Manhatten - Is This What You Wanted?

Album Art by Becky Oakley

Review by Karl Magi

Overall Album Impressions

Manhatten's Is This What You Wanted? trembles with deep emotion as it tells a dramatic, pained tale through layered synth sounds, Mayah Camara’s powerful vocal performance and an atmosphere that hurts and hopes. This album further intensifies Manhatten’s unique approach to synth-based music.

All of the many synth sounds on Is This What You Wanted? imbue the music with a tender, pained and emotional quality. There are sparkling synths full of coruscating light, smoothly gliding synths like liquid chocolate and jazz organ-like sounds with a suffusing glow. Along with solid bass and clean drums, the overall effect captures the emotional tenor of the album’s concept.

Mayah Camara is one of the most soulful, expressive singers on the synth scene right now and her work on Is This What You Wanted? captures the feelings that permeate the album. Her mixture of emotion and vocal range deepens the melancholy atmosphere that radiates from the music. I feel that she was an excellent addition to the album.

The drama, intensity and sweeping feelings of the album’s atmosphere suit the thematic approach that Manhattan has taken to the music. All of the elements pour out high levels of feeling and capture me with the heightened passion that permeates every part of the album. I find the end result deeply engaging.

My Favourite Tracks Analyzed

“Is This What You Wanted?” comes to life as shimmering arpeggios twirl easily through softly sailing background sounds. Solid, actively moving bass pulses with rich depth underneath the rippling arpeggios. A wind sweeps through as steady kick drum and bursting snare move in.

Ethereal, open synth carries a serene melody above dancing arpeggios and guiding drums. Medium-high, flashing synth carries a melody beautifully mingling longing and tenderness while the bursting drums shape the track. Light arpeggios continue to intertwine above rebounding bass and lush sounds swelling in the background.

Gleaming chimes delicately float through the music. Drums add strength and bass keeps the track moving as the trailing chimes move with ease. Broad, shining synth trumpets out with wistful, caressing tendrils while hollow pipes glide and bass rebounds. The track ends with a shocking gunshot.

A smooth radio announcer on a late night call in show talks about “You Know Who” and what she’s abut to do to Mr X as “Tellin’ Lies” commences. Splashing snare drum hits hard along with solidly pulsating bass in a groovy beat.

Mayah Camara’s vocal is gliding and a little distorted as it comes in. The vocal melodypleasingly mingles energy, passion and pain as chimes sparkle around it and the drumbeat and dense bass propels the music. Mayah Camara’s voice has a broad range and strong expression as the hurting melody slips through.

Drums groove in, driving the music on, along with dynamic bass. Chimes shine out in fragile lines above Mayah Camara’s emotional singing. Now the chimes drift with twinkling ease above steadily pulsating drums and bass. The song ends with silky vocals flowing out.

“You've broken the foundation of this thing we tried to build” captures the narrator’s feelings about the broken relationship in the song. She says it’s like a house of cards and she is frustrated and unfulfilled, adding that "it's just not meant to be so hard.”

The storyteller tells the other person she’s in love with them and that there’s “no one above you. She has that person on her mind all the time.  Now she asks them not to lie to her because she needs them, loves to please them and won’t leave. She concludes, “I don't believe the things you're saying. Why do you lie to me?”

Her “patience for this show” is running thin and she tells the song’s subject that they’re wasting her time. She feels that “you've gone so low, I hardly know.” She points out that she’s not about to take the other person lying to her which is where they made their mistake. With disgust, she talks about the disgrace of how “you tried to erase the evidence of her in my place.”

Now the narrator is going to show the song’s subject the door because “I've taken as much as I can endure.” She wonders what this person takes her for and ends the song by asking “How could you look me in the eye, and feed me with these lies?”

“Suzi (Been Dreamin’ Of Your Lovin’ Lately)” starts off as tender, slowly growing synths slide in above a distinctively bouncing drumbeat and rich bass. Gliding and enfolding sounds shift above rebounding drums and pulsing bass. Now fragile, glittering chimes delicately trace through the music.

Crystalline synth sparkles broadly above reverberant bass and snapping percussion. Twinkling, starry synth flickers above deep drums and solidly underpinning bass.  I enjoy the way in with the elevated synth creates a tenuous and lightly touching feeling. Wide-sounding, intensely shining synth rises above bouncing drums in cascading lines.

High above the other sounds, a gentle glow gleams from raised synth as tranquility pervades the music.Clapping percussion adds shape below gossamer synth, shivering with soothing melancholy. The track ends on bell-like jazz organ and delicate chimes over lush bass.

A classic retrowave drumbeat comes from behind a door and as the door opens “A Lover & A Beauty Queen” begins. Punchy drums and a  bass oscillation underpin intermingling, medium high synth as it flies out. Rounded synth ripples in effortless arpeggios that create an excellent contrast with the wider synth's sharper edges.

Cutting, glittering synth dances above steadily moving drum and bass propulsion while tom hit drift by in the distance. Radiant lead synth is touched by warm strings that add a caressing feeling. Underneath it all, drums and bass guide the track as the flaring synths arc upward.

Quickly undulating, full-sounding synths trickle over bass drive and drum throb to touch the ears. The string section sings out with affection as glowing arpeggios whirl in the distance. Drums and bass end the track along with synth flares and trickling chimes.

“Answerphone” commences as an answering machine tape engages and mistily rolling synth breathes easily. Drums throb in easy going motion as distant, echoing synth softly carries a dreaming melody that’s full of longing.

Dense, serene synth chords add depth as they slide through the music. Open-voiced, rounded synth carries lightly brushing notes as gleaming jazz organ adds light. A subtle, pastel haze fills the background with a wonderfully calming feeling and a peaceful air.

Jazz organ with a clean brightness shifts above bass waves that add support. The voice message wanders and sweeping percussion adds more form to the ethereal sense of peace that permeates the track. Whistling synth creates an airy feeling, above the background’s pink clouds.

Distantly pulsing flowing synth moves before the sound of a rumbling engine opens “Drive Angry.” An easily moving drumbeat supports luscious, full-bodied jazz organ carrying cosmically drifting chords over undulating bass. Bursting drums give guidance above the oscillating bass pulse as the relaxing, easy-going melody flickers with a mournful element.

Bell-like jazz organ sound sails elegantly through the music with a soft glow. After a drum fill, there’s the sound of an old phone while choral voices echo. A deep voice is cut by a guitar crying out with an emotive melody, full of yearning and deeply felt ache. The track ends on unctuous organ and gentle choral sounds.

“Run Away (With You)” effectively washes my tension away as warmly chiming synth chords drift in. Mayah Camara’s strong but tender voice carries the expressive lyrics as shimmering chimes ring above the jazz organ. Pulsating bass shapes the music while the synth glows hazy lavender light. Raised notes sparkle as wide-sounding drums touch the song.

Jazz organ plays full and caressing chords while Mayah Camara emotes in her inimitable style.  Dense bass rebounds while chimes flit through the music. Mayah Camara has the ability to capture a wide variety of feelings in her touching voice. Percussion breaks through and ethereal high notes dance above the bass before the song ends.

Our storyteller talks about how the other person makes her want to "run away with you, stray with you, play with you and do the things that are wrong.” She adds that she wants to “turn up the heat with you” when they’re alone.

She recalls lazy warm days with the other person, saying that they are on her mind but “it's not right coz I'm with someone else.” Our narrator wants to be in another place with the object of her affection.

“You found a way under my skin” is what the storyteller says to the song’s subject, telling that person they made it past her defences so she “just went with the flow.” Now she feels that she should have said no since “now I wanna go to be with you.”

She has “caught feelings for you” and wishes she hadn’t fallen for that person. Her mind runs over with thoughts of them because “you make me wanna do the things that I shouldn't do, but it feels so good.”

Slowly spinning, metal-edged arpeggios whirl as sirens cry in the distance to kick off “Blues and Twos.” The arpeggios wind out and growing bass rumbles far away as very high, trembling synth carries a roaming melody full of hurt.

Dense waves of bright, broad synth wash behind it and solid bass rumbles as bells ring out. Rough-edged, medium-low synth slips in pained motion. I am drawn to the way in which the caressing arpeggios keep intertwining as the gruff sounds below mingle into a long flowing motion. Tentative, feathery synth cries out in the far distance and the sirens fade into quiet.

Conclusion

Is This What You Wanted? is full of intensity of emotion and rich tapestries of synth sound, mingled with impassioned singing and songwriting from Mayah Camara. The end result is a journey through an expressive tale of love and loss.

Terrordyne - The Dead Will Walk The Earth

Artwork by Monster Mark

Review By Karl Magi

Overall Album Impressions

Terrordyne’s The Dead Will Walk the Earth shambles, growls and throbs with terrible portent and deathly terror. This is music that is shrouded in mist and shadow, underpinned by churning rage and awful hunger. Terrordyne creates a dark atmosphere through interlinked synths, dominating drums and crushing bass. I enjoy the unrelenting sense of terror that permeates every bit of this album.

Atmosphere is an integral aspect of why The Dead Will Walk The Earth works as an album. Terrordyne has woven an atmosphere rife with fear and danger by combining absolutely overwhelming bass and assaulting drums with synths that snarl, howl and sometimes ache. The end result is an album utterly drenched in ravening hunger, shadowy power and touched with moments of tragic emotion.

Terrordyne’s musical collaborators on the album, Dan Dave Larson and LordNikøn bring their own musical sensibilities to bear in a way that deepens the overall quality of the music. They have musical visions that are compatible with the overall feeling of The Dead Will Walk The Earth, but in a way that increases the creative cross-pollination in the music.

Another element to The Dead Will Walk The Earth that is effective for me is the way in which Terrordyne strategically deploys musical contrast on the album. The rage, fear and evil hunger that fill the music are occasionally touched by moments of tragic emotion that tremble delicately. The intensity of the contrast between sadness and shadow makes those moments especially powerful and touching.

My Favourite Tracks Analyzed

“VI” starts off as harsh, rough bass slices and distant voices echo as blaring synth winds out. Sawing, trembling synth sweeps and metallic noises reverberate through the music. The whispering hissing and sweeping introduction superbly sets the album’s mood.

Rounded, digital-sounding synth echoes out in a quickly flickering melodic pattern to create tension as “Source Code” opens. Wind sweeps as a broad drum bursts before worried, hollow synth tumbles through the track. Weight drums pulse as tense chimes ring out and jangling, interweaving synth seethes in angular motion.

Shadowy, resonant synth shifts to form a portentous, slowly evolving pattern over slamming drums and bass. Flashing synth flows in an aching melodic pattern that effectively contrasts with the shadowy feeling in the track. Agitated, expanding synth slices in bursts as a growling bass void opens below it.

Haunted, medium-high synth shivers along with flickering chimes and snarling bass. Drums tap with fiercely rushing speed before a heavy, pounding drum and bass motion shoves the track forward. Technological sounding synth shifts in threatening, razor-edged lines as growing dread permeates the track. Massive, medium high synth towers into the music in extended chords before the track ends.

“The Dead Will Walk the Earth” begins as orchestral synth trembles in string-like lines above an utterly overwhelming bass pulse. A demonic voice rumbles and smashing drums and hammering bass slowly throb as sharp sounds rattle into the music.

Elevated, shining synth trickles in nervous lines above echoing voices, crushing bass weight and brutal drums. Writhing synth traces spectral tendrils as flickering sounds scamper past. High synth echoes above vast, guttural bass, turning the tension up further. Above the bass, taut synth wriggles pleasingly in tangled skeins. Bass splatters and vibrates with lacerating effect as the track ends

Raging bass assaults the ears as a high synth howls in warning to open "Year Zero.” Solidly smacking drums create a shaping beat above angry, massive bass as a series of terror-filled, raised synth notes fall through the music. Drums and bass form an urgent, snarling pulse that pushes the track on.

Elevated, trumpeting synth rings out in a fearful melodic pattern above slamming bass muscle and guiding drums. Melancholy synth roams before the drums and bass alone brutally, effectively punch the listener in the chest. Nervously trembling arpeggios flow, carried on a high, brittle synth above the ferocious depths far below. The percussion and bass have a jumping heft.

Medium-high, gleaming synth that creates a melodic pattern that cries out in pain.  Raised, flashing synth calls out in ever more lost-feeling notes. Below it the other elements, drums and bass charge on with terrifying power in contrast to the melody’s ache. Glowing arpeggios guide the track to an end along with flickering, raised synth

“Void” commences as slowly descending, swirling synths with a sharp edge flow as a brassy, raised synth trumpets out bright but troubled notes. Slowly heaving bass and throbbing drums add shape to the track.

Minor key, horrified sounding synth bursts out in hectic motion, anxious above gigantic bass and slowly pounding drums. Raised, razor-edged synths mingle terror, pain and a sense of abandonment in a way I find compelling. Chimes ripple in agitated motion above the tremendous weight below them.

A voice echoes out along with Stygian bass and high chimes fearfully glittering. Tight, worried synths tangle above the leaping bass that batters along with steady drums. High synths exude terror as the surge below them fades to rapidly whirling arpeggios, keeping the tension ramped up to the end.

Pouring rain, cracking thunder and an ominous synth pulse start “Assassin.” Distant arpeggios whirl and crescendo as a tight synth cries out. Rain splashes in the background as synth chords form a smooth flow below wandering, lost-sounding synth.

Angular drums hit hard and steady bass flows as shining synth scuttles in quick bursts that skilfully convey creeping danger. Nasal-sounding synth drifts and a scream rings out. Organ chords tremble with ominous feeling above punching drums and rich bass. The music sails reverently as a pipe organ howls with bright worry.

Digital-sounding arpeggios dance in between choral sounds before drums speed and bass heaves. Sharp lines of cutting synth burst as scared-feeling chords move below. High synth writhes above a worshipful choir as unrelenting drums and bass smash in.  A string section adds a mournful feeling before the track ends.

“Legacy” kicks off as jagged bass rumbles demonically and higher sounds drift with threatening intent.  Drums form a steady heartbeat while elevated sounds cry out a warning. Drums crash into the track as the bass shudders heavily, forming a driving pulse that urges the track on forcefully.

I am drawn to the surging power that fills this track’s low end. Medium-high, minor key lead synth broadcasts danger and growing rage. Drums flatly smack into the track, bass growls with ferocity and low synth undulates with muscled energy. Twirling, medium high synths cascade in a pained, shadowed melodic pattern before silence falls.

Towering bass blocks rapidly throb as a wild voice screams about the undead rising to kill as “Dying Of The Light” comes to life. Stygian bass and colossal drums drive the music with horrifying power as full-sounding, medium-high synth carries a tragic melody. This melody’s gentleness forms a well-considered contrast to the dark power seething all around it.

Slashing bass rumbles and drums pound as fearful arpeggios circle. Tremulous lead synth carries the pained melody above the irresistible weight far below it. Once again, the contrast is heart-rending as the growing shadows threaten to overwhelm the light trying to shine through. The track ends on glittering notes drifting out into silence.

“Void (LordNikon Remix)” begins as broad, horror-filled arpeggios ripple above impossibly deep bass to effectively create creeping dread. Drums shatter angrily as they accelerate and bass lacerates.

A high sound drifts out while bass rends at the ears and huge drums burst. Another tensely spinning arpeggio adds a feeling of growing danger that ramps up the tension. Raised sound moves with an insectile skitter while indescribably low bass rumbles.

Quick, scraping sounds slip and the drums assault the listener’s ears while sweeping wind flows. The drums accelerate and wraith-like synth floats high above the cutting, tidal bass. Unsettled arpeggios twirl and drums broadly float above the rattling, immense bass underneath before silence falls.

Conclusion

The Dead Will Walk The Earth powerfully creates fear as it unfolds, capturing all of the existential dread of a zombie invasion in musical form. Terrordyne is a master of horror-filled synth music and I always enjoy hearing what he comes up with.

Michael E. Tennant - 1993

Review by Karl Magi

Overall Album Impressions

Michael E. Tennant’s 1993 is filled with musical depth and intricacy woven by wide-ranging synth sounds, strong melodies and musical variety. The balance of different sonic elements is well thought out as they interact to paint auditory portraits as the album reveals itself to the listener.

Synthesizers offer musicians a broad palette of sounds from which to choose, but the mark of a good synthesist is the way in which those sounds are used in combination. Michael E. Tennant combines synth tones, timbres and textures with an ear for unique and intriguing interactions. The sounds contrast smoothness with gruffness, energy with delicacy and light with darkness well. Each track has a distinctive atmosphere, while still fitting together well.

Melody is something about which I have an obsession and 1993 has interesting melodies in abundance. They are the sort of melody that evolves and contains within itself a series of emotions. Different feelings are created as the melodies unfurl and move through the tracks. I also enjoy the way in which each track may have primary and secondary melodies that interact with one another to create depth.

Atmosphere matters in each track of 1993. As I mentioned earlier, each track has a well-defined atmosphere and they are intensely portrayed by the interactions of many sonic elements. They capture mental imagery well, but as they all mingle they form a cohesive end result as a single album.

My Favourite Tracks Analyzed

“Nostalgia Trip” begins with hollow tapping into open space before a resonant drum reverberates and static hiss crackles.  Warm, trailing synth chords float and a metallic, round- voiced synth carries a melodic pattern combining ache and dreamy feelings as it shifts.

Nasal-sounding synth doubles smoother, more uplifting synth as it carries a livelier melody. Digital sounds echo above static crackling as gossamer chords expand. I enjoy the way in which the metallic lead synth carries the hurting, hoping main melody. A distant sound trembles above nasal-sounding synth drives the more energetic melodic segments.

Taut percussion throbs along with solid bass. A sitar-like sound twangs into the music as swirling chords lift the track.  The active melody sings out on mingled synth sounds and into silence.

Dense, resonant synth fills “Mind Alley Groove” with expanding, trembling notes as it starts. Gigantic drums hit hard and rich bass throbs while pipe-like, rounded synth carries a slightly aching melody. Ticking, metallic percussion kicks in as thick bass surges and twinkling synth forms a wandering pattern.

Wide-band, medium-low synth carries a pleasingly emotional melody, rising up above gritty bass depths as drums quickly rush. Chunky synth with a wistful quality carries the melody mixing uplifting energy with dreamy emotion. Pulsing, rough-edged synth oscillates and the melody is taken up by medium-high, glowing chimes.

An intertwining sonic wall moves behind the chimes as heavy drums hit. A nasal, medium-high synth repeats a brief melodic figure now. Thick, medium-high synth carries the melody as it explores varied emotional states. Underneath it all, the drums heave before fading out and the song ends on the lush synth weight with which it began.       

“1993” commences as wavering, thin synth slowly moves. Warm notes are contrasted with pulsing drums as razor-sharp, medium high synth carries a gently wandering melody. Roundly metallic synth carries the encouraging melody above broadly throbbing drums and flowing bass while angular synth accents slice behind.

Rich synth swells out carrying a wonderfully summery melody brushed by tender nostalgia. Gleaming, medium-high synth with a smoother quality alternates with the sharper-edged melody. Open-voiced, continually vibrating synth dances in an airy, oscillating line. A hint of roughness touches the lead synth as it carries a positive-feeling, nostalgic melody.

Unctuous, heart-warming secondary synth carries the melody out over the steadily guiding drums and trembling bass. Many sonic layers interact as before fading on thumping drums and vibrating, swelling synth that caresses the ears.

Bouncing synth with an eerie quality and a metallic twang shifts in open space to open “Soulflare.” Breathy, distorted synth carries a fragile melody backed by tender chords. Percussion throbs and trembling sounds move behind a rounded synth that carries the gentle melody.

Gritty, medium-high synth carries a secondary melancholy melody that returns to the enjoyably caressing, emotive main melody above thudding drums and flowing bass. Twisting, metallic synth wanders above soft vocal sounds cut by undulating, buzzing pulses.

An elegiac melodic segment is carried on rough-edged synth before the gliding main melody drifts in again. Rising, enfolding chords are punctuated by nasal sonic twinges as percussion throbs. The track ends on bending sounds and strong drums.

“Book of Memory” kicks off as a distant buzzing moves with volleying hang drum. The hang drum’s resonance moves above bursting, hollow percussion and ethereal sounds. Drums thud heavily now as dense, medium-low synth carries an active melody with an uplifting feeling and driving weight.

Lost-sounding, delicate synth carries a longing, melodic segment. Now a dense, broad-sounding synth carries another melody bursting with hopeful feelings. The drums grow quieter and lighter briefly before they gain strength. A melancholy synth melody unfolds as the thick bass and throbbing drums move below it.

Trailing, medium-low synth carries the main melody as feathery, raised synth carries the hurting secondary melody. The soothing synth that comes in effectively evokes the feeling of nostalgia. Twinkling, elevated synth intertwines with pulsing bass and tremulous high notes ring out. The “A” section melody returns, driven by pounding drums before the track sails into silence.

Taut, bright synth creates a slowly twirling pattern over hollow, deep drums and densely flowing bass to open “Something’s Out There.” Brassy synth calls out in drifting lines above a repeating, hard-edged note pattern and solid bass.

Full, slightly distant piano drifts in an aching pattern before gleaming synth carries the melancholy-tinged melody. The drums briefly drop out and a medium-high, glowing synth carries the floating, hurting melody above a background of choral voices. Hollow synth repeats a slowly evolving pattern above breaking, bursting drums as roaming digital notes create an angular pattern.

Gravelly, low synth carries the active, but wistful melody. I enjoy the contrast in feelings here. The main melody returns before a glittering, raised synth calls out. Low, pipe-like synth repeats a flowing note pattern before the main melody floats out again. The track ends on twirling, sharp-edged synth with a rich quality.

Conclusion

1993 is an album that lushly combines a unique, richly varied series of synths with strong melodic writing and tracks that exude atmosphere and emotion. Michael E. Tennant has the ability to make engaging, entertaining synth based music with an individual voice.

Blue Nagoon - Here Be Dragons

Review by Karl Magi

Overall Album Impressions

Blue Nagoon’s (Michael Maas) Here Be Dragons weaves together intense musical imagery, skillful vocal performances, intricate guitar solos and immersive songwriting to carry listeners on a deep musical voyage. The mixture of synth elements with genre-spanning songwriting creates fresh and pleasing music that sails across uncharted waters.

Sheer vocal magic fills the songs on Here Be Dragons. All nine of the guest vocalists bring flawless singing abilities to the music, along with their own unique vocal styles. The ability of each of the singers to interpret Michael Maas’ lyrics lends more emotion and depth to the words. I enjoyed hearing the sheer variety and quality of different singers on the album.

Compelling guitar performances are a defining feature of the music here as well. Michael Maas has a flair of playing his instrument and imbuing it with life and expression as he does so. His stylistic choices run through blues, jazz, metal and prog rock sounds as each song unfolds. I also want to give a shout out to Elevate The Sky for his superb solo on “Withernsea” as it adds a unique element to that song.

Rather than fixating on one particular musical style, Michael Maas has woven together layered synth sounds with a plethora of different influences that effectively combine to create a cohesive whole. I enjoy the fact that while no single influence stands out, all of the musical elements come together to create a characterful and enjoyable end result.

My Favourite Tracks Analyzed

“Hinterlands” comes to life as smoothly flowing sounds sweep into a brightly flashing string-like synth. The synth moves in a dynamic, uplifting melodic pattern over colossal bass. The throbbing retro drumbeat pulsates under swelling guitar. The driving beat joins Salissa Thole’s caressing, resonant vocals and the guitar is pleasingly full of positive energy.

The vocals are expressive as they radiate through the music and shimmering synth flickers. Michael Maas’ guitar cries out as Salissa Thole’s voice leaps over the pounding drums and guiding bass. After a quick digital flicker, the guitar flies out and matches Salissa Thole’s powerful, rich vocal performance.

The gleaming synth accents flash and the drums and bass press on as the guitar soars along with the vocals. The massive retro drums now fading into a misty, swirling moment before the full uplift of the musical elements dance out again.

Love and desire can be hypnotic and all-consuming, but there’s a danger to being swept away. This song expresses that idea as the narrator fails to see that “the bridge was crumbling up ahead” and misses the sunrise as she was “tangled in your tresses in your bed… drowning in the pools of your eyes.” Now our narrator feels the “call of the horizon” because at the moment “here there be dragons.”

Our storyteller says she belongs “in the hinterlands, on the ragged edge” as far away as possible from the other person. She admits they’d “still a beating heart” but concludes that “the bitter truth” is that there’s “one thing love can’t do.”

The narrator points out that she plays to win while the other person plays “for keeps.” She talks about how the other person’s touch is “the coldest fire on my skin.” She says that the other person is spinning in their dress as “the house is burning.” Our narrator’s need to escape means she is “deafened by the call of the wilderness.”

Resonant, slightly gruff guitar carries a melody tinged with complex, aching emotion as "This Isn’t Over Yet" starts. Glowing synth begins to rise and the drums and bass create a driving propulsion. Kristina Paulick’s voice has a passionate edge as it bursts richly into the music, carrying a yearning melody while guitar sparks add shining accents.

Kristina Paulick’s vocals have a warmth to them as the angular bass line and hard-hitting drums push on. Michael Maas’ guitar growls into the music, imbuing it with growing life and energy as chimes glitter delicately. Kristina Paulick’s singing has a smoky quality as the drums and bass propel the music with vitality as the rounded synths gleam distantly. The guitar adds enjoyable energy along with a sharper edge and more weight.

Arpeggiating chimes flicker and the vocals take centre stage above the rebounding drums. Now Michael Maas’s solo rings out, full of a pained emotion and intricately interlinked cascades of notes. Piano dances and shivers as quick, digital sounding notes sprinkle through and the chugging bass and pounding drums support the strong chorus before silence falls.

The narrator begins by says that “the moment they open the cage” she and the song’s subject will run and she adds “let them try to cut us down!” The light at the tunnel’s end is shining like the sun for them and she tells the other person “I'll meet you on the edge of town.” She points out that they didn’t want “this fight” and were happy to lead a quiet life of gardening and “cocktails in the golden hour.” When it comes down to it though, she toasts the end of the world.

In the chorus, our storyteller says there will be no fear and they will see it through. She adds that “you are no Juliet” and adds that she promises to be there and it isn’t over yet. Next she asks the song’s subject to tune out the “grind of the gears” to hear her voice and follow her. She speaks of each moment being a choice to keep walking as they “stand against the sea.”

Now our narrator talks about leaping across light years and when their pursuers arrive “they'll die here all alone in the winter rain.” Their enemies will be left “to the understudy” to end up “broken, bruised or bloody.” The pair of them will be free “by sheer force of will” and she concludes “well that tank is empty now, may it never refill.”

“Your Command” opens as distant synths are broken by twinkling chimes carrying a gently melodic note pattern. A nasal, distorted synth arpeggio whirls in, below which hard-hitting bass and solid drums move. Alyssa Fisher’s vocals are strong and deep with emotion, carrying a melody that is a mixture of ethereal sound and hopeful expectancy.

The chorus becomes warmer as bending arpeggios spin and angular bass waves wash. Alyssa Fischer’s voice has a resonant richness as it carries the longing, dreaming melody and broadly glowing arpeggios whirl. After a drum fill, the vocals carry the slightly hurting, yearning melody and the percussion and bass shape the music.

Alyssa Fischer skilfully captures the feeling of the lyrics in her voice and hollow, reverent sounds float in the distance. Bright chimes flicker as round, smoothly twirling arpeggios delicately dance. Bell-like jazz organ mixes with the vocals as they soar into the chorus, bursting with joy as the ultimate realization is reached before glowing chimes guide the music into silence.

As the song begins, the narrator says that she had thought herself “a master of disguise” as she presented “a bright veneer atop the mess inside” but came to realize that the song’s subject could see through and wanted her not to hide.In the chorus, our storyteller says that “the fact that you want me whole and not in pieces” is hard to adjust to when someone has loved as she has, by “throwing all of me in front of faster cars” for inexplicable reasons. She adds that somehow the other person knows it.

She goes on to say that she would “destroy everything I built at your command” and give up and give in but she says “now I understand that's something you would never do.” She elaborates that if it were only one word, she wouldn’t listen and there was a time when she stood tall.

Our narrator points out that it feels as if she were designed to “let in all the little messengers of doubt that say I should crawl back” to people who wanted “the ideal.” She explains that she hadn’t understood that love shouldn’t feel like throwing herself in front of the “faster cars” again. Somehow the other person knows how she feels.

The storyteller says that she’d tear things down and let them burn but the other person would never ask her to do that. She says she has to “learn to have a voice outside, to match the voice inside of me” and to stop wondering “if…” and concludes by saying "baby I could sure get used to this.”

Razor-edged, distorted synth trembles as elevated, shattering notes tumble down to begin “Aurora.” Colossal bass and wide-sounding drums thunder below Rose Alaimo's intensely expressive voice. Michael Maas’s guitar snarls with staggering power as it effectively contrasts with the melancholy vocal melody.

The guitar has gigantic drive below the soaring intensity of Rose Alaimo’s voice. Vibrating, gritty synth unwinds above huge drums and Michael Maas’s jagged guitar churns while the percussion smacks into the music.

The chorus flies upwards in as the guitar's crushing pulse of crashes in along with battering drums. Swirling synths flow through as the drums fall away. Rose Alaimo’s trembling, needy vocals move above the towering strength of the raging guitar and the song ends.

The narrator begins by saying that she walked “straight out of hell” with her head held high. She talks about putting out the flames with a flick of her wrist. Our narrator tells us that hearing her named whispered by the song’s subject beats out “the wages of sin, the power of love.”

She says that she bears the scars of seeing it through adding “I need you to follow the north star.” In the chorus, she points out that “I’m through following rules, I’m through suffering fools.”

Our storyteller explains that the song’s subject never feared “the power inside me.” She adds that the other person was the earth and she was the fire, together they made a whole.

Now the storyteller says that she’s prepared to “forsake all the rest” so that they will stand together and have control. She talks about being “in bloom” when the other person touches her. She concludes that “it's not like this with anybody else, one touch, one kiss and I am the aurora."

Gleaming synth notes shine out in a gentle, uplifting melody as airy synth glides around them to start “Spheres.” Guitar and dense bass support the smoothly gliding synth notes. Heather Mitchell’s voice has an engaging, touching quality as she carries the tender melody.

Now the chorus dances out, shining with positive energy and light over the scudding drums and solid bass. A hopeful, touching melody is carried by medium-high, enfolding synth as flickering synth flows while the drumbeat shapes the song. Heather Mitchell capably captures the affection in the lyrics while the song flies on, drums popping and bass guiding the music.

Now Michael Maas’s guitar adds a rough-edged depth in the slower segment as drums burst below it. Shimmering synth flashes out encouragingly and the chorus lifts the music as the percussion dances onwards. The song ends on slower, deeper notes.

Our narrator talks about experiencing a strange sensation in which “the whole world rings, endlessly resonating.” She points out that she didn’t hear it until the song’s subject found her. Now her “simple plan” has become complicated. When the other person sings, she can hear 
“the spheres, the turning of the gears” and the years that they’ll share as they pass by.

The storyteller says that when the other person laughs, she is “ablaze” as the sun's rays light “the days I’ll spend with you.” She speaks of the web they spun creating a “melody captivating hearts.” There are “no false starts” and the other person’s finding her has made “a work of art.”

The narrator talks about how “what should be one” has been separated in “the spin” as she encourages the song’s subject to take her hand and leap. She wonders if she leans in too much and adds “Maybe I'm drunk from your touch, but I could swear I hear something I know wasn't there before you.”

"Past Tense” commences as gargantuan drums explode with wide sound as sparkling synths yearn. Patricia Lattime’s full voice carries the chorus and the melody has a pained, ballad-like quality. Distinctive percussion is broken by flashing synth and bass depths rumble below that.

The chorus leaps up above the breaking drum waves and solid bass, the singing deepening the music’s emotion. After the unique sounding drums tick, Patricia Lattime’s voice soars out again in an ardent tide as the trickling, bright synth moves past.

Drums batter hard behind the arcing vocals. Neaon’s voice carries the bridge section with tremulous emotion before Patricia Lattime’s emotes intensely. The song ends on bursting drums, metallic chimes and deep bass.

The song begins as the narrator says she heard the other person speaking "in past tense” adding that they were beginning to make sense. She wonders what they’ve done and adds “I saw that spark in your eye again.” She questions if they ought to try again and asks “what have we become?”

As the story unfolds, the storyteller says that they had everything but “stumbled in a moment of weakness.” She adds that they mistook “deepening peace” for darkness. They tried to let in a little light, but “when the curtain opened, we were blinded.”

Our narrator says that they “wore the colors (and) acted like the others” as they put themselves in “the firing line” until they were burnt out. She adds that they went “one by two into a coal mine” on the strength of the lie that they’d find gold.

As the song ends, she says that she recalls her promise to have and hold. Once again, she wonders what they’ve done and concludes that she still loves the other person.

Flaring synth shifts behind Michael Maas’ guitar which drifts out in bluesy notes and drums flourish as “Forgive Forget” begins. Churning, gruff bass oscillates choppily before Vedrolina’s full voice carries a melody that mingles mournful emotion and expression. Chugging guitar and massive drums lock into a driving pattern.

Vedrolina’s vocals are charmingly heartfelt and don’t hold back the emotion as the chorus leaps with aching power. Michael Maas’guitar cuts in with a fervent howl before the lead vocal bleeds feeling. This song's melody is full of hurt and naked emotion. Underneath the growling guitar, battering drums and pulsating bass drive the music.

Chimes flutter and Michael Maas’ guitar leaps in with strong feeling all its own, flying out as intricate notes intertwine. The song ends with Vedrolina’s voice and the other musical elements enfolding one another before silence falls.

This song commences as the storyteller says that she keeps the other person “in the corner of my eye, behind the tear that never dries.” This is so she can pretend they had “a heart and a soul.” She wonders where they have gone now. She says that “this year was a spotlight” like fluorescent lights in which “you sure look like hell.” The narrator had to cut the other person out after they removed any doubt that “there's anything beneath that shell.”

Our storyteller now understands what the other person is after sunset. She adds that she can neither forgive nor forget what that person has become in the darkness. In a play on words she muses that she “always had suspicions subtracting you would be addition.” After all of the excuses cancel each other out, that person is exposed for who they really are.

The past year has been a “wake up call” for the narrator. In the daylight “we saw it all” and made it through “in spite of you.” The last year confirmed that this person was “more foe than friend.” She adds that “sometimes we give, sometimes we take” but the branch they are on won’t break, but bend instead. Our narrator concludes “we stand here, lighter than ever now for love.”

“Tangent” commences as a rapid drumbeat rushes forward and Michael Maas’ guitar carries a melody bursting with leaping energy as darkly shaded lyrics are captured in Patricia Lattime’s strong voice. Rippling arpeggios twirl as the drums flourish before the yearning, aspiring chorus comes in.

Drums rapidly charge along with the guitar’s rising strength and the chorus spirals to the sky while chimes shimmer. Patricia Lattime’s voice pours out emotion and deep bass pulses as bright chimes ring out. Angular guitar explodes with slicing notes slice and the resonating, powerful vocals brim over with life. Michael Maas’ guitar adds glimmering, dancing notes that cry out as the song ends.

The narrator addresses the song’s subject and says that they were “left in a glass cage…in a long wake” to drown. She adds that if the other person could see what was happening, it could’ve been broken but “she painted this town."Watching “from shore” the storyteller knows she can’t get too close without being “pulled down.”

She adds that she wishes to be the other person’s “tangent” so she could free them from the circle and the chains holding them. Our storyteller wants to be a constant for the song’s subject and make it “all add up” but that person is haunted as “the ghost of her remains."

A sad realization comes to the narrator as she says “you won't go down fighting, you think it's flying” as the other person’s world was turned upside down. She adds that she “kept the faith for years” as she kept tugging on the same thread. While “all the alibis unwound” our narrator knew that if she showed that to the song’s subject she’d be dragged down.

In the end, she says that if she could wish the other person free, she would but realizes that it isn’t up to her. She concludes that “I can only watch as you go 'round and ‘round.”

Washing waves and entangling, string-like sounds flow to open “Withernsea.” An open-voiced woodwind carries a haunted and mournful melody while accordion adds a sharper quality. Sawing, resonant sound moves and piano chords shine behind Kristina Paulick’s lyrical voice carrying a timeless melody before towering drums burst and the guitar begins to roar.

Drums and bass lock into an active throb with the accordion adding a folksy feeling. Kristina Paulick has the necessary soaring life in her voice to suit this music’s scope. The piano flickers in gleaming notes while the drums add weight and strength. The piano melody feels triumphant and shadowy as choral voices add a reverent feeling. Ringing chimes coruscate and the percussion thunders.

Ticking, tapping drums move behind the quickly intertwining guitar pattern that shivers out. Kristina Paulick’s smooth voice is rich with feeling, carrying the triumphant melody that is still full of longing. A tin whistle calls out along with glittering chimes Michael Maas’ guitar solo is full of hopeful, arcing energy.

The drumbeat changes as the vocal melody takes on a pained quality. Elevate The Sky's guitar solo is richly woven and full of free-wheeling life as it spirals out. Drums burst and break along with a choral synth. Kristina Paulick’s voice is lush and intense with only the piano accompanying it as the choir cries out. Drums surge once more underneath the flying chorus before the song ends on a tender piano melody and washing waves.

Dark and mingled emotions flow from this song. Our storyteller begins as she sees the song’s subject walking on the beaches as he looks out “over my wat’ry grave.” She says that when “the longest night comes” and he is at his darkest, she’ll call him home. She adds that “you don’t have to be alone.”

“As daughters of the sea” she says that she and others learned to “read the current” and “feared the undertow” but she always lost control. She remembers that the song’s subject “loved my wild heart” because she stood out from other girls and that he “brought me shells and pearls.” Our narrator adds that after she felt “the pull of the veil” her fear went away and she wants that for the other person.

The narrator speaks of sailing into the night “in the pale moonlight” with him as the tide starts to turn once more. She says that she saw a spark in his eyes that dimmed when she left. She tells him that when they’re in the depths together “you won’t ever need to burn again.”

Our storyteller says there were rumours about them and “wicked glances cast across the village square” where they knelt in prayer. She says that she could no longer keep secrets or hide her lust any longer. She wandered to the shore and as “the shock of the cold stole my breath, in a moment there was nothing” which she wants for the song’s subject.

She looks back and says she was the “underfoot girl” who had no fear in a ship’s rigging and he was “the boy on the bow” who watched the horizon “with a song on your lips.” As they grew up, their desire grew strong and she would "crash into you like the waves on the beach” in their seaside cave. They made promises to each other there that “were forever.”

However, in the end, the “promise broke in two” and the summer became winter “like I walked through a door.” Now finally she will make it up to him and pull him into the depths where “none of it will matter any more.”

Conclusion

Here Be Dragons weaves a musical spell as it mingles emotive vocal performances with skilled guitar playing, multiple synth layers and well-crafted lyrics. It wanders across a wide soundscape but remains anchored by emotional and vocal richness to create a luscious whole.