Floating In Space - Simon Sebastian

Review by Karl Magi

Overall Album Impressions

Simon Sebastian’s Floating In Space is a fully realized musical journey across detailed soundscapes that evoke galactic majesty and sweeping planetary vistas. Simon Sebastian imbues the music with intricate synth interactions and enough dynamism to keep everything interesting and engaging.

Atmosphere is central to Floating In Space’s sound. Simon Sebastian paints images of soaring across starry vastness, observing the outstretched arms of galaxies and descending to fly across the surfaces of distant worlds. I am caught and held by the imagery and evocative auditory explorations in which he engages.

The synth palette that Simon Sebastian deploys on Floating In Space effectively deepens the sense of floating across vast cosmic views. There is intensely dense bass mingling with starry synth light and energetically moving lines that elevate feelings of action that imbue the tracks. The way in which each synth sound mingles with the others creates ear-catching music.

I also appreciate the melodic aspect of this album. Simon Sebastian has written melodies that have the ability to evoke a wide range of emotional states. The way in which the melodies unfold is charming and compelling as they move through the tracks.

My Favourite Tracks Analyzed

“Cornetto Galaxy” opens as bursting, twisting synth floats energetically in the distance as drums rebound. Full clarity establishes itself as nasal-sounding synth pulses over bouncing drums and actively shifting bass.

Blaring energy leaps in the background as widely echoing chimes carry a bubbling, energizing melody above solidly jumping snare drum throbbing in steady motion. Simon Sebastian’s synth palette combines into a layered, luscious flow. Open-sounding ringing synth spins along with lively energy above the drumbeat’s guidance. Sparkling, high synth adds sunlit accents as it twines around broadly flaring chimes.

Open-sounding, rounded notes move in an uplifting pattern below flashing notes frolicking on nasal, reverberant synth. The propulsive main melody dances out on echoing, mistily shimmering lead synth while the drums and bass add sharp edges before drifting into quiet. I enjoy the mixture of different sonic textures within this track as it unfolds.

Wind sweeps as distantly tumbling synth shifts below it to start “The Wind On Mars.” Faintly metallic, bright synth trembles out in angular motion as open-voiced notes whirl and a progressive drum pulse creates motion above massively throbbing bass.

A crystalline synth carries a melody that slides meditatively, shaped by the low end’s dynamic motion as airy notes sweep and heavily pulsating drums create shape. The shining melody takes on a warmer quality as it evolves, flaring out above the active movement below it.

I enjoy the slightly melancholic softness that touches the radiance and sharpness of the elevated, cut glass synth.The drums have a resonant quality as wind glides through and the drumbeat changes as bass pops. Gleaming synth rings out in drifting notes as flanging, climbing synth repeats in expansive patterns and the drums and bass guide the music forward.

Flickering notes limn the track and that roaming, ethereal synth brushes with the lightly airy melody as the low end pushes on. The gentler secondary melody returns to flow along before the track ends on percussive power and glistening synth.

“Black Holes” commences as towering, shining synth moves in a steady flow as lower, more resonant synth cuts in unevenly. Growling bass adds a thick grounding layer now as metallic notes gleam through in planing lines. Warmth creeps in as the shining synth keeps trembling.

Chimes delicately illuminate the track in a melody that I find gentle and full of peaceful light above the low end’s depths. Colossal drums move in to create a sense of great power as they throb. Panpipe synth sings out breathily with settling, tranquil motion and the low end powers forward.

Chimes ring out again, lustrously carrying the melody with its delicacy and uplift, before panpipes exhale their caressing sensations again. Underneath it all, power pours from drums and bass, the lower synths creating a shaping flow as air glides and the track ends on the intertwining notes with which the track began.

Glimmering synth reaches a sharp point as it cuts in before sweeping past to begin “Floating In Space.” Reverberant synth shakes as fat, widely twirling bass arpeggiates and raised sounds glide in galactic motion.

There’s a scudding energy from the bass as it moves and the drums flatly burst in as glassy notes twist through. I enjoy the trance-inducing pulsation that drives on as piercing notes ring out in a melody with starry float and intense illumination.

Crisply effulgent synth echoes into openness as the low end has a firm pulse. Scintillating notes flicker past and the undeniable kinetic energy of the low end is now touched with roaming, lambent synth wandering past as silence falls.

“The Pillars Of Creation” commences as steadily luminous synth swells in the background. Vast bass expands outward while fragile, shiny notes flicker out. Light rises in the distance above gargantuan bass walls as a heartbeat throbs.

Intensely illuminating synth descends in coruscating motion while a repeating, wide-sounding secondary synth sings out. Drums create an active pulse along with the rebounding bass as the radiant synth sings a melody with lively positivity above guiding drums. Metallic notes twinkle as an actively dancing, medium-high synth pirouettes in the distance.

After a drum flourish, the brilliant synth melody slows, becoming more introspective and peaceful. Tremendous bass depths open below the drumbeat as jingling percussion moves. The main melody imbues the track with uplifting luminosity before the track comes to an end.

Softly caressing, tremulous synth flows with static to start “You Have Arrived At Your Destination.” Rounded synth swirls as a steady, nasal sounding pulsation shifts. Crystalline notes like chips of ice shimmer and solid bass throbs. Solidly punching drums burst as dynamic bass shifts.

Fluting notes drift with soothing tenderness along with a steady gleam behind them. The bass and drum groove adds motion as full, smooth notes descend in easy motion and raised notes flit past. I enjoy the ethereal exhalation of the fluting synth, carrying a melody that loosens tension from my shoulders.

The drum and bass combination drives forward motion as rich synth washes through. There’s a hissing shaker sound that adds texture as misty notes intertwine. The track drifts into silence on shivering synth with a delicate light as static crackles.

Conclusion

Floating In Space is one of those albums that creates textured depth, melodic beauty and energetic sensations in equal parts. It is a listening experience that carries me away to new realms as I listen.

Color Theory - Underneath These Dying Stars

Review by Karl Magi

Overall Album Impressions

Color Theory’s Underneath These Dying Stars travels down complex emotional pathways as it explores what it means to live as a human being. Brian Hazard’s distinctive voice carries his well-crafted lyrics set against a textural synth background. There’s melodic beauty here along with expression and intensity, making the album deeply engaging.

At the centre of Underneath These Dying Stars is Brian Hazard’s vocal performance. His voice has a sensitivity and range that allows him to capture and transfer the emotional power of the lyrics he writes. I am drawn to the way in which he can drive home the mingled pain and joy of existence through his vocals. There is also a classic New Wave feeling in his singing that is ear pleasing and suitably melancholy.

Another strong aspect to Underneath These Dying Stars is Brian Hazard’s songwriting skills. He crafts words with precision and feeling, spinning out stories of love, loss, darkness and joy. There is depth and weight to his imagery and his word choices result in engaging songs that drive deep into the heart of me. I am enamoured of the way in which he’s able to draw out my own emotions through his words.

The musical backing on this album is another reason for my great enjoyment of it. The way in which all of the synths are interlinked and layered creates texture, tonal colour, and expressive feeling. I also have a great deal of appreciation for Brian Hazard’s ability to write melodies that can evoke the often mixed emotional landscapes that we each traverse. There's beauty, pain and love roiling through the music here.

My Favourite Songs Analyzed

“Crystal” comes to life as quickly dancing, ascending synth with an inherent warmth moves in. Smoothly popping drums shape the song and rich bass adds weight. Brian Hazard’s touching voice carries a tenuously gentle melody as sharp-edged synth swirls and fatter, more gritty synth contrasts it.

Brian Hazard adds a deeper vocal as contrast as rippling harp-like notes flit past in fragile motion and again ascending synth notes climb in energetic motion. Brian Hazard’s voice slides out, embodying pained emotion as arpeggios spin while a harp flickers ethereally and bass pulsates.

I enjoy the gentle ache in the vocals as smoothly tripping synth is joined by a pulsing kick drum. Gruff, rounded synth contrasts with glassy notes and the skipping digital notes cascade as Brian Hazard lets his tender voice slip in easy motion while the low end rebounds.

The storyteller lets us know that what he holds to be precious in himself won’t allow itself to be revealed because “to come out of hiding is to end up alone.” He refuses to break down in front of the song’s subject because he’d look foolish.

Our narrator doesn’t want to let the other person in or cross a line because “I’ve been burnt too many times.” He wants to believe in something and feel alive as he asks the other person to “look into my crystal eyes where a shout of joy is waiting to be born.”

Now the storyteller has been cut wide open by the song’s subject with emotion like a “dazzling crystal blade.” The blade is so thin it creates no sensation and so rapid that it can’t be evaded. The other person sliced “right to the heart of it” with only a small amount of pain.

Massive bass and open-voiced synths echo out in a twangy line that embodies a balmy sensation to start “Trick Of The Light” as the drums create an easily gliding, but solid pulse underneath. Brian Hazard’s wonderfully evocative and melancholy voice carries the shadowed lyrics in a melody that exudes a dolorous feeling of loss.

The chorus has a wistful warmth to it as hollow synths carry painful feelings that cut to my heart while the drums shape the music. The vocals add more intense emotion to an already eloquent song. A piano dances in, carrying a melody that hurts but keeps on moving.

Brian Hazard’s voice has depth in it as it carries the emotive lyrics over the steady drumbeat and rich bass. The chorus provides contrasting gentleness and glow as the song throbs on and the vocals soar. The piano’s dynamic, tragic melody carries out as a quick arpeggio ripples and dark bass fades.

Our narrator talks about forgetting that person for "months and moments” to the point that he wants to scream that he doesn’t love that person any more. On late night drives, however, he still “scan(s) the side streets for signs of you.” In the chorus, our storyteller says that he can’t “leave it alone to think that you were right.”

He still feels like the other person is there “in the corner of my eye.” It’s like something on the tip of one’s tongue or a “trick of the light.” The narrator adds that “this expectation Is my creation” and realizes that it’s unhealthy to dwell on the hallucination of “the sharp sensation of hungering for something different.”

“The Darkness” opens with ethereally tumbling synth creates a delicately drifting pattern, touched with comforting emotion. Brian Hazard’s touching voice carries a fragile melody with his usual sensitivity. Flickering synths tingle against a medium-high synth’s rounded resonance.

Gruff bass pulses in broken lines as Brian Hazard’s tremulous, caressing voice carries the lyrics. The vocal melody brings in some light and air as trembling emotion flows.

Rough-edged, towering bass contrasts with the vocal tenderness. Steadily tumbling, full-sounding synths are touched by hollow tapping.

Tranquil feelings glide from the vocal melody while resonating, smooth synth washes through. The beat gains energy and a grainy, ticking sound moves in while distant piano chords drift and trickling, metallic sounds pop. Hard-edged bass growls and silence falls as the song ends.

In the first line of the song, the night tells the story. It talks about how all one’s “grievances and pain” are engulfed within “the black of my domain.” Now the night tells us we “belong outside, walking bleary-eyed” through vacant streets where “the monsters meet in the darkness.”

It stands with us “alone in a world of vacant cars” and calls for nothing to change “underneath these dying stars.” The night says that “in the status quo of the streetlamp’s glow” it will make a feast out of you “as the shadows do in the darkness.”

The perspective shifts to the narrator who speaks of being “torn away, by the light of day” which is “stark and methodical.” He says that nothing looks the same at night when “landmarks of my daily life glimmer with magic.”

He addresses another character in the song, telling that person that when they get tired “there’s a mattress on the floor” and if they undress “I won’t pressure you for more.” He goes on to say that he will lay beside them “still but satisfied, counting phantom sheep as the lonely weep in the darkness.”

Circling synth with a full sound carries a melody that trembles with melancholy as brighter piano doubles it delicately to begin “The Rot.” The drumbeat has a sliding smoothness while a tenuous melody aches with longing.

Brian Hazard’s caressing voice carries a yearning melody while the drumbeat and bass guide the music. Chimes vibrate with a melody mingling hope with absence. Brian Hazard’s voice moves alone, carrying the heart-aching lyrics.

Shimmering notes slip through with consummate tenderness while the drums keep pressing on as medium-high synth flickers. The vocals contain the pang in the words while the shaping beat propels the music. Radiant chimes glide as the drums and bass add form to the music before the song ends.

The narrator wonders when “the circling of crows” started as a life-long love “began to decompose.” He yearned to touch the other person with rust-stained fingers while their connecting chain was “corroding into dust.”

When one tries to cling to “a moment or a thought” the storyteller reminds us that it has already ended and “we can’t deny the rot.” He had to escape the pain of rejection because “without exception, all things will decay.” Now he suffers in silence with the knowledge that “it won’t last.”

Our tale’s teller speaks of his memory eroding “the layers of the past.” He wonders if he still loves the song’s subject and decides he’s not sure. In a Buddhist way, he concludes that he’ll “cling to it lightly until it rots away.”

“The Serious One” commences with sharply sweeping synth before airy arpeggios arpeggios ripple and calming piano chords dance. Brian Hazard's distinctive, resonant voice carries an enfolding melody as mistily gliding synth curls and arpeggios add texture. Warming piano chords flit through.

Brian Hazard’s voice is gentle as lush bass oscillates. A snare drum along with a ticking hi hat shape the music while elevated synth with a string-like quality carries a tender melody.

The chorus climbs to tremulous heights, carried by Brian Hazard’s leaping voice. Piano chords mingle melancholy and soft emotion as the digital-sounding arpeggios ripple. Nasal-sounding, medium-high synth carries an aching, touching melody before silence falls.

“Why do you giggle when we talk?” is our narrator’s question for the song’s subject. He wonders why they won’t look him in the eye as “you're not the shy type.” When he calls the other person on their cell, the narrator says that they “turn the screen to show your friends.”

He goes on to say that the song’s subject can have their fun because he’s like the “straight man” or the serious one in a comedic duo. He adds that he feels alive with the other person so “you must feel it too.” Many assumptions are implicit in the narrative which render this account questionable.

Our storyteller goes on to talk about his nervous, awkward confusion which proves his attraction. He leans in to kiss the other person who turns their head in “another misunderstanding” but he pints out that it is “all in good fun” and he can deal with it.

He continues by saying that he knows “where to be to accidentally meet” in public “but discreet.” He adds that it’s “enough to tell you I love you.” One wonders why he feels that way.

The narrator tells the other person “don’t you laugh” as it isn’t a joke on their behalf. They have him under control. He says he’s “on the case” as the serious one. He goes on to say that he has “laid it on the line” so if he is theirs, they must be his.

He points out that “we can’t have you looking so glum” as he adds that “I’m the straight man, the serious one.” To me, it seems as if he is trivializing the other person.

Soothing sounds float out in waves as delicate percussion taps to open “Cakewalk.” Brian Hazard’s lilting vocal is gentle and enfolding as the synth ripples run out and warm piano dances in flitting motion. Brian Hazard’s voice slips in and digital sounding synth forms an addictive, angular groove along with dense bass as trickling notes move through.

The broken vocals jump out before the smoothly sliding synth moves into a calming piano segment as the funky bass pulse is cut by string-like accents that tumble down into silence.

The teller of this tale speaks about the challenge for the song’s subject of winning him over “by degrees.” He talks about the other person singing upbeat songs in minor keys which makes him feel “blissfully sad.” He asks the other person to give him all of those feelings.

Our narrator says that he can’t get enough of “love in hard times.” He wants to experience plain truths expressed with conviction. He reminds himself to take shortcuts and keep moving since “it’s a cakewalk.”

The storyteller points out that “when life is a one-sided contest, every day brings another conquest.” He repeats the old advice of dreading the worst outcome and being hopeful for the best, adding the proviso that "no future is truthfully bad.”

“The Darkroom” comes to life as a kick drum pulses and a growing arpeggio revolves in rapid motion as dense bass comes in along with an uneven beat. A widely echoing arpeggio is cut by medium-high, twanging synth carrying a melody hinting at melancholy out above the intertwining low end.

Brian Hazard has depth and lush feeling in his voice as the spinning arpeggios interlock as hi that adds a metallic feeling as string-like notes slip past. Emotional power pours out convincingly in Brian Hazard’s deep vocals above the pulsing drumbeat while an arpeggio floats out in broadly dancing motion.

A camera shutter sound moves past as entangling strings sneak in and the vocals spread out. The percussion kicks in again underneath a bright synth glissade and Brian Hazard captures the feeling within the lyrics. The gleaming main melody returns with its beautiful mixture of need and mournful emotion before the song drifts to an end.

The storyteller mentions the air full of “a certain tension” and despair. He says that with a flash of light he can “embrace the beauty of this night” with delight. He adds that he and the song’s subject could be more than friends “seen through a different lens.” There are “strange developments” that unfold too rapidly in the darkroom now.

Now our narrator exhorts the other person to “dance in your Sunday best” and lift the weight from their chest. He asks the other person to express themselves and “entrap me with a pose.” He speaks of a poem that flirts in their prose “exposed under a waning moon.” The narrator says that “the scent of madness fills the room” along with perfume. As the song ends, he adds “We will remember this. Secure the moment with a kiss.

Conclusion

Underneath These Dying Stars transcends quotidian synthpop in its ability to engage the listener on a deeply emotive level. It digs right into the messy, wonderful and sometimes tragic nature of existence as it unfolds. Brian Hazard creates music that has lyricism, expression and deep feeling bound up in an ear-pleasing sonic painting.

Magnetic Skies - Empire Falling

Review by Karl Magi

Overall Album Impressions

Magnetic Skies’ Empire Falling is nuanced, musically rich and emotionally engaging synthpop. It combines the vocal talents of Simon Kent with strong songwriting and a skilled band that weaves a musical tapestry from synths, guitars and drums. Darkness and light contrast and intertwine through this album to enchant the listener.

The first and most important factor that makes Empire Falling so enjoyable for me is Simon Kent's voice. It has a great breath of range, powerful expressiveness, and the ability to touch my heart. It carries the deep lyrics with a nuanced feeling that permeates every aspect of the music.

Another strong element that draws me to Empire Falling is the quality of the songwriting. It explores all of the complexities and contradictions of being human with well-chosen words. I enjoy the way in which a whole complicated welter of feelings can coexist in one song. This is emotive, adult synthpop and I appreciate it.

Lenin Alegria on drums, Jo Womar on synths and Carlos Aguilar on guitars combine their musical abilities to create a lush and intensely layered sonic tapestry. I enjoy the way in which each musical element interlocks with the others to provide strong support for the singing and songwriting.

My Favourite Songs Analyzed

“Into Paradise” comes to life as radiantly gleaming synth flashes out a tenderly flowing melody above Lenin Alegria’s solidly throbbing drums and dense bass. Simon Kent’s softly expressive voice carries a wonderfully gentle melody as Jo Womar’s luminous synth glistens above the pulsing low end.

The chorus rises in a caressing cloud along with the softly twining lead synth melody as the low end adds shape. The vocals are smooth and yearning as trickling synth flickers through as the drums and bass guide the song.

Simon Kent has an enfolding quality in his voice as the music moves onward and now there’s airy gliding behind the vocals as the bursting drums are joined by Carlos Aguilar’s guitar calling out while the drifting lead synth sails through to end the song with the vocals.

Sometimes love becomes an irresistible tide that sweeps us along. The storyteller talks about watching the way the song’s subject moves and feels their pull, adding that she doesn’t think it’s a sin as “the game begins.” The other person’s smile makes her feel high along with “the scent and the skin.” Time grows tight and she realizes that if she shuts her eyes, it’ll end up with her finding “I’m into paradise.”

Now the narrator is trembling, realizing that it is “only fear” but she can see something solid in their connection. Their eyes grow unfocused as the ocean is “calling us on to the edge of time, blurring lines.” An unknown scent fills the air and there's “sugar on lips, sugar on hips.” The narrator concludes by saying “love, look at it all fade away.”

Rapidly driving bass moves along with undulating, elevated synth in an interlocking pattern as hard-hitting drums punch in to open “Fading Lights.” Simon Kent’s fills his voice with a desolate ache to it as it carries a melody full of longing.

A synth with an elevated flare carries a melancholy melodic line. The chorus rises with yearning above a solid drum and bass oscillation and the guitar drives forward. Tautly winding synth cries out and rounded notes form a steady, tangling pulse. There’s a hint of hope in Simon Kent’s hurting voice as the guitar unwinds in a trembling melody.

I enjoy the way in which the chorus climbs with impassioned strength. The background synth has a string-like quality as it twines through the song. Tenderness and need fills the vocals before the chorus bursts out again. The huge drums splash in as the string-like synth carries the wistful and emotive melody. The song ends with Simon Kent’s plaintive tones.

The storyteller paints an image of “falling through the sky” as they are like lights fading away. He adds that they now need to “take it home.” He touches the other person’s hand and now they are “moving cold.”

The narrator asks the song’s subject to hold him, even though “you feel like ice.” He has to take the other person home and away from the night life as they are “lost in a scene and flying way too high.” The song’s subject is being pulled down by its gravity and the narrator asks if they can feel it coming on.

The song’s subject wants to be warmed by the sun and is “hit with echoes.” The narrator encourages them to “put out the dark, turn on the light” because they got in over their head and lost the fight. He concludes by reminding them to not “let it fade away.”

“Empire Falling” starts as a full note that extends as strings sing a warmly melancholy melody while guitar gleams in the distance. Simon Kent’s voice has a vulnerable quality to which I am drawn as it carries the wistful, lost-sounding melody.

Drums add motion while electric bass twangs. The vocals gain power and depth as the luminous string-like synth sings the mournful melody while strong drums pulsate.

Simon Kent captures the desolation in the words as the bass chugs while drums add form. Vibrating synth echoes out along with a high, warning sound as the song flows onward. The drums drive in along with the scudding bass and the guitar rings in a wandering solo with a haunting feeling as the strings plane in easy motion while drums bounce and flourish.

Sometimes when life seems settled, a single event comes along to throw it into turmoil. Our narrator speaks of being with the song’s subject laying on a beach, drifting in time as there was no fear and “our lives were in our hands.” Things moved slowly and everything was under control. He talks about “chasing the days away.”

Now the storyteller says that he watched “a world come rushing in like an empire building.” The storyteller speaks about running to the beat and getting lost as the city calls to him. Things fell into a “twist of lies” and he lost the battle, never thinking that “the end would be in sight.”

There’s nothing left to be said as truth has gone out the window, the narrator adds that “it could take a lifetime to make this right.” He has seen the world come “crashing down like an empire falling, lost in the speed of life."

Gigantic, massively pulsating bass joins punching drums in a propulsive pattern as the female singer’s emotive and powerful voice opens "You Shine On.” Simon Kent intensely expressive vocals carry a melody with a dark weight to it above the explosive drums and reverberant bass.

The chorus glistens and exudes hopeful emotion while Jo Womar’s voice adds a softening quality. The guitar cries out as the drums pulsate and Simon Kent has a shadow over his voice.

The chorus flies out with radiance and the guitar carries an angular melody with an ominous feeling in it. The vocal melody has a pessimistic air and strings intertwine. I enjoy the chorus as it contrasts darkness with rising light and a dreaming quality before the song ends.

Sometimes deep love banishes everything else in its wake. The teller of this tale talks about the “emptiness inside the laughter in their smiles” and how those people push love away. All he wants to see is the other person and he feels like he’s “in heaven when you shine on.” He feels himself falling out of the temporal.

Our narrator asks if he’s in heaven or dreaming as he sees “heaven in your eyes.” He wants to let people fall away as he decides to “surrender to the game.” He adds that they are challenging the stars and he feels the emotion coming onward. The narrator adds that he’s “in heaven when you shine on.”

“Darker Night” opens as lush arpeggios spin broadly and guitar adds depth around them. Giant drums smack into the music as effulgent synth glints. Simon Kent’s trembling vocals carry a melody tinged with an aching feeling as illumination pours from a delicate, raised synth.

The bass presses on with propulsive force and angular guitar slices in. Simon Kent has a compelling, deep feeling in his voice as it cries out with melancholy. Drums shape the music and sparkling synth carries a mournful feeling as the low end pulses. Guitar twists through with a wandering sensation and metallic synth pours light with a hint of something ominous.

Life sometimes spirals into tense, unsettled moments driven by another person. The narrator tells the other person to “swallow hard, fight the fever.” He says that they are “as warm as ice” and he’s not buying it. He talks about the dark road and asks if it is in shadow.

Our storyteller says the other person won’t slow down as they are far too shallow, moving into “the darker night.” He talks about the other person standing by themselves and “pushing out for someone’s danger.” He speaks of sound being lost as the other person's eyes go wide. He concludes, “You’re breathing fast and you feel the wire.”

Resonant, slowly rippling synth flows into open space to commence “Not A Fire.” Quickly driving drums hit as string-like synth calls out in a well-crafted, elegiac melody cut by the guitar as it soars.

Simon Kent calls out in a tender vocal as the twisting synth in the background trails through. Yearning fills the vocal melody as the drums pulse with ease. The strings unwind smoothly and guitar dances in.

Simon Kent lets his voice caress as organ-like synth adds a warm quality to the music and the drumbeat drives on. The chorus leaps up with in passionate feeling as the strings sing out fully and distorted drums throb and the guitar cries out again, dynamic and hypnotic, while the percussion drives.

Humanity is a bundle of contractions that make for a complex whole. The storyteller talks about how the world is “alight with a heartbeat” and exhales in time to it. He says that he’s come to “shed my skin and let a stranger in tonight” as his bridge burns. He doesn’t want to waste time but paradoxically can wait in line.

Love “not a fire” is coming to him. Our narrator speaks of being icy on the inside and a “butterfly on the outside.” He wonders if we ever really know anything and if we are “always left alone.” He adds that there is really no way to escape.

“Outside” starts as steadily vibrating chimes tremble while colossal bass shifts and a siren like sound rings out. Gigantic drums burst and guitar carries a melody with a tentative quality as piano-like notes echo out and Simon Kent’s voice is delicate and pained. I enjoy the vulnerability of the vocal melody.

The guitar carries the tenuous melody as heavy drums punch and ethereal voices drift out as the bass slips along. Simon Kent’s voice has an emotional depth while the melody is full of mournful expression. String-like synth unfurls and the cosmic vocals drift while giant drums shape the song and piano adds more illumination before the song ends.

Sometimes we all need an escape from the chaos that surrounds us in the world. The narrator wants to shut out light and time and float into quiet. He adds that “I want to feel so high. I can’t resist, I need the danger release.”

Our storyteller wants to be allowed to “fade into bliss” after pushing away the world’s violence. He reaches out into space-time, surrounded by what he needs. He talks about leaving the world behind, adding “skin on skin, let the amnesia begin.” He concludes, “I can’t watch the chaos, the lies, the weapons, the sin. Let’s leave it all outside!”

Enfolding notes drift together as percussion softly taps with a metallic sound to open “Give Me Back That Moment.” Emotive guitar slowly slides and Simon Kent skillfully captures tremulous emotion in his voice as it caresses.

Drums create a shaping motion and the guitar slips past in a gentle glide. Simon Kent carries a wish in his voice and a chorus of mingled vices adds a reverent quality. The guitar melody is pained and full of yearning and the drums tick on.

Simon Kent sings with a soft touch as the bass adds support and soft-edged synth circles. The vocal chorus intertwines and the drums pulse. Again the guitar slides in with heart-tugging emotion and the song drifts to an end.

This song asks us if we are really living in the moment. The teller of this tale encourages us to open our minds and head outside for a walk. He adds that we should “brush the sleep out of your eyes and look inside.” He asks us if we are living now, adding “give me back the light, give me back that moment.”

The narrator asks us if we left our dreams behind us "lost in time” and if we’ve lost the feeling and had the world pass us by. He again asks, “Are you living now?”

Conclusion

Empire Falling takes us on a complicated, intense and emotionally engaging journey through the human condition. The way in which all of the different components interact with each other creates music that pulls me in and hold my attention throughout the album.

LukHash - Virtual Burnout

Album artwork: Luciano Oliveira (neondemon.jpg)

Review by Karl Magi

Overall Album Impressions

LukHash’s Virtual Burnout takes listeners on a journey through spiky digital soundscapes that freely mingle chiptune elements with synthesizers. The music is dynamic and sharp-edged with a grungy computerized feeling that fills me with a sensation of cyberpunk adventure.

The way in which LukHash combines C64 sounds with synths creates ear-grabbing and layered audio landscapes that are energetic and razor sharp. I like the gruffness and grit that fills the retro computer sounds and the way in which the other synths intertwine to add different tonal colours and timbres.

Atmosphere plays into the success of Virtual Burnout as an album. The way in which the classic chip sounds interact adds to the sensation of moving through a dangerous digital world, full of lurking threat. LukHash allows shadows to grow and the harshness of the early computer sounds to give all the other sonic elements a grungy overlay.

I also want to mention the percussion and bass on Virtual Burnout. LukHash creates hugely active and propulsive strength in the low end of the tracks that helps lift the music to the next level. The sheer power of the drums and bass fills out the music and gives it real heft.

My Favourite Tracks Analyzed

“Keygen” opens as chippy arpeggios rapidly flicker while bass wobbles and sharp drums pop as razor-edged synth cuts in. The 8-bit melody has an energizing feeling as it leaps above the rebounding drums and punchy bass. Glistening digital-sounding notes dance in fun and funky motion.

Sparkling, chiming synth flits past in a dynamic melody as the lacerating low end skirls and jumps. Explosive motion fills the chip melody as it launches into a wildly whirling solo that breaks above the hard-hitting low end. The main melody dances out into spinning arpeggios and falls silent.

A tripping computerized sound breaks into a groovy pulse of drums to open “Amiga.” Dark bass flows along with twangy guitar. Medium-high, warm-toned synth jumps in with a hopeful melody.

Gruff bass twirls past as nasal-sounding digital synth sings a triumphal and melancholy melody. Sparkling notes form a descending minor key pattern. Fluting synth plays a haunting melody before spinning back into the lead melody.

I enjoy the way in which the main melody creates an entertaining and dynamic earworm. A hip-shaking groove supports the lead synth, driven by punchy drums. Rounded synth pops through and gives the groove even more life before the track ends.

“The Kingdom” begins as heavily colliding drums flourish and a flaring synth carries an enigmatic minor key melody. As the crushing bass and hard-hitting drums create an addictive pulse, the radiant synth carries an aching, needy melody.

The track returns to a snaky minor key line that adds a hint of shadow. Glistening lead synth sings a mournful melody above the crunchy low end and bursting drums. Choral voices add worshipful drama as entangling synth skips into spinning arpeggios.

The choir adds dramatic life and the bass snarls. The pained main melody returns as arpeggios twirl out in tangled motion, building to a climax and fading on delicate chimes.

A haunting, dark arpeggio flows in steady motion as air rushes in to kick off “Virtual Burnout.” Threatening, creaking bass is broken by digital flashes as powerfully rising synth chords fill the background.

Arpeggios keep spinning in a worried pattern while the low end batters angrily below them. Shadowy lurking fills the music as melancholy synth with a string-like quality floats.

Trumpeting notes arc up high and drums punch ferociously while the bass has tidal force. The main melody’s mixture of rage and muscle is a superb one while spectral synth slips and lacerating notes fade into silence.

“8-Bit Warrior” starts as “fight!” rings out and quickly arpeggiating 8-bit notes are joined by an explosive drumbeat. Rounded, digital-sounding synth bouncing in rapid motion as angry bass snarls.

Quickly trembling notes leap into a jazzy, dynamically swirling melody as smooth arpeggios oscillate. The 8-bit melody flickers and bops along with playful life as the chip notes flash out.

Punchy drums smack in above the surging bass. The main melody twists and weaves through with energetic life and fades on computerized arpeggios.

A rattling sound moves before tremendous drums smack in to open “Cyberpunx.” Computerized notes wriggle through as massive bass slams. Ethereally floating synth carries an enigmatic, haunting melody as angular sounds slice into the track. There’s a rippling, spaced out quality in the string like lead synth as it slides smoothly.

Pulsing drums and huge bass add support to the track. Gruff edged, intensely shining synth carries a melody that fills me with a sensation of victory above the low end weight. The drums and bass batter while sweeping synth dances. The glowing lead synth melody soars out with triumph as 8-bit notes slide and shiver into silence.

“Invaders” commences as crunchy, squelchy arcade sounds move in. A slamming drum and bass pulsation is tinged by taut high notes that create a hypnotic pulse. The muscled low end surges as quickly rising, glistening notes move in angular lines.

Fierce energy in the low end adds support as light pours from a radiant, tremulous synth effectively contrasting with the raging low end. Now a segment in which a full-sounding synth moves in a hypnotic line leaps in with pounding drums. Spinning, echoing digital-sounding notes create an urgent melodic line, tense and propulsive, before the track ends.

Effulgent synth glistens in flashing chords as a rhythmic throb fills the low end with powerful pulses to begin “Shooting Star.” Elevated, nasal sounding synth carries a tentative melody as digital notes move in a melodic line that has delicacy and a soft touch within it.

There’s a wistful quality in the melody above the hard-edged drums and bass as open notes shiver. Now trumpeting, broken notes travel through before the tender and gentle melody rings out again. I enjoy the dreamy ache in the main melody as it sails through.

Arpeggios shimmer out as grungy 8-bit notes flit past and the drums and bass guide the track. The lambent lead echoes out in a mysterious and ghostly line before ending on roundly growing chords.

“Modchips” opens as a dominating drumbeat and giant bass are touched by classic computer sounds cutting in along with luminous notes. The chip sound that carries the main melody has a gleaming quality and the melody is groovy and intricate as it whirls through the track.

The crushing weight of the low end adds ferocious motion. Computerized notes pulse through in rough-edged bursts before the grabbing and wildly unfurling lead melody sings out. There’s a free-flowing life to the main melody as it dances past which I deeply enjoy.

The low end throbs with propulsive motion as the chip melody bends out to enliven the track. Twinkling sounds shine as they tumble down. Slowly descending, radiant chords and heavily vibrating bass end the track.

Cascading, minor key 8-bit notes jump in bursts as colossal drums and bass create a dangerous energy to start “Robot Uprising.” The lead melody is carried on a keen edged, glittering synth above the colliding drums and bass.

There’s huge strength and threat in the main melody as it unfolds in digital radiance. I enjoy the drama and sense of advancing danger that fills the music. Strings add a cinematic burst of energy as brassy notes ring out with a minor key melody as the string section stabs again.

The chip melody cries out with soaring victory while the intimidating low end hammers on. There’s a majestic feeling in the melody as the drums and bass attack. The track ends on a minor key sound with harsh strength.

Conclusion

Virtual Burnout is music that compels me to listen. The way in which LukHash weaves together all of the sonic components in the tracks gives them intensity and momentum, along with a real sense of place and occasion. The end result is an entertaining auditory journey.