruff edges, the underlying warmth of the notes leavens the tragic sensibility of the music.  Intertwining synths create microtonal moments as they move. There’s a melancholy yearning permeating the music ending on one long, majestic chord that fades to silence.

Conclusion

I’ve come to view Other Words For Dusk as a symphonic work. It goes beyond ambient music into territory that I’d associate with Romantic composers from the perspective of creating sublime music. By sublime, I mean the sense of a terrible beauty that is both awe-inspiring and emotionally challenging. I have been mightily impressed by what Sotoyoto has done here. To learn more about, Sotoyoto visit him here.