Future Analog - Lost Without You

Review by Karl Magi

Overall Album Impressions

Future Analog’s Lost Without You explores all the joys and sorrows of a relationship as it evolves and becomes complicated. The mixture of Paul Aston’s (Future Analog) strong songwriting, richly layered synth interactions and guest performances create a synthpop album shot through with energy and melancholy.

The songwriting approach that Paul Aston & Wesley Reid take on Lost Without You has a refreshingly direct feeling that I enjoy. The songs cut right to the heart of whatever emotional situation is being explored and drives it home for the listener. Each song takes hold of your feelings and pulls you more deeply into them as the song unfolds.

All of the synth choices on Lost Without You capture and intensify the expressive nature of the songwriting. Paul Aston is able to translate the words into musical concepts that bolster the emotional punch of each song. I am enamoured of the way in which he supports the songs with music that suits them so well.

Wesley Reid’s vocal performances are another stand out for me on the album. His voice has soulful intensity, a broad range and an emotive punch and these factors all help convey the lyrics of the songs. I feel that Wesley Reid has an excellent ability to drive home the songs with conviction. I must also say that Paul Aston’s own vocal performances are unique and engaging.

My Favourite Tracks Analyzed

“Searching” erupts with retro energy and joyful emotion. Hollow drums hit hard and pumping, driving bass is joined by flickering synth light. Trumpeting, gleaming synth sings an uplifting melody before Wesley Reid’s unique, expressive voice carries a melody full of dynamic life.

Warm synth tones burst and enfold the chorus as powerful drums and bass pound on. Ringing synth trembles out with bright energy as Wesley Reid’s caressing, encouraging voice soars out over active drums and bass.

Lead synth shines with radiant light as It fills the music with its rich tones and angular bass undulates. Quick notes sparkle and broadly glowing lead synth carries the hopeful, positive melody. The vocals are full of hope and we end on rounded, sparkling arpeggios and shiny chimes.

Our storyteller speak about how he’s been looking for the other person, hoping to find them. He says that he never “thought you would come into my life now” adding that his heart “skips a beat” when he sees the song’s subject.

In the chorus, the narrator talks about how he’s been seeking the other person and is thankful to have found them. He says that if his “searching had not lead to you” he is unsure of what he’d do.

Now the storyteller says that he’s been wishing for the other person. He adds that he had been “searching high and low” as he wished for the day that “would come to find someone like you.”

As the song ends, the narrator says “Have my heart, every day feels like a brand-new start.”

Digital-sounding, elastic synth ripples slowly before angelic notes breathe into the background to start “Free.” Solidly throbbing drums and bass kick in to propel the song. Wesley Reid’s strong, resonant voice carries a melody that bursts with energy above the pounding beat.

Rippling notes dance as Wesley Reid’s wonderfully expressive voice flows out with the jumping melody as the drums and bass punch on. Glowing background synth shines out above the hard-hitting low end. Wesley Reid’s vocals become more gentle and caressing as clapping percussion moves past.

Quick bass pulsations punctuate the vocals and now shining, frolicking synth leaps out with flashing light while the drums and bass drive on while dancing, nasal synth spins out a lively melodic line before the song ends.

This song’s narrator says he woke up to find a note from the song’s subject saying they’re leaving and now they’re not there. He points out that this has happened before and "I’m tired of all of these silly games.”

Our storyteller goes on to say that he deserves more and can’t ignore what the other person did to him. He tells them to hit the door because he’s “sure, never meant to be” so he’ll set the other person free.

The narrator’s eyes have been opened as he realizes that “the way that you were treating me was all in your plans.” He won’t take it and wants the other person to hear him when he says “it’s time for you to go, I gave you everything.”

As he says, “hear me roar” and heads out of the door, he realizes again that he isn’t able to ignore his treatment so it was clearly not meant to be. As he becomes aware, he’s started to love himself “through the good and bad with you.” Our storyteller isn’t taking it another day.

“From The Past” opens as Iwan Bedford’s surging synth undulates into the song along with unevenly throbbing bass. Wesley Reid’s emotive voice slips out gently while ethereal synth glides in the background. Oscillating bass supports angular synth pulses that merge with that bass heartbeat while Wesley Reid almost chants the vocals.

Punching drums and bass form a well-done contrast with delicate notes shining in the distance as bass flows along. Wesley Reid’s voice is soothing and a little dreamy as it carries the words while drums and bass shape the song.

Panpipes flit past with relaxed ease while the vocals ache just a little as the low end pumps on. Active percussion leaps as vibrating synth shifts and Wesley Reid’s vocals float past. Glistening distant notes trickle as undulating bass and delicate notes rise along with the lost feeling vocals before the song ends.

Our storyteller asks if the other person will remember him from the past. He speaks of looking out of a window “into a world of make believe” where a vision of his “perfect dream” materializes.

He asks his mirror to tell him what it sees and wonders if it will be “another cruel December.” Now he asks the song’s subject if they’ll remember him “when the morning comes” or if he will be a faded memory.

Echoing vocals join softly gliding notes split by glittering synth as the solidly throbbing drumbeat moves beneath them to begin “The World.” A soft shuffling sound accents the music before glowing synth sings an energizing melody.

Wesley Reid’s silky voice slips past carrying a melody tinged with loss above the thumping drums and solid bass as wide-sounding, lightly glistening synth curls through. Wesley Reid effectively captures the emotion in the words as pizzicato strings trickle and the percussion and bass leap.

Flaring synth rebounds past as chimes shine above bass depth. The main melody returns with its illuminating energy and the vocals yearn intensely. Quickly trembling synth with a string-like sound slides through. Sunlight radiates from elevated synth strings before silence falls.

The narrator wonders why the song subject is trying to obscure their feelings when he’s “seen it in your eyes” and he realizes that they are leaving but doesn’t know why. He asks “what can I do to save us?” He is desperate to know. Our narrator seeks reassurance and tells the other person that “my heart is in your hands.” He wants to share the future with the song’s subject and “give you the world.”

The storyteller says that “money won’t matter tonight” because he knows the other person is leaving. He says that losing them means he can’t survive. He points out that he is around and willing because “you’re everything.” Now there’s no time to wish and he prays for the other person to come back.

“You never told me you were leaving” is what the narrator states. He tells the song’s subject that they hold his heart and then asks how they can move toward healing. He says that he’ll give them the world and concludes “if you leave me there’ll, be darkness and silence.”

“Issues” commences as large, lush drums throb in time with a medium-high synth that cuts with angular luminosity as bass swells. Majestic, glimmering synth carries a melody with an enfolding, slightly pained quality as the drums and bass press on. Paul Aston's unique vocal timbre adds feeling to the lyrics.

His voice’s quality draws me inward as it is touched by shadow while glistening synth floats out above the huge drumbeat. Radiance fills the brassy synth as a note of positive energy comes in and the heaving low end drives the track.

Paul Aston’s voice has an engaging quality as the vocal melody vibrates and bass rebounds in hard-edged walls. Percussive motion carries the song onward and brightness fills high synth. The song ends with Paul Aston’s distinctive vocals.

The teller of this tale asks the song’s subject why they can’t see the issue they are facing. He adds that he always knew the other person was bad news “making me wanna disappear.” He continues to ask why they don’t see the problem and adds that he’s unsurprised by the truth and “now I’m glad we’re through.”

Our narrator says that the other person tried to exploit their good nature but now he won’t compromise because “you took my love for granted.” With them gone he feels like he can breathe. He repeats that they’ve got so many issues and asks what that person is trying to prove.

The storyteller says the other person thinks they’re angelic “so you can’t believe that you’ll never be.” He adds that one can’t be too careful because he “dodged a bullet.” He goes on to say that the other person was “trying to put me through it.”


The song’s subject is trying to gain him back but just cries. Our narrator points out that everything the other person did was wrong and they need to say goodbye because they only ever lied.

In the end, he’s happy the relationship has ended and he says he doesn’t “have to deal with that no more.” He’s free and can finally start to breathe again but he concludes “you don't realize it was love suicide.”


Reverent synth floats out over actively jumping percussion and fat bass to open “Be Alive.” The vocalist has a caressing and ethereal voice that carries the mysterious melody well. Her voice floats into choral synth with a worshipful feeling before warmth permeates the music.

The singer’s voice is emotive and soothing while giant bass pulsates and flaring synth moves. Fragile synth glints and flows while the singer’s voice has a tender quality, carrying the vocal melody with its minor key moments. Supporting synth intertwines in a filigreed tangle above dynamically undulating bass and softly pulsing drums before silence falls.

The storyteller says she’s feeling numbed by routine and he’s not proud of what she’s become but “I’m just too far gone.” She’s looking for a distraction and a different experience which is “something magnificent.”

Now our narrator goes on to ask “what would I give to be alive…to feel alive?” She answers herself by saying she’d give everything for “a brand new start…to stay alive” and a different plot.

This tale’s teller says that predictability defines her life and she’s tired of always working. She is looking for a disruption because “it’s unacceptable I need something different.”

“Beautiful Liar” starts as luminosity pours from intensely flashing synth as Paul Aston’s passionate voice cries out above it and colossal bass rumbles before the drums splash out. The vocal melody mingles desire and darker tones while light leaps from the broadly shimmering synth while the tremulous bass oscillation moves.

The drums create intense motion while Paul Aston fills his voice with expression and the giant drums collide as the bass creates muscled support. The chorus has deep power as widely rippling synth rebounds.

Now the bass waves flow rapidly and the drums pace the song easily. Paul Aston sings with poise and emotion as the propulsive low end rushes on and the huge bass gives the music dynamism while brassy notes flash and fade.

“Save the stories for someone who cares about you” is how the narrator opens the song as he adds that the other person just lies. The danger is in their beauty which is irresistible. He asks, “What have I missed?”

Now our storyteller answers his question by saying that he’s irritated with thee situation and “tired of this hesitating.” He questions why the other person has to tell so many lies because “when we were good, my heart was on fire.”

The narrator didn’t realize that the relationship would fail but the other person “turned out to be a beautiful liar.” He adds that the song’s subject thought they could manipulate him but “I see through your lies.” He says their disguise is poor and it’ll lead to their downfall.

He concludes, “You think just ‘cos you're beautiful…you can lie and still have it all…you can lie and you wouldn't fall.”

Conclusion

Lost Without You is full of life and expression. It takes the listener on a journey across a widely varying emotional terrain, supported by strong performances and musical choices that deepen and intensify the messages within each song. The end result is a enjoyable musical exploration of love and relationships.

Ametrom - Falls The Shadow

Review by Karl Magi

Overall Album Impressions

Ametrom’s Falls The Shadow is intensely interwoven, mingling Ametrom’s guitar skill with well-crafted melodies and complex synthesized soundscapes. The end result is engaging and full of unique musical moments as it unfolds.

Falls The Shadow is anchored by Ametrom’s guitar talent. He plays with confidence and poise. His performances are effortless and his choice of guitar tones and his approach to the music creates emotional power and expressive depth. I enjoy how he evokes a wide range of moods within his playing on the album.

Richly nuanced melodic writing is another signature part of Falls The Shadow. Each melody tells its own tale as it unfurls. I am impressed by Ametrom’s ability to craft melodies that carry me through a series of different moods within a single track. He shades from darkness to light, melancholy to uplift within the melodies and I am glad to go on the journey with him.

I also enjoy the painterly way in which Ametrom layers sounds. His auditory palette combines so many tones, textures and colours into a lush whole. I find my ears constantly excited by his musical approach. Every time I listen to a track, I find something new to intrigue and entertain. It makes this album a good one for repeat listening.

My Favourite Tracks Analyzed

"The Scene and the Herd” opens as a wobbling sound ramps up through the track. Explosive snare drum joins brassy synth that carries cascading melody out above the drums. Intense light pours from the melody as the drums punch.

There’s a pleasingly playful quality in the metallic lead synth as twisting sounds flare through. The drums keep up active motion while the main melody dances with a celebratory feeling as the lead synth glows.

Nasally singing synth jumps before thick bass sits in the pocket with the drums and the hi hat skips along. Trembling, medium-high synth bends and drums flourish, punching in. The opening melody returns, dynamic and leaping, as the drums and bass fade out.

A fat kick drum and quickly jumping snare join medium-high, lambent synth singing a descending, slightly shaded melody to start “Telefunk.” Groovy drums and bass support jazzy organ that carries a funky melodic line, locking in with the rhythm.

String-like synth adds shimmering accents while the low end keeps things thick. The jazz organ melody exudes pleasantly cool ease and the minor key tinge in the medium-high, open-sounding synth adds contrast. The snare and kick drum add form as they sit in their groove.

Strange, distorted sounds howl and the low end flows on. Now warm chords with a soothing quality are carried on the organ. A soft-edged, shining synth carries ethereally glistening chords out into silence.

"A Single Silent Point” begins with clear, sharp-edged synth that flares into the music, crisp and luminous, before smoothly slipping drums guide the track. Airy, relaxed synth pulses intertwine to create easy going motion above gliding drums. Now Ametrom’s guitar sails in, mellow and summery, as it flows past.

I let the guitar’s peace wash through me as gleaming synth pours out coruscating light above scudding drums. Rounded, medium high synth carries a melody that is gently energizing. As synth chords flicker, the guitar solo has jazzy life and peaceful float in it as it tastefully curls through the track and silence falls.

Open-voiced, vibrating synth distantly floats as hi hat and snare drum create a metallic, brushing beat as bass creates a steady heartbeat to open “The Monk’s Tail.” Swirling synth touches warm toned guitar playing bending notes.

Ametrom plays a nostalgic and tranquil melody that drifts above the richly filling drums. The guitar tone has a wavering quality as it carries the melody. High, tightly wound synth glides out in a relaxed line that slips over full-sounding, distorted guitar.

The guitar melody takes on a charmingly encouraging tone as it sings out over rounded synth notes. The hi hat taps and guitar trails through as electric bass notes shift. The guitar sails along with a loose limbed grace the percussion provides a hissing tide below it as the track fades to quiet.

“Endless Gerald” commences as medium-low, resonant synth carries a shifting melodic pattern above ticking percussion. Illuminating, gently flowing synth carries a caressing and caring melody that I am drawn toward. Wide-open, gleaming synth trembles in the distance.

The guitar has a open tone as it carries an energizing melodic pattern as bass throbs and drums skip lightly. Now the track slides into a calming cloud of intertwining, breathy synth before the drums and bass groove along. Ametrom’s guitar cuts in, twisting a little above the cloudy background.

The hollow-toned guitar repeats a quick figure before an effulgent glow rises. The guitar carries a bursting pulse that adds lively motion and the drums tap along. Cosmic-feeling guitar slips along before the groovy percussion and bass lock in again below calmer high notes as silence falls.

Confident, Exuberant synth with a flashing brightness leaps out over strong drumsthat form a steady pulse to kick off “Prism.” Radiant synth pours crystal light out as rich bass interlocks with the pulsating drums.

Descending synth illuminates the music with a lively melody. The track slip into a tranquil flow before the well-crafted, dynamic main melody returns with muscled drums and solid bass. Hopeful emotion fills a glimmering synth as it sings out above the track’s low end.

Nasal, caramel-warm synth sings a gentler melodic pattern and now the drums thunder. Open-sounding, bright synth quickly slips in and now the main melody moves in, full of soft emotion and sunlight as the punchy drums keep moving. The main melody twirls through before the song ends.

“Substation Nebulae” begins as gruff, deep synth slowly is cut by mysterious notes floating in a spectral glide. Gigantic, rough-edged bass pulses and guiding snare drum beats. Trembling, sharp-edged synth slices through the ghostly trailing sounds around it as the drums and bass keep shaping the music.

A rounded, hard-edged sound snarls in as the active bass shifts. Rough-edged, triumphal synth towers in, driving powerfully, in a way that I find engaging. The grunting synth pulsation has the dancing main melody leaping around it. Airy background notes drift and a quick, jazzy synth lick echoes before the drums fade out.

Dominating bass slams in as ethereally glowing notes drop through and drums add active motion to open “Tokyo Dust.” Bass clots in a thick line underneath flashing notes that add brief, intense light above surging energy below them.

Resonant, medium-high synth sings a pleasing, enfolding line above a hi hat steadily adding metallic energy while muscle-bound bass seethes below. Diamond light flashes from a high synth and drums tick smoothly on as rippling notes trip through.

Bass grits as drums hit hard and warmer synth slips through easily. The drums drop out as intimidating bass rises. Radiant notes leap out and fade, the drums returning as the track ends.

Conclusion

Falls The Shadow takes me on a twisting, engaging sonic journey across a plethora of different musical landscapes. I enjoy the way that Ametrom mingles the auditory elements of the album to create ear-catching, mind stimulating music that pulls me in.

Cult With No Name - X Into I

Review by Karl Magi

Overall Album Impressions

Cult With No Name’s X Into I mixes Erik Stein’s unique vocal style with thought-provoking lyrics and a richly varied instrumental palette. The end result is music that draws me into an introspective journey that is full of depth and complexity. I am glad to be taken along on the ride as the album unfolds.

Erik Stein’s singing is the centre point of X Into I for me. He has one of the most distinctive voices I’ve heard in a while and it works well with the album’s songs. His voice has clarity and a unique timbre that can deliver tenderness or less positive emotions equally. His vocal delivery is an ideal match for the lyrics on this album.

Lyrical strength is another highlight on X Into I. The songwriting is confident and the words are well-crafted. The lyrics explore the fractured terrain of humanity’s psychology as they touch on depression, deceit, greed and desire. I enjoy the way in which the songs mingle personal struggles and broader social commentary as they unfold.

I enjoy the mixture of synthesized elements with more organic instrumental sounds on the album. I am especially enamoured of the string sounds and the piano because they bring a layer of expression to the music that the synths alone wouldn’t. There’s something intensely emotional in those more acoustic sounds that I find compelling.

My Favourite Songs Analyzed

“All In The Mind” begins as razor edged, rebounding bass pulsates in tumbling flows as gentle chords rise and rounded synth notes bubble. Piano chords radiate calming emotion as the bass pulse and slapping percussion touches.

Erik Stein’s voice is refreshingly clean and clear, carrying out over smoothly slipping piano as the drums and bass shape the song. Soft light flows from the piano and the warming synth background. The vocals are emotive as the piano dances out, carrying a soothing and melancholy melody as the bass throbs.

The chorus carries a tinge of hurt in the vocals as rebounding bass is cut by taut string-like synth and enfolding chords rise. Soft-edged, bubbling synth slides through as the piano combines energy and a slightly pained feeling.

“Nothing to see here, nothing to fix” is how our narrator begins the song. He adds that it isn’t anything that is predictable. There’s no place for him to turn or pill to take because “nothing I taste acts as an opiate.”

The storyteller points out that while the troubles may only seem to be in his mind, battling them is what defines him. He says that “the struggle’s real and it’s going down the bone” as he asks to be taken home.

He reiterates that everything may seem to be in his head, he’s “too weak to even throw you a line here.” His sense of fear is real to him and it won’t let him be, but he adds that he should have known it.

If the struggle is all self-inflicted, the narrator wonders how it can be real and be in control of how one feels. He points out that he’d offer friendship and support “but don’t we just know that I’m the last resort.”

Swirling, interlocking synth notes create a creamy, floating feeling cut by sharper-edged sounds to start “Scars.” Guitars growl as the string-like, metallic synth curls through while Erik Stein’s distinctive voice carries the spiky melody.

Rounded synth flows delicately as misty sounds swirl behind it. Erik Stein has an energetic quality in his delivery as orchestral strings swell up with tranquil sensations. The vocals delve deep as the piano dances, chords creating a yearning and hopeful sensation.

The bass briefly drops out and a string section fills the music with peaceful feelings. There’s a touchingly expressive quality in Erik Stein’s voice as the full piano tones surround it and the solid percussive pulse drives the song. Strings and piano form a energetic, but tender melody that dreams and aches.

The storyteller looks at the scars of too many lonely nights. He’s “gazing at stars” as he sits in the gutter he calls home. As he picks “through shards” he finds the one that will cut him bone deep.


Our narrator challenges the scars that encompass all of the “different ways that I can hurt” from the cradle to the grave to do their worst. Although he has been beaten until he’s bruised, he says there are still “chances to refrain.”

Now the situation has become more than he can chew and “it’s coming back up again.” He scans through available medications and manages to end up with one that will “screw my head.” Our tale’s teller says that his scars “bear arms” but also have old charms.

He sees “through the looking glass” a future vision. He says that he’s been saving up ahead in order to “disappoint almost everyone.” Now he makes a move “through the bars” to confront “a guy that might just break my arm.”

“Reigning Cats and Dogs” opens with a solo piano that skilfully imbues me with wistful emotion before smoothly trembling drums and solid bass adds support. Erik Stein’s voice is cool and limpid while a string section adds depth. The piano slips through and a snare drum keeps shaping the music.

Erik Stein’s voice exudes encouragement as rough-edged, synth pulses while delicate strings intertwine and dense bass supports the song. The vocals have sharpness to them now as piano chords undulate and shimmering synth creates a filigreed pattern. Bouncing, hard-edged synth rhythmically pulsates, the piano shades lighter tones with darkness while Erik Stein almost chants before silence falls on string-like synth

An unspecified storm is about to hit as the song begins. Our narrator intends to deny the truth when that storm hits. He’ll also deny whether “it’s me or you.” He wants to know who it was that “sponsored this.” Now he’ll build a shelter from the storm, pointing out that it isn’t because “I’m afraid I’ll see in another day if it’s better.”

The storyteller says that the things he has seen won’t “shake me from deepest sleep.” He’ll still escape back into his dream where darkness can’t “reign over me.” He says that “they might try to control me” but there are still truths to be discovered if you “trade in facts for lies.”

The song concludes with him telling people to "take a look outside, watch the rivers rise, watch the boats capsize.”

Plaintive violin carries a wonderfully elegiac melody to begin “I’ll Spend Nine Lives With You.” Gently rippling piano notes slip through in tender motion as the strings hurt. Erik Stein’s voice is smooth as it captures the emotion in the lyrics as piano washes in lightly touching waves.

Throbbing drums pulsate as ringing chimes flicker and the piano adds texture and melancholy expression. The violin melody touches my heart as darker cello adds extra emotional depth.

Piano supports Erik Stein’s world weary voice as the violin’s caramel tones mingle with a brighter string sound. The chorus drifts with a deep need as glimmering high notes ring out before silence falls.

This tale’s teller speaks of facing up “futures that are only in disguise.” He speaks of looking up into the other person’s eyes as he falls from the balcony. His desire to climb ever higher is expressed but as a result the narrator is “rarely looking up to the skies.”

Our narrator finds himself headed to war, only armed with the “thought that you’ll be waiting somewhere just to save me once I’m shot.” Now he’s stuck crawling below the other person but failing to keep up.

Now the storyteller speaks of spending nine lives with the song’s subject with whom he’ll “sink into the blue” nine times. He realizes that eight times, the other person will “pull me through” but not that ninth time.

He talks about spending nine lives where he is and “nine times we’ll ignite this affair.” Sadly only eight of the nine times will see the other person staying.

Similarly he feels that he’ll make the leap but he ends up missing the final jump. His lack of judgement makes him square up to strangers instead of running and he concludes that “if fortune’s for the brave then come find me when my luck’s begun.”

“(P.S and P.PS. the Prospect of) PTSD” starts off as wildly wandering, croaking synth is joined by popping snare drum and steady bass throb. The piano dances through, warming and uplifting notes spinning out as the unique vocals move in.

I enjoy the way in which the vocal melody enfolds my ears as the drumbeat smoothly jumps along. Creaking, flitting synth undulates as piano trickles through with a laid back feeling. The lead synth’s sharp edges are blunted by gilding piano as a snare drum adds an easily moving beat.

Erik Stein’s voice has a distinctive feeling with a clarity that delivers the lyrics well. The piano glows hazily as it carries the slightly mournful, but still energetic melody. Now the drums skip along as a background tone swells and the vocals move before the piano trips along and silence falls.

Our narrator speaks of being in a situation in which one needs to “gather in every single emotion” because they’re about to hit the floor. It seems like there’s nothing left to give but at that moment “then there’s more.” He talks about hearts beating with “crumbs of comfort” that are tough to trace. He adds, "To laugh or cry? One second you’ll never erase.”

The storyteller points out that the p.s. and p.p.s to the situation is “the prospect of PTSD” that is reaching for everyone. People spend nights and days as they turn over “things that they can’t unsee.” He says that one begins to lose the battle to free their memories from the PTSD.

The song’s final post scripts speak of the PTSD soon being “paired with panic” that he wishes would “stop sending reminders to me.”

Elastic synth bounces tautly as “Snake Oils” comes into existence. A lightly washing background sails in while drums add direction and bass supports everything. Soft-edged synth rises in slipping lines as Erik Stein’s voice radiates calm while drums and bass press the music forward. The chorus climbs confidently as the pastel motion in the background swirls while the rebounding lead synth moves through.

Erik Stein’s voice effectively carries a subtle seduction as the airy backing synth intertwines while steady drums and bass shape the music. Propulsive motion fills the tightly springy synth as rounded notes mingle in a sliding flow. Erik Stein’s clear, expressive voice calls out and the song fades into quiet on rubbery synth vibrations.

If we seek the truth, what’s the cost of that seeking? Our narrator points out that “truth’s an inside job” and not what people think it is. He adds that “you just got to search hard’ but not listen in the least.

The storyteller reassures us that we can trust him but he reminds the audience that truth doesn’t come for free. However if you “try this elixir and see” you will be able to have a taste of conspiracy.

Now we are asked by the narrator to “take the snake oils and run” as we wait to recover. He says after we’ve taken the snake oils we can leave because “you can’t suffer what you don’t believe.”

This tale’s teller says that truth is his. He asks the audience “can’t you read the sign?” He queries if we’ll buy into his disguise before reminding us that “the overlord of the flies” will be landing at any moment.

“It’s all about control” our narrator says. People fall down his rabbit hole but “for all the people that I troll, for all the lies that I sold” he won’t be held to account. He encourages us to take his snake oils and leave because you “can’t catch what you never believed.” As the song ends, he tells us to imbibe his snake oils and run while we are all “still waiting for recovery to come.”

“You Are What You Eat” commences with a shadowy, muscled piano chord that’s joined by a lightly ticking drum. Pizzicato strings trickle and sing as synth with a mournful feeling joins the drifting piano. Erik Stein’s voice aches and adds pained emotion in an ear-pleasing way.

The string section and peaceful piano contrasts with the dark lyrics. Bass contributes weight as flickering strings drift in and woodsy, caressing cello adds a melancholy shading. The vocals have a tremulous quality as the strings slide through.

The cello stabs with a burst of energy before the piano glistens and angular violin moves in. Erik Stein’s voice exudes deep expression as shaker percussion moves. The strings arc now, mingling pain and a tinge of hope, as the ticking drum keeps pulsing. The vocals fade before the piano also goes quiet.

The narrator addresses the song’s subject, telling them that they’re “consuming all of the seeds that you believe venerate you” in the hopes that they will make that person immune to every disease.

The other person’s indulgence is “the stuff of nonsense” because it’s not the pills that make them strong. Our storyteller cautions them that “you are what you eat, but baby not for long.” He adds that they are seeking out “a taste that will make it all work out.”

Now the song’s subject is stirring and blurring facts that have been rejected by science. Their obsession should be a life lesson because the pills don’t strengthen them. Once again the narrator repeats that “you are what you eat, but baby not for long .”

As the song ends, the storyteller calls for the other person to “come feed the hungry beast (and) concede, just surrender to the feast.”

String-like synth drifts out above a gargantuan drumbeat as lush illumination rises to start “You’re On The Run (but not on the move).” A wandering, enfolding piano melody flows out as flashing notes leap out through the music. Strings rise with a tragedy tinged melody that touches me deeply.

Erik Stein’s strong, unique voice carries a melody holding pain in it as piano chords easily ripple. Shine suffuses the background as the piano flows. Now the main melody carries longing and loss while Erik Stein’s emotive voice carries the powerful lyrics above gently shaping drums and rich bass support.

Guitar carries a gentle melody that slips past in mellow notes. The string section yearns as it unfolds and the background luminosity rises around the other musical elements. Erik Stein’s unique voice carries the song to an end.

As the characters in the lyrics fly away, the storyteller asks the audience to watch them wave goodbye as they “leave a trail that runs dry.” He reminds us to pray or look for reassurance that they won’t keep following us or “shift this chaos off shore.”

Our narrator cautions the audience not to think “they” are done because they only just got started and “victory’s anyone’s” to have. He adds that “you might think we’re through” but they are coming for us. We’re all just “on the run, not on the move.”

We need to take a moment to reflect as we “drag your troops back West” and are convinced we came out on top because people may think wars are won but “they mostly carry on through proxy actions steered by some top guns.”

Conclusion

X Into I is synthpop with soul, nuance and emotional depth. Cult With No Name creates layered music that makes me think, feel and allows me to be carried away on it. I let the lyrics run through me as Erik Stein sings and the musical tapestry weaves itself around my mind.

Chill Collins - The Darkstar Anthologies

Review by Karl Magi

Overall Album Impressions

Chill Collins’ The Darkstar Anthologies provides a beautifully layered, complex auditory adventure that has the boisterous energy, intense drama and action needed to create a compelling sonic companion to a comic book series. Chill Collins has woven together emotion, expression and musical quality into a compelling soundtrack.

A luscious plethora of synth tones, timbres and textures spills out through The Darkstar Anthologies. Chill Collins creates intertwining imagery through synth sounds that sparkle, flash and cascade at times or delicately caress as they slip past. There is bass that can be unctuous and soothing before looming with terrible force and drums that sometimes guide and sometimes charge. As a whole, these varied synth components become an entertaining and engaging journey.

Like any good comic book, The Darkstar Anthologies soundtrack ranges from bombast to deep emotion. Chill Collins uses his synth palette to evoke all of these contrasting states. Glistening synth delineates triumph while massively snarling bass conveys danger. Pastel-shaded gentleness glides in before jagged synth slashes, each segment telling another part of the story. In total, they unfold in exciting motion and strong expression.

I am drawn to this album’s storytelling through sound. Chill Collins pulls the listener in with the auditory tapestry of his synth choices and then keeps us invested in the music by continually writing ear-catching melodies, propulsive percussion parts and layered harmonies.

My Favourite Tracks Analyzed

“Prologue” begins as fragile synth piano trembles tenderly as expansive, trumpeting synth flows out with strength and nobility. Piano chords effectively create movement between light and darkness.

Orchestral strings add reverence as trumpeting synth soars out and battering drums pound. Impressive bass swells and choral voices ring out, the track becoming more robust as a dramatic female voice leaps in broadly ringing notes. Galactic energy pours forth as the strings and other instruments rush to a crescendo and fade out.

Wind flows rapidly into the track before a huge drum strikes once and hollow sound flows above crushing bass to open “ArtOfficial.” Twisting synth cuts through sharply and a disturbing sonic exhalation moves past.

Thunderous drums impact with tremendous force as bass snarls and strings flash with intensity while brassy synth cries out. Intertwining panpipe synth sings a melody that skilfully generates feelings of activity, affection and ache in me. Ephemeral strings move above giant drums that form a guiding pulse.

Gentler sounds float over flaring notes that skip through above dominant bass. Panpipes sing a soothing, dreamy melody out above intimidating bass weight and creaking sound before the track ends.

“SimCity” starts with a deep-voiced vocal sample that distorts into strangeness. A colossal bass oscillation is broken by slicing, blaring synth. A snare drum impacts in a shaping pulse and chiming notes delicately trickle past. Brassy synth breaks into an elevated part, shining out with pleasing positivity as flickering chimes dance.

In contrast, the drums are truly overwhelming and bass adds sinewy support, while sparkling higher notes skip past. A gentle sound twists in before a medium-high, smoothly rounded synth sings the tranquil, encouraging main melody. The track ends with hopeful emotion before trumpeting synth flares and fades.

Rain pours, thunder cracks and distorted synth forms a melancholy pattern as it flows to open “Breakout.” Sweeping sounds pass before hard-hitting drums punch in an active rhythm.

Raised synth radiates intense glow and bending notes create dramatic strength, propelled by surging bass. Aquatic, high synth ripples out and fades. Now gleaming synth draws me in as it fills the track with mysterious emotion. A cutting bass pulse and rebounding drumbeat guide widely twirling arpeggios.

An expressive female voice rises with deep emotion as digital arpeggios wash in to create texture. Gargantuan drums drive on while raised, glistening notes glide through in the distance. Angular sound lacerates before soft notes go quiet.

“Predator” commences as ominously rushing bass creates a dangerous feeling as snare drum punches hard. Glockenspiel notes shimmer as luminous arpeggios dance and angular, lacerating motion fills the drums. Rounded notes climb in the distance as varied, aggressive drums smash and charge onward.

Ethereal sounds wheel as chimes shine and noble notes rise in a well-crafted melody full of defiant triumph. Coruscating arpeggios twirl and haunted sound shifts below them. Sharp-edged, lambent synth sings a melody that fills me with dramatic energy as madly dancing high synth breezes past. I feel my heart and soul lifted by the climbing melody as cascading drums smack in. Glockenspiel rings out as delicate strings shiver and silence falls.

Haunted, echoing voices call out above a sharp-edged bass flow as drums batter in fierce bursts to start “Transit Lines.” A vocal sample calls out with intense strength as intimidating drums thud and flashing notes leap out. Quickly bursting synth charges as the vocals arc with pleasing passion and expression.

Laser-like synth dances in radiance as breathy vocals cry out. Caressing synth slips past in gentling motion as the vocals are joined by aggressively cutting sounds. Soft-edged arpeggios slide past while hollow drums tap. Glimmering synth bursts explode and the track flows out into open air.

“Reva’s (Till The Break Of Dawn)” opens as slightly wavering, medium-high synth rises in sunlit notes as a rushing drum and bass pulse creates propulsive motion. Encouraging, light filled lead synth carries a melody that lifts me up as delicate vocals drift behind. An angular, dynamic beat pulses as open-voiced, reverent notes create a calmer feeling.

Whirling synth leaps past before hazy synth slips above the gigantic, hard-hitting drums as muscled bass pulses. The misty notes have a swirling motion as a segment in which ethereal voices peacefully glide. Once again, slightly broken drums and bass patter as the choral voices add a sacred feeling and the track ends.

Spectral chimes ring out above steadily pulsing, shadowy bass that shifts below them to begin “WAVE FM.” Pumping synthwave drums and bass oscillate below melancholy, echoing chimes as brighter synth dances past. Retro drums batter with mass and energy as refulgent synth energizes the track.

Drums full of dynamic life burst as wide-sounding, bell-like synth suffuses the music with wistful light. The drums batter before guitar howls out to add intricate energy. I enjoy the guitar’s passionate melody while flickering synth frolics before the distant, chiming notes slip into quiet.

“The Coiling” starts as looming bass is joined by colossal, battering drums. A disembodied voice floats out and drums slam hard while skipping synth gleams. The lost vocals coruscate with passion in a way I find compelling. Weighty drums punch in and the jagged bass slides in below.

Sharply leaping chords cut in and the broadly shining synth notes entangle. The vocals soar passionately and the drums hit with tidal force. Effulgent lead synth trembles and the bass soars with the passionately angry vocals slice in while the low end adds rushing motion before silence falls.

Tenuously flickering, ghostly synth carries a pained melodic pattern out above a truly overwhelming bass rumble to bring “OB-X” to life. Drums and bass from a propulsive, rebounding pattern below radiant synth as snare drum rattles rapidly.

Bass snarls in broken pulses as jumping percussion shifts. Fragile chimes sparkle distantly in interlocking motion. Nervous energy fills the actively bursting bass and the high notes are wonderfully gentle in contrast while the percussion taps and ticks before the track ends.

“Coastal Infini” comes into being as rough-edged bass snarls dangerously while watery notes trickle and gigantic drums begin to pound in insistent motion. Pipe-organ notes add intense shine. Sacred voices rise in an encouraging flow that I enjoy.

Warmly luminous synth fills the track with light as it dances in a caressing melody. Tranquility permeates the music while the soaring voice calls out with powerful emotion before silence falls with buzzing static.

Terrified synth utters a scream as it creeps in against an echoing background to open “P0W3RCR33P.” Growling bass flows below broadly slipping, tragic synth that cals out in huge chords.

Slicing bass oscillates and monumental drums thunder before panpipes carries a haunting, ethereal melody. Triumphant chords glimmer and tremendous bass pulsates before hard-hitting drums punch with intensity.

Echoing panpipes create mysterious emotions in me as the bass snarls and presses forward. Spectral sounds trail tendrils while the low end smacks in. A wind flows around the open-voiced pipes as martial drums powerfully slam. Twisting, isolated synth slips and silence falls.

“Sunsetter” starts off as slightly nasal, metallic synth carries a wistful melody as a steady shine fills the background and drums tick. Heavily vibrating bass with lush depth is joined by bursting drums as the melody shifts energetically. Densely spinning arpeggios shift as the wide-sounding drums burst and thick bass clouds rise.

Synth with a rounded, cradling sound carries a charming, encouraging melody as the creaking arpeggios twirl. The main synth instrument carries the dreaming, energetic melody out over leaping drums, twirling arpeggios and luscious bass. The bass climbs in enfolding clouds before the track ends.

Trumpeting synth flashes while gruff bass growls and a reverent luminosity fills “Glow” as it opens. Jazz organ carries a soothing, melancholy melody as gritty bass growls and big drums hit hard to shape the track.

Peaceful chords swirl below the rebounding drums as climbing, flaring synth rises to effectively add victorious emotion. Distorted, medium-low synth carries an energizing melody as staggering bass snarls.

Interlocking, arpeggiating synth lines shimmer above steadily guiding drums as light pours from piano-like, muffled synth. The bass towers over the other sonic elements. The track ends on bell-like jazz organ.

“20808” begins as rough-edged synth creates intimidating mass below nervous arpeggios. The heaving bass and throbbing drums propels the track below a strange, computerized vocal sound.

Enigmatic synth with a soft-edged quality carries a questing melody. Chimes ring out to add brightness as the gigantic bass throbs and the drums create motion. Choral voices add exalting emotion flitting chimes suffuse the music with sunlight.

Hard-edged bass growls in the depths as crushing drums drive and piercing radiance flows from the arpeggios. I enjoy the palpable sinew in the bass and the drums batter forcefully as soaring synth shines before silence falls.

Bass snarls as pipe organ chords add intense gleam while seething arpeggios shiver to start “Trans_Ending.” Worshipful choral vocals rise above the shadowy tide below them as the organ adds more strength and drums shape the music.

Surging bass rumbles as everything slows down until it goes quiet. The silence extends, effectively leaving the listener in suspense before a crackling moves alongside rapidly flickering synth. An active bass oscillation shapes the music as a piano softly trails and woodsy notes call out.

A hallowed choral voice rises in yearning motion and xylophone rattles warmly. The drumbeat becomes martial and driving while dense bass elevates the other sonic elements. Xylophone provides an organic contrast while the drums press on, metallic sounds move through before raised notes fall silent.

Conclusion


The Darkstar Anthologies is an enjoyable auditory exploration. It roams through rich emotional terrain while drawing images in my mind’s eye. I can feel the action and drama unfurl in the music, leavened by gentle emotion. Every sonic element combines to produce an ear-pleasing final product that keeps me coming back.