Anniee - Let Her Hair Down (Interview)

Foreword and Interview by Vero Kitsuné

New Jersey-based electronic and synth artist-producer and theater composer, Anne Eisendrath, also known as Anniee, unveils haunting synthpop track, “Let Her Hair Down” - a psychological thriller, accompanied by a David Lynch-inspired music video directed by Brad A. Kinnan. The track and visuals are a poetic kaleidoscope of the deep underpinnings of yearnings, suppressed wishes and hidden desires - both unsettling and beautiful in delivery, aimed to disturb the calm.

“Let Her Hair Down” is part of Anniee’s upcoming LP, slated for release Spring of 2025.

We sat down with Anniee to discuss her creative process, influences and what to expect.

With a background as a professional songwriter and composer in theater and musicals, and now reveling in the realms of underground electronic and synth music, tell us about how your musical journey started.

Anniee: I have early memories of my dad teaching me songs while he played guitar. When I was three I was supposed to sing with him at church, but when he called me to the stage, I refused. I wanted to color instead. That’s how it began!

Luckily I was able to get over my stage fright and I spent a substantial part of my childhood singing at church, in choirs, studying and pursuing classical music. As a teenager, 3 major musical influences took me over and made me the musician l am today: The movie AMADEUS, which introduced me to dark choral music, my Dad’s BEATLES collection, which introduced me to great pop songwriting, and the music I heard at the clubs in Germany - I was in an exchange program in 1997- so a very exciting time to be in that part of the world experiencing that music.

What drew you to producing synthpop and electropop, and what was it like to shift gears from theater and musicals to working with electronic and synths? 

Anniee: I would say LIBERATING! I have such a nostalgia for electronic music because of how it captured me as a teenager, so when I rediscovered that in my music production studies, I was instantly hooked. Suddenly by learning synthesis, mixing, and mastering I had the tools to begin making this music I loved so much. I quickly began integrating it into the songwriting process I’d already built at the piano.

How would you say your theater background has shaped your music?

Anniee: I think that my theatrical writing has infused my Anniee songs with a “story first” mentality. In theatre music every element of the song must support the story, and that goal finds its way into my personal songs. For each of my songs, I have a vivid story in my head, a unique character with an archetype, and a world/backdrop for them to inhabit. However, I approach the lyric writing for a theatre song differently than with an Anniee song. The character and story driven elements of a theatre song demand an extreme specificity and clarity to the lyric. I feel the freedom with my Anniee lyrics to lean more into the symbolic, abstract and mysterious realms.

Who would you say are your top influences?

Anniee: It’s ALWAYS changing. Lately it’s been John Summit, Sohodolls, Saint Etienne. I crush really hard on one song every year it seems, and it’s usually an EDM banger. I listen to a wide range of styles, mostly electronic, but also alt rock and classical. I find I can solve my musical and creative problems by the ideas I get from other songs: Hearing a catchy groove, a smart structure, a fresh lyric, an arousing vocal, unique instrumentation, creative production—I get so inspired by what other people create.

“Let Her Hair Down” is accompanied by a music video by the synthwave scene’s favorite filmmaker, Brad A. Kinnan, and the video carries quite a Lynchian vibe. What inspired the concept for the visuals and what was it like to work on the production?

Anniee: The collaboration with Brad was a dream! I met him one year ago when Ollie Wride and Parallels came to Brooklyn. I’d seen his visual work online, and really wanted to work with him. I knew he was based in LA and I had a trip planned, so I reached out about planning a photo shoot. After taking some time with the songs on my album and some of my visual inspirations, he encouraged me to think about doing a whole music video. I’d just watched “Twin Peaks” for the first time, so that visual world was fresh in my mind. Meanwhile, he found this amazing space - the abandoned church/ “Black lodge-esque” set which really got us both thinking about how we could use it for “Let Her Hair Down.” We were both really excited about going in that direction. The day of the shoot was a whirlwind - I had created a loose script, brought my own wardrobe and props, and Brad brought his entire set up and some props as well. It was just the two of us and a makeup artist, McKenna. We filmed for the entire 5 hours, and as we were barely finishing the shot in the sanctuary, we were literally kicked to the curb by the person in charge of the space. I remember running back and forth out of the space carrying my clothes and Brad’s equipment still in costume and stiletto boots. We made it though, and the filming was a blast. He’s an amazing director and he accomplished SO much in that short time that we had. I’m very grateful he took this project on with me.

“Let Her Hair Down” takes on a slightly darker vibe than your previous single, “Captured.” Where do you draw your inspiration usually from when writing lyrics and music?  

Anniee: “Let Her Hair Down” is definitely a darker vibe, and that was intentional. We have these parts of who we are that become repressed and silenced because they don’t always fit with who we are expected to be in the outer world. But they still very much exist within ourselves and need a voice. I think the darker vibes in this song are about the intensity of this longing and feeling, the urgency of expressing that voice before it’s too late.

Often I draw my Inspiration for songs from specific feelings and emotions that linger and haunt me. This is true of both “Let Her Hair Down” and “Captured.” “Captured” started with the ache of knowing I could never get a certain moment back. “Let Her Hair Down” started with the feeling of having something inside my soul that was trapped and unexpressed.

As both tracks were mixed, mastered and co-produced by Von Hertzog (VH x RR), and both tracks are appearing in your upcoming record, can you give us a glimpse of the vibe and spectrum of what we can expect from the new LP?

Anniee: In addition to “Captured” and “Let Her Hair Down” the album will include 4 previously released singles, and two brand new tracks. I may release one more single before the album.

These songs are the journal entries of my mind over the last 3 years. Are they my actual story or are they make believe? Both. By design, the details are fuzzy, there’s lots of room for interpretation, and definitely straight up make believe. Even so - these songs are about real things that happened to me and they represent my journey into the night, wishing on stars, chasing city lights, moments lost and found.

I could have only found my voice as an artist with the help of Von Hertzog who always brings his best to our collaborations. He is always in service of the artist and the song, and never lets anything else get in the way. I’m so proud of the music we’ve made together, and each song has had a beautiful process.

Will we see more music videos, and when shall we expect your new record to drop?

Anniee: I’m hoping to drop the album in the spring! I’m keeping the release plans loose for now as I gauge the rest of my year - I’m writing a musical with a production on the horizon and it’s my daughter’s senior year, so I need to be careful with the timing. I’m trusting that it will come out when it’s supposed to come out!

Any show or tour plans? What’s next for Anniee?

Anniee: I would love to perform LIVE! I’ve done a couple shows as Anniee, and it’s an absolute blast. My dream is to create album release show where I would perform the whole album as a show with a script and story line. That might be a little ambitious with what’s going on in my life at the moment, but I’ll just put that out into the universe and see what happens. You never know!

For More Anniee - visit anniee1.bandcamp.com

The Endearing -Internet Friends

Review by Karl Magi

Overall Album Impressions

The Endearing's Internet Friends is a deeply emotional, affecting, and beautifully neon-lit exploration of humanity, encompassing all of the joy and pain within that experience. The inclusion of a talented list of guest performers only intensifies and amplifies the musical power contained within this album. I enjoy the layered, melodic listening experience, along with the richly harmonic nature of the vocal performances.

The intense complexity of the synth layers on Internet Friends creates a series of different textures, tones, and timbres. The Endearing enfolds all of the strong vocal performances on the album in glimmering, flashing neon light and powerfully propulsive percussion. The end result is music with lush sonic enjoyment captured within every track.

All of the guest performers included on Internet Friends contribute to the high musical quality demonstrated on the album. Each guest has a distinctive vocal signature and performance profile that mingles with The Endearing’s softly touching, affecting vocal style. The end result is music with harmonic and melodic beauty flowing into the listeners' ears.

I am also drawn to the songwriting on Internet Friends. Each song delves into the vulnerability and emotional toll taken by life on all of us. I appreciate how the songs touch something within each of us, speaking to the experiences that shape our lives. The way in which those feelings and moods are expressed increases the album's appeal for me.

My Favourite Tracks Analyzed

"Internet Friends" commences as soothing arpeggios swirl in the distance, while lush bass floats out. Ethereally ringing notes hover above the broadly twirling arpeggios before shimmering synth carries a melody that mingles wistful sentiment with brilliant illumination.

The bass flows underneath with powerful uplift, tidal energy filling it, while the tranquil synth pulses in calming chords. Chimes ring with fragility and a tremulous touch as the bass continues to undulate. I find myself breathing in deeply and exhaling with peace as the drums punch in now, providing guiding power above the colossal bass.

The percussion cascades, and the effulgent synth gleams with sunlight positivity above the guiding low end. A sense of victorious light permeates the music before the track slips back into contemplative quiet, ending softly.

Delicately glimmering synth swells and entwined voices move in a beautiful, lush melody to commence "Picture Perfect". Guitar sings out with reverberant energy as The Endearing’s effortlessly touching voice carries the softly caressing lyrics, intertwining with Kinnie Lane, who adds her own gentle voice. Both singers mingle their emotive voices to create intense expression, the melody soothing and full of affection.

The powerful drums guide the music as a silken guitar slips out, carrying a freewheeling melody that glides through the music in a lustrous rush. The two singers bring their voices together into harmonic depth that draws me in. Now Kinnie Lane’s voice drifts, followed by The Endearing’s, backed by rounded synth chords that create rich support.

The drums pound like a heartbeat, and the harmonic voices mingle into one ethereal whole. Now Kinnie Lane’s voice slips out with heartfelt expression, and the massive bass guides the track. Both singers capture the lyrics' passion, their voices mixing into a beautiful sound. The drums and bass drive on as the vocals slowly slip into silence.

Our storyteller says that the song's subject is "picture perfect," and her love for them is like an ocean pearl, "so endless." She adds that the other person is "the one, the only one for me," and she loves them like "the sun in the sky." Their love blazes, and she knows that "our love goes on and on and on."

Chimes flicker with lambent luminosity above a steadily pulsating low end to commence "Loose Ends". The drums and bass punch onwards as the chimes shimmer and trumpeting synth calls out with a dynamically bursting melody. The Endearing’s resonant voice is full of deep sensitivity, expressing melancholy and wistful dreaming.

A trumpeting synth shines as the chorus creates dark import. A saxophone howls out in radiant motion as Young Empress and The Endearing bring their voices together. There is power and majesty in the melody, tinged by threat. The saxophone cries, and now a ferociously battering drumbeat and massive synths leap out.

A jagged bassline slashes as the chimes glitter above it while the drums flourish. Crushing power fills the low end before The Endearing’s vocals express danger. The saxophone adds an impassioned element to which I am strongly drawn.

The low end is raging as the chorus floats, and the two singers’ voices soar with intense expression above the charging low end. The chimes glint, and the saxophone leaps before the track ends on wandering, pained notes and minor-key chimes.

The narrator speaks of how "we're only human, pieces of the stars. She adds that "we are born into a universe, a never-ending galaxy of art." She adds that, like everything that came before us, "we all fall apart," and as history repeats, going "on and on… round and round" as it spirals.

Now the storyteller speaks of outside forces who are gods "in a place that you call home." They are strangers from unknown places who are to be feared. These outside forces say, "we are not your friends, you are just a loose end."

Ethereally drifting notes introduce "Blue Lagoon", as bass slowly slips underneath in a soft tie.The Endearing’s voice climbs with ardent strength, rising over the hard-hitting drums and bass with one expressive sound. Now he shares vocal duties with Glass Heart, whose voice adds more depth. The drums and bass rapidly rush as guitar curls around the other sounds, and the synth swells with starry warmth.

Both singers mingle their unique voices to create a melody that bursts with yearning and bright light. The Endearing’s vocals capture all of the feeling in the song as Glass Heart’s vocals follow, delicate in the distance. Now refulgent synth trembles above the punchy drums, adding a note of victory and hope that I find pleasing.

The brilliant synth layers shift around the vocals, which rise with ethereal lightness. Glass Heart lets go with vocals that explode with passion as the drums rebound and halftime while the bass adds muscled weight. The song ends with both singers in a harmonic duo, and synth slipping out into silence.

The narrator talks about a "blue lagoon" that is paradise for both of them in the afterlife. They go on to say that after everything's said and done, "you were not the only one." They wonder who could ask for more, and the answer is, "I want more from this; I'm crazy for you." They say that from the "abyss," they'll rise together and surface.

"Take Me Away" starts with gently flowing synth, and The Endearing’s powerfully expressive vocals capture the freely gliding melody. Shining synth with a hollow sound echoes out in a brightly pulsing pattern above the throbbing drums. Arch Envy and The Endearing bring their lush voices together, gossamer and tenderly caressing as the low end rebounds.

I am drawn to the aching feeling within each vocalist's voice. The chorus climbs with more uncertainty as the two singers' mixed voices create powerful sensations. The background synth flares with piercing light as a synthesized choir calls out. The lucent main melody floats past with delicacy as the singers’ voices brim with heartfelt emotion.

The chorus arcs upward with sunlit brightness, and the drums batter. Elevated synth radiates light as the bass undulates and the drums pound. The song ends with The Endearing and Arch Envy again bringing the lyrics to life above the driving low end.

The narrator asks if he and the song's subject can take everything back, if they can "paste over the cracks and start again?" He says that he has to move on and "bite my tongue" as life continues. He continues by saying that they should prove other people are right. He reminds himself to remain strong: "as our song sounds so wrong when you're not in sight." He says that cracks are beginning to form as his vision is obscured.

Our storyteller talks about taking deep breaths as the world is asleep, and it seems as if he's walking by himself. He says that he is "concealing the feeling that you gave me when you left our home." His heart continues to beat faster as he asks the song's subject to take him away because "I don't think these feelings will pay off for me." He adds that as heavily as his heart sinks: "my demons know how to swim."

The narrator again asks to be taken away because he doesn't think that his current feelings will benefit him. He adds that "the burden is mine to bear," so he asks the person to again take him away from the situation in which he finds himself.

Calming synth waves wash underneath glimmering notes to begin "Crystal Eyes". Melancholy peace flows as sparkling notes flit past and the drums flourish. Now the bass interlocks with the punching drums and the gleaming synth, carrying a yearning, soothing melody above the depths. The Endearing’s affectionate vocals ache as they carry the wistful melody, full of wishful rumination.

The drums and bass throb easily, and the vocals rise with resonant expression above the shining synth that floats in between the words and the colossal percussion and bass. The Endearing’s soft, tremulous vocals carry the melody above the trickling, luminous notes and washing bass.

A computerized distortion in the vocals adds an interesting touch before The Endearing’s touching performance draws me inward. The lyrics slip out again with mournful need as the glittering synth flashes. The vocals are full and affecting as they unfold, and the drums and bass guide the music to a conclusion.

Our storyteller says that he has many things he'd like to say to the song’s subject. For instance, he never got "a chance to tell you that I love you." He adds that he's had enough of sleeping with the lights on, but "without you here, I live in fear." When he shuts his eyes, "the light shines on me," and he recognizes the other person's "crystal eyes," which "crystallized before they hit the sky, intensified in my mind."

"Low" opens with the sound of a cassette tape clicking into place and playing, underpinned by massive bass and slowly undulating, luminous notes. When sweeps and now Bethany Munroe captures all of the lyrical feeling in her evocative and powerful voice. The drums and bass throb with guiding strength and launch an active beat as Bethany Munroe’s emotive vocals take hold of my heart and run with it.

The glimmering synth frolics as the vocals climb with warmth. Now Bethany Munroe’s voice drifts with a subtly shining accompaniment as the earnest vocals ring out in uplifting and hopeful life. Synth fills the music with filigreed illumination as Bethany Munroe’s voice climbs with power and feeling. The track glides into a peacefully delicate segment in which the drums rebound and the vocals cascade. All of the various parts intertwine to create one richly satisfying whole.

The narrator asks the song's subject to tell her that it's okay. She says that she realizes she shouldn't be depressed today, but "it's just what I got in my brain." She adds that her "devils are such good dancers," and as they pull her in, she spins faster and goes "spiraling into disaster."

Our storyteller asks the song's subject if they'll swear she isn't too sad for them. She also asks, "will you say it's okay in the way you do?" because she keeps showing her true self, and the other person keeps coming back. She asks, "is this what it means to be loved for who I am?"

"All the graves I dig are so comfortable," according to the narrator. She concludes that the ending is easier than the middle, as she is "trying to be loved just a little."

Dense bass flows, and a glistening synth cascades to kick off "What a Time to Be Alive". The bass undulates, and now propulsive drums launch a steady heartbeat as the limpid synth carries an uplifting melody that intertwines richly. Synth with smooth illumination spreads glowing chords above the smoothly oscillating bass pulse and punching drums.

The lead synth pours out scintillating brightness, carrying an encouraging melody. The sense of motion and uplift carries me into a positive mood. Now the drums and bass explode into a rapid rush as the medium-high, shiny synth suffuses the music with luminosity. The glittering synth spins out in motivational melodic life as the low end accelerates.

The drums flourish, and the tempo slows again as the piercing brightness flares through the music. The drums become slightly more uneven above the steadily throbbing bass as the synth moves with majestic strength, full of shine. There is nobility and strength as the drifting synth hovers, and then the drums erupt again with towering muscle as open-sounding arpeggios rush past. The track grows in victorious power before coming to an end.

Conclusion

Internet Friends is an atmospheric, passionately expressed exploration of human emotion, combining the talents of many different performers with The Endearing's approach to creating synth-based music. It's an album I could listen to many times and still derive the same pleasure from the experience.

Cat Temper - Still Just a Cat in a Rage

Review by Karl Magi

Overall Album Impressions

Cat Temper’s Still Just a Cat in a Rage is innovative, playful, and full of prog influences. The way in which the artist combines auditory layering, fascinating and even bizarre synth sounds, and wildly exploratory musical expression comes together into one of his most fascinating and experimental albums yet.

There's a complexity and intelligence to the way in which Cat Temper puts together Still Just a Cat in a Rage’s synthesized soundscape. Cat Temper manages to interweave constantly shifting sonic textures, stacking synth sound on synth sound in order to bring aural interest into his music. The way in which he constantly surprises and delights with his synth combinations pulls me further into the music.

I am also drawn to Still Just a Cat in a Rage by the fascinating array of different sounds Cat Temper uses. There's everything from sparkling delicacy to bending, squelching oddness woven into a compelling tapestry. Once again, I find the playful nature of this artist's music charming. He isn't afraid to suddenly throw in a sound that generates joy or a smile along with the clearly carefully worked-out sound design.

The way in which Cat Temper moves between stylistic and emotional states is another strong aspect of this album. One track can embody gentleness, explosive energy, and intriguing sounds while changing tempo and direction. Cat Temper keeps the music enjoyable and under control. He knows just when to let go and when to pull back in order to create the mood or feeling at which he aims.

My Favourite Tracks Analyzed

“The World Is a Vampurr” opens with violently rushing bass that undulates as a snare drum rapidly accelerates, and the low end batters ferociously. Unrelenting anger pours from the charging drums and bass as roaring guitar bursts in raging pulses. Roundly flanging notes wobble into the track as the guitar continues to growl.

Now the drums cascade and rebound as distant, metallic-sounding notes echo and sharply spinning, string-like synth twirls past. The track then floats through a faraway section in which a broadly sweeping synth slowly vibrates and shifts, creating an unsettling auditory atmosphere. I feel compelled by this music's complexity.

The track transitions to a quickly driving, angular drum and bass pulse, while nasal-sounding, dark-edged synth beams through the music with a haunting energy. Chimes echo with ominous import as the towering low end shoves the music forward aggressively. Now digital-sounding, medium-high synth creates a reverberating pattern as the gigantic drums shatter the music.

Razor-edged chimes ring with threatening notes, and now a quickly tumbling, slashing synth falls through the music as the drums smash hard. Elevated, nervous notes fulminate the music with agitated discomfort, and the guitar growls in the background while the drums attack and the bass surges. Hectic notes spin, and the track ends.

Colossal, resounding synth oscillates with a feeling of lurking danger to commence “We Only Meow at Night”. The shadowy bass matches the synth undulations, and a bell-like synth waltzes through the music with rough-edged elegance as the snare drums rattle.

The wide-sounding, digitally glowing synth sways back and forth with a sense of something hidden. Organ-like notes churn through the music in a wandering, discomforting pattern as the broad lead synth melody roams with haunting, minor key emotion that shifts to major with a warm chord. Background notes expand and contract as the wobbling synth, tinged with a Theremin-like sound, continues to add spectral sounds.

Elevated notes briefly scream as the continually active background shifts. Taut, slightly atonal synth stumbles through the music before digital-sounding notes cut in. All of the interlocking synths wander and float with more ghostly emotion before the track ends on rapidly twirling bits of sound.

"Hissed and Gone" opens with a rapidly rushing, flat bass and hissing sounds. Guitar slashes with ferocious energy, and a steadily flashing pulse moves in between the hard-hitting guitar. Heavily punching synth growls with bursting energy, and the guitar cuts in with slashing claws. Full-sounding, digital synth skips and calls out with echoing energy, carrying a wandering pattern.

The drums and bass punch hard, and active bass undulates as the drums accelerate again. Twisting, floating synth carries a dramatic melody with a mysterious quality, which I enjoy. The round-sounding synth notes rise as expansive, medium-high synth with a rough edge dances, and the bass punches in with massive strength.

Wildly wandering sounds shiver for the music, and the drums flourish as the guitar batters into the music again, while metallic synth shimmers with enigmatic light, and the drums and bass continue to shove the track forward. There's darkly propulsive motion in this track as it comes to an end on raging guitar and laser-like sounds zapping into the music as angular notes fade.

"Howligan" kicks off as threatening bass descends and a rising sound cries out. Now the drums and bass create a rapidly driving pulse that leaps forward with galvanizing energy. In between, the massive bass towers, and we move into a swinging section in which the bass bounces and the drums create an easy-flowing beat.

The brass moves in with an almost ska-like feeling, swinging and jumping through the music like the big band era just moved in. I enjoy the eclecticism on display here. Now the track returns to its snarling, roaring self with churning energy as it blasts forward. The fierce energy is split by shining synth that slides with a blast of luminous strength as a haunting choir floats.

The swing section returns again, only slashed by the hard-hitting guitar that tears its way into the music. A glimmering synth dances through an active and slightly nervous melody as the brass synth blasts out. Again, the ferocious bass roars with unbridled energy before flickering notes fade.

"The Celestails" kicks off with bouncy, crushing bass swinging along with hard-hitting drums. Angular, minor key arpeggios leap with blaring light as the drums thunder. The swinging beat punches forward with thick strength and undeniable energy as bell-like synth echoes and dramatic lines undulate.

The minor key notes have a playful, sneaky feeling about them as they creep through the music. Rounded sounds echo, and again the hard-hitting drums and dense bass press the music forward. Shadowy notes climb dramatically before intensely brilliant synth cries out with a propulsive melody.

Gleaming arpeggios rapidly rotate, and the drums and bass move forward with unstoppable energy. Now medium-high, shining synth twists in a minor key dance that I find teasing and a great deal of fun. Towering, bending synth flows through the music with a steadily uplifting sensation as the gigantic low end thunders into silence.

"Furwell and Goodnight" comes into being with fat-sounding, reverberant synth throbbing out. It expands and contracts unctuously before a kick drum smacks into the track hard. Now a digital-sounding, warmly surrounding synth carries a melody full of gentleness and a feeling of tender emotion. Flashing notes with a metallic ring punctuate the steadily moving snare drum and hard-hitting low end.

The enfolding chords rise upwards on a full-sounding synth before growling, lacerating bass snarls and the steady pulse. The drums rebound, and now a crystalline synth sings an uplifting melody that is full of joy and encouragement. The bass is massive and active as the drums continue to shape the music. Twisting, harsh sounds move in contrast to the shining synth creating fascinating interactions that I enjoy.

From this aggressive, howling background, sharper-edged chords emerge with fierce illumination. A choir chants, and slowly rising lines intertwine, while clearer notes call out with positive emotion as the kick drum continues to throb. The snare drum comes in again as the dancing melody moves to a conclusion.

Conclusion

Still Just a Cat in a Rage takes Cat Temper into new sonic territory. I feel that this album exceeds his previous efforts in terms of experimental sounds, fascinating melodic moments and a genuine sense of play.  Still Just a Cat in a Rage is perhaps one of the most interesting albums that Cat Temper has ever created.

ODDER - At The Pace Of Death

Review by Atomic Robo-Kid  |  Album Art by Thierry Parrot

I have been following Odder's work closely, immensely enjoying his single releases and therefore have been long anticipating a multi track release. Well, finally that anticipation is over and my darkened soul is full of blood soaked joy at Odder's very first EP 'At The Pace of Death'. It was well worth the wait and my desire to plunge deeper into the soundscapes of atmospheric darkness, horror fuelled panic and uptempo aggression is well and truly satisfied,  'At The Pace of Death' pulls at your fears and delivers soul crushing intensity with well composed and intelligent use of never before heard glitches and bass lines! This packs one hell of a punch and will launch you into dark realms where dark pleasure awaits! You won't want to leave, so you better press play, hold on tight and enjoy the ride! Odder has such sights to show us!

The sights are of a shadowy, pulsating world where Darksynth and Horrorsynth, glitch sounds and dark orchestra seamlessly intertwine. This EP is masterfully produced, bringing us deep inside atmospheric worlds that evoke a sense of unease whilst simultaneously solidifing a heart pounding darkened euphoria that will captivate yet panic the listener.

The opening track, 'At the Pace of Death', sets the tone with layers of menacing synths that build a sense of impending doom, while glitchy percussive elements add a disorienting edge. Fast paced and meticulous deathly church organ rings out, as if played by death himself as you are plunged into the fast paced melodic synthwork. The track's progression is relentless, dragging you deeper into Odder's nightmarish vision. The host of well-positioned pauses and twisted church organ sounds fuel the adrenaline soaked fear and build a solid track structure.

The introduction to 'I Am Error' is Intense, broken samples are stitched together creating an uncomfortable and uncontrollable sense of fear. An electrical interference summons an overworldly spirit from the electromagnetic alternative realm. Full of glitchy sounds and bass, bass with a ton of real character, depth, movement and face melting harshness. The interplay between melody and this electrifying bass creates a hypnotic effect that you won't be able to stop yourself moving to!

'ecleaning' provides us with an amuse-bouche, cleansing our auditory palette before moving onto the next main course. At 1.05 minutes this short track sequences a diverse range of mechanical sounds, analogue TV feedback and well... distant screams and torment! Odder creates a feeling of malfunctioning machinery amidst an eerie, ambient backdrop. It's equally beautiful and unsettling at the same time! A collection of sounds that you would hear if your VHS head cleaning tape was possessed by a cursed spirit or had been recorded over by a crazed sadist capturing their criminal acts of torture. Either way, I'm not sure I feel cleansed. But, you know actually perhaps I like that feeling of loosing control.

'Pagan Incantation for No Tomorrow' ramps up the intensity with aggressive synth leads and rapid-fire glitch effects. The relentless pace and abrasive textures create a sense of frantic urgency, like a chase scene in a dystopian nightmare. This track is sure to get pulses racing and hearts pounding.Towards the end of the track those high octave accent sounds and the chants of the believers are at the forefront of this rich sonic tapestry creating a clear sense of an approaching cataclysmic climax. The layering of vocal elements, with the illegible chanting, adds a welcome extra. I'm keen to join them and see what malevolent monster we can conjure up together! This is definitely a track that lingers long after it ends.

'The Clock Master' is an incredibly complex track that has taken a lot of skill to pull together and make work. Believe me Odder has done just that in this finely tuned production! All engulfing eerie clock noises create a sense that you are being controlled by a supreme being that can transport you to different realms and different times. Controlling you, making you relive difficult times and preventing any goodness that may lay in your destiny. A difficult entity to say the least! Torturous screams echo through spine breaking, explosive kicks which are ushered down by periods of creepy chanting. 'The Clock Master' is on the cusp of bringing armageddon to all of mankind and we are all his slave! If armageddon sounds this good, I'll confess to cheering on the end of mankind.

'Sinister Ghost Postlude' is the closing track in the EP. A slower tempo, but don't worry it continues to uphold that tension the rest of this EP is so damn good at! The haunting synths, samples and subtle glitches create an atmosphere of eerie desolation. There's plenty to keep you on the edge of your seats, and you don't quite know which direction the track will follow. In fact, that's pretty mainstay for Odder's work, the twists and turns and gripping suspense is just one of many reasons I'm a big fan! It's a fitting end, leaving the listener with a profound sense of terror. It's not for the faint hearted and I enjoy those heart stopping moments before the plummet into the unknown abyss. The glitches here act like digital spectres, haunting the intricate synth lines resulting in a very fine soundtrack to a terrifying horror movie.

Overall Impressions:

Odder has crafted a compelling journey through dark and desolate soundscapes, with heaps of heart stopping action, powerful percussion, glitched sounds and twisted bass lines. Intertwined within each track you'll uncover layers of unpredictability, complexity and an adrenaline fuelled thirst for blood. The perfectly composed orchestral moments and horror movie sounds cause sheer physcological torture that pin point your inner fears with clinical precision. All poised to hammer home a package of traumatic panicked terror to the forefront of the listening experience. This is a collection of tracks that could equally stand as soundtracks for the most chilling cinematic encounters as they could the darkest moments on a Dark Clubbing dance floor.

Each track stands strong on its own, but together they form a cohesive and immersive experience that is as engaging as it is unsettling. For fans of Darksynth, Horrorsynth and the darkest of electronic music, this EP is a must-listen. Odder's innovative approach to music making and terror manifestation ensures that 'At The Pace of Death' will not only satisfy but also haunt its listeners and may even spark a dangerous interest in summoning evil spirits! Prepare to be scared, open the box and succumb to the powerful sounds. Check out the links to listen to 'At The Pace of Death'.

For more Odder, visit oddersound.bandcamp.com