Peter Gagliardi - Journey to Pluto

Review by Karl Magi

Overall Album Impressions

Peter Gagliardi’s Journey to Pluto is a beautifully orchestral, cinematically sweeping album that captures all of the mystery and majesty of that enigmatic celestial body. He draws the listener along with supremely well-composed melodies, haunting instrumental choices and a richly atmospheric feeling that conveys us on this journey to Pluto. I enjoy the blend of classical elements with synthesizers, effectively painting powerful imagery as the album unfolds.

After having reviewed several of Peter Gagliardi’s albums, I can confidently say that Journey to Pluto in particular showcases his skills with more classical sounds. His use of oboe, cello, piano and strings captures all of the nobility and darkness inherent in outer space. He interweaves these more organic sounds with synthesized tones and textures to broaden his canvas and create more compelling vistas through this instrumental depth.

I can say that the melodies Peter Gagliardi has written on Journey to Pluto are some of his best so far. The way in which he captures emotion, ranging from tenderness to triumph, is superb as his melodies unfold. Each piece has an engaging ability to pull me into it and Peter Gagliardi writes in a way that allows me to personally engage with the emotional content of the tracks. I find these melodies memorable and impactful.

The way in which Peter Gagliardi composes on Journey to Pluto allows me to visualize each step of this journey upon which he takes us. I am buoyed up by the sense of flying past vast cosmic structures and circling Pluto in orbit, looking down at that mysterious surface, pondering its secrets. The overall effect is one of the sublime—both beautiful and terrible at the same time.

My Favourite Tracks Analyzed

"Edge of the Solar System" comes into being as massive bass creates deep vibrations and a steadily gliding synth wanders out above it. Tiny bright notes shine delicately into the gruff bass and become a delicately drifting pattern as they move. The colossal bass forms a cosmic tide as the tentatively touching notes glimmer. A steadily undulating synth pattern creates a wave that floats outward. Tightly wound, guitar-like notes pluck as shimmering synth twinkles like a faraway galaxy.

Rounded notes swell and wander off into the distance as the string-like synth begins to form a steady pulse. Echoing, glistening notes playing through the music carry me away into a state of meditation and contemplative silence. The brighter sounds evoke a starfield glittering in the velvet blackness of endless space, while the bass gives space to exhale and let the tension go.

A broader synth pierces the music with more intense luminosity, wandering out as the bass pulse continues and the plucking string sound adds a hint of tension. Slowly drifting notes trail through the track above the colossal weight below and a warm sound closes the track out.

A worshipful choir calls out as deep bass rumbles to begin "Cold Beauty". A hushed crackling sound moves in the distance as the blessed voices drift past in a serene tide. The track grows in strength as the voices continue to call out, slipping past in a peaceful line. Strings touch the music as piano carries a trembling and affecting melody, tinged with pain, while a fluting synth carries a second melodic line that speaks of journeys across unfathomable distances.

The cello’s dark tones fill the music, which I find intensely moving and full of overwhelming feelings, making my heart ache. The cello melody takes a minor-key turn as the bass begins to pulsate in a smooth motion and the choir calls out. Melancholy shadings fill the track as the strings and choir are underpinned by the steady piano. Tragedy radiates from the strings as a pipe organ moves in the distance.

The cello and flute-like instrument intertwine in a touching duet, carrying out intense sensations of need and gentleness. As the cello turns into minor-key notes, the sorrow pierces me and I feel carried on its tide before the song fades into silence.

"Journey to Pluto I: Hydra" starts as portentous bass flows and a soft crackle shifts. A single, raised note becomes a slowly unfurling melody, haunting and lost, supported by an oboe. The bass continues to slip and the distant crackling adds texture while the ethereal woodwinds are joined by a delicately moving piano, carrying a minor-key melody that adds an enigmatic sensation.

The bass begins to create an undulating pattern as a single sound floats. Gigantic, martial drums begin to batter as the choir expresses gossamer, pained emotion and the piano carries a spectrally shadowed melody. Drums and low brass add immense drama and the choir creates a feeling of approaching danger. I am enamored by the cinematic scale and incredible power exuded by the low end.

Hollow-sounding notes roam and the richly glowing synth has a bell-like quality, carrying a caressing melody before the low brass growls and flickering notes intertwine. The bass keeps rushing forward before the piano carries a fragile, frightened melody through the music. The mixture of weight and breakable sounds creates an engaging contrast before the song ends on the choir falling silent.

A trickling piano floats out into vastness as the metallic sounds in the distance shift to open "Journey to Pluto II: Kerberos." Warmer notes move along with ghostly minor-key chimes as the bass begins to pulsate and a single, huge drum pulses. The sparkling notes in the distance rapidly flit by as laser-like sounds cut in, carrying a melody that speaks of danger and adventure. The drums and bass form a solid wall, while the glimmering synth, with its rough edges, adds a powerful feeling.

Metallic sounds hiss as the broad-sounding, majestic synth carries the timeless and moving melody. There's a dreamy and diaphanous quality here that I find enjoyable as the main melody unfolds. Computerized notes tumble tensely in a flashing line, churning and bending, as the percussion and bass shudder onward. Uncomfortable sensations touch the music before the track moves to a more delicate segment, with chimes flickering and calling out with tenderness. The piano's minor-key sound adds a twilit quality as the bass rumbles.

“Journey to Pluto III: Nix” commences as an ominous flow moves behind the richness of an oboe and the softly touching strings that move tentatively in the distance. The low end contains a hint of threat as the oboe breathes out. The bass adds dense mass as the background crackles and the oboe's beautifully shadowed voice delicately shifts. The bass becomes a colossal pulse as lonely piano notes flow outward into the vastness looming around them.

Strings add a lustrous luminosity as reverent choral voices fill the distance with a growing glow and the enormous bass continues to throb. The oboe's tremulous voice carries a melody that touches me with isolation and a sense of loss. The wordless vocals are in a minor key and full of tragic feeling, while a harp evokes timeless astral sensations, moving in slowly shifting arpeggios as the bass heaves below. Lushly shaded vocals move above the vibrating background with an engaging feeling before the track ends on a nervously echoing piano.

A softly descending piano moves above bass that swells and fills the background to start “Journey to Pluto IV: Styx”. As the piano climbs and descends, it gives off tranquil sensations, tinged by a hint of shadow. In the distance, the oboe and strings add glinting hints of starlight, while the piano fills me with a sense of lightness and the feeling of weightless flight.

The choir grows in the distance, adding another sort of scintillating light to the proceedings as the strings intertwine and fan out, while the piano sparkles and flits through the music with a bird-like delicacy. The piano spins out in an energetic line as echoing percussion taps in the distance. The piano flutters as the tapping percussion increases in strength, echoing outward.

A slicing synth with an intense sheen jumps into the music, twirling and cavorting with abandon. The oboe moves in the distance with woodsy depth as the piano reaches out to touch my heart with its trembling calm before the choir ends the track.

“Journey to Pluto V: Charon” starts with a brief choral burst before vast bass moves in a gigantic flow, accompanied by a heavily thumping kick drum. Rising brilliance pours from distantly glistening synthesizers and the low end becomes a percussive heartbeat. Rippling notes drift outward as a tin whistle carries a timeless, folklike melody, expressing ancient feelings that contrast with the twinkling synthesizer. The pounding drums and bass drive the music forward.

An astral radiance emanates from the synthesizer that hangs in the background as a lusciously full sound moves, interweaving with the marimba while the piano adds texture. The drums grow in power again as the spaced-out synthesizer skims over the battering low end and angular notes that trip through the music. Now, a steadily shining sound moves in again and the intensely affecting tin whistle cries out, expressing a feeling of spiritual energy that I am drawn to.

The cello winds through the music with a melody that is deeply reverberant and aches with melancholy. Chimes sparkle in the distance as the cello weaves its mournful tones above the gigantic low end, while a haunting sound emerges on a violin, expressing a depth of feeling. Rippling notes close the track out.

Colossal percussion erupts as the strings twine out in a lively line and a clarinet carries a wandering minor-key melody above the swelling bass to commence “Journey to Pluto VI: God of the Underworld.” The strings intertwine and cymbals crash before the emotive cello winds through, accompanied by clanking, clattering percussion.

There’s a military throb to the underlying drumbeat as metallic sounds ring out and lush strings vibrate. The cello is expressive and powerful as the steady vocal sound echoes in the distance and the bass rumbles. Cymbals burst again and hard-hitting drums thud into the music as the choir adds an ominous note.

Flickering sounds carried on a slowly turning piano move above the darker shadings below. The track has a smooth flow as a richly unwinding bass sound moves and static crackles. The track slips into a tranquil, feather-light segment before the piano slowly undulates and a sparkling synthesizer with a string-like quality rapidly arpeggiates.

Brass adds massive drama and a snare drum clatters with martial precision. All of the strings intertwine as they float and the brass cries out with intensity and flashing power. I feel the surging energy within me as this piece unfolds. The oboe cries out again as the metallic sounds ring and the vocal sound howls before the wandering piano slowly fades, leaving silence to settle over the track with a deep weight as it ends.

“A Million Hearts” begins with Stygian bass shifting below sweeping sounds. The bass has a tidal flow to it as it spreads outward and slowly falls into silence. Now the piano takes up a melody that combines gentleness, elegance and a caring, cradling feeling. The piano continues to drift with precise grace and the strings behind it move with affection.

Chimes flicker and the piano creates a misty bed for the music as the bass rumbles and the drums touch smoothly. Luminance fills the background as the piano calls out and a choral synthesizer creates the impression of voices climbing skyward in the distance. The piano carries heartbreaking emotion in contrast to the looming power below it.

The drums add a guiding pulsation as the piano slips past. The music's touching quality draws me in. The piano moves alone before the colossal bass continues to move and shift. A trembling sound moves distantly as the piano slides through the music with simple beauty. The astral power of the low end imbues the music with a feeling of space flight before the track comes to an end.

Conclusion

Journey to Pluto is one of Peter Gagliardi’s best works, in my opinion. It has an evocative nature and instrumental beauty that set it apart. It’s the sort of work I'd love to hear fully orchestrated and performed by a symphony to bring out the full lusciousness and emotion with which it is imbued.

Producer Spotlight + Interview: Von Hertzog

Foreword and Interview by Vero Kitsuné

Pennsylvania-based producer and engineer Von Hertzog has just released his trip-hop EP, entitled “David’s Crate” - a carefully crafted 6-track concept offering featuring samples pulled from a crate of records he inherited from a late friend. Lush, emotive and deeply immersed in ‘90s nostalgia with a stunning and cohesive depiction of longing and lost love, “David’s Crate” also features lyrics and vocal performances by collaborators Von often works with: Rob Rowe (Cause & Effect, VHx RR), Jennifer Maher Coleman (Architrave), Anniee and CZARINA. Aside from his own projects such as VHxRR and his eponymous solo brand, Von has had his hands in several productions, earning the trust of many artists and producers in the synth and electronic scene for his meticulous, analogue-digital hybrid approach in mixing, mastering and production engineering. In celebration of “David’s Crate” Absynth sat down with Von to discuss his process and philosophies.

What initially drew you to music production and engineering? Was there a specific moment or artist that inspired you?

Music has always been important to me. From the age of 2 I was picking and playing records on my parent’s turntable. Then one day I heard Beastie Boys Licensed To Ill and then N.W.A. Straight Outta Compton and they changed my musical world. I fell in love with hip-hop and by 1996 I was starting out as a hip-hop DJ. I was putting out mix tapes and when I was delivering some to a store, the owner asked me when I was going to start producing beats. Honestly, the thought hadn’t crossed my mind until then. I was happy DJing and trying to get better at it, but it did plant the seed. And by 2000 I was trying to cobble beats together in Fruity Loops 3.4 (now FL Studio). And from 2000 to 2012 I was immersed in hip-hop and that entire scene. In 2013 my dad unexpectedly passed away and that was actually when Von Hertzog was born. After he died I just would sit in my studio and make music as a way to process the grief. I decided to organize those songs into my inaugural album, Dearly Departed. I chose the name Von Hertzog as a tribute to my dad. My first name is Kent, but Von means from in German. And so Von Hertzog was born as a way to tackle the grief from losing my father. 

How has your approach to production and sound engineering evolved over the years?

I would say my approach has changed with experience. 15 or 20 years ago I’d be looking for just the right plug-in and cycling through pre-sets to try and find what I was envisioning. I didn’t think about the theory of how to get what I wanted, I just kept scrolling presets until it was close enough. Now I do a lot more with a lot less. Meaning, I just need a compressor, and EQ and I can mix a record. Less is more. The more you add, the more points of potential failure for your mix. Plug-ins won’t save you. You need to know the basics of theory and application for compression and equalization. Understanding how the attack and release work on a compressor will take you much further than endlessly surfing presets hoping you hit the jackpot. 10 years ago I was still hiring an engineer for my own music because I was too close to it to engineer it properly. Production and Engineering are two very different mind sets. Now I’ve trained my brian to listen as an engineer not as the person who made the music. Can I be objective with how things sound from an engineering perspective even though I’m the one producing too? I’ve found the ability to do that about 6 years ago and it’s really made me a much better engineer. Also, when I got into designing my own studio monitors it really helped flip a switch in my brain for listening analytically. Like I said, the producer brain and the engineer brain don’t look for the same things. The producer's brain might be noticing “I could have used a crash cymbal there”, or “the bass line pattern needs a switch up”. The engineer's brain could look at that same stuff and say, “The cymbals sound good, but maybe cut 1dB at 7khz. The bass, regardless of pattern, needs some compression and EQ.” See how listening to the same thing but with different focus matters? Some artists are better off paying an engineer to finish their music because it’s a very different mindset and skillset than producing music. Can you do both? Sure, I do. But it took me 15 years to get to that point. Does it have to take 15 years? No, of course not! But that’s how my journey has gone. 

When working on a track, do you have a signature approach to mixing and mastering, or does it vary depending on the artist?

I always approach every piece of music like it is unique, because it is! But I definitely have a template I start with. I always mix and master in analog, and that analog is always captured back to digital by the Dangerous Convert-AD+. So I start with a template in Cubase that has 16 stereo groups routed to the analog SSL mixing console where the levels can be individually adjusted and summed to stereo, in analog. But one day I will be working on a club banger and the next day will be working with a singer/songwriter. And I can’t take the exact same approach to both of those genres because they’re so different. I always say, “master to the music, not to a metric.” And I truly believe that. So while every song gets my TLC, how I treat them can vary greatly. 

What’s a common mistake you see artists or producers make when it comes to mixing and mastering?

Not hiring a professional (haha). Seriously tho, like I tried to touch on earlier, if you are an artist, that does not mean you’re an engineer. If you’re a musician, that does not mean you’re an engineer. Can you be both? Sure! But it requires two very different skill sets that some people just haven’t developed. Music and artistry is very creative and fluid and engineering is much more like science. You have to be able to recognize both your strengths and your weaknesses and to ask for help when you need it. Also part of what allows me to do this is my equipment. I’ve spent 25 years trading up on gear to get to a point where my system is hyper revealing and it allows me to assess things quicker and easier. 

Can you give us a brief walkthrough of your workflow when tackling a complex mix? What tools or techniques do you rely on the most and what are your favorite VSTs and Plugins?

I start in Cubase with my 16 stereo group channels & 8 FX channels sends template. I made a Youtube video where I break down my mix template (Link here). I have the SSL UF8, UC1, UF1 controllers so I have the SSL channel strip over every channel in the session. I typically use the 9000 emulation. My 8 FX sends are set up using 4 Reverbs and 4 Delays at varying settings and using channel sends with automation to breathe some life into it. It sounds a lot better doing it that way, than it does slapping reverb inserts onto individual vocal tracks. By using the same reverbs and delays for the song you’re creating the 3-D space that your mix lives within.

The plugins I rely on the most are, I love the Purple MC77 (1176 style comp) for vocals and bass. Also a fan of ELI Arousor which is their plugin form of the Distressor. Super fast attack and release times on it really lets you dial in exactly what you want. The Weiss Compressor/Limiter is a great 2 for 1 plugin that allows compression before limiting. Very clean and precise. 

Von Hertzog, The Social Club Sound Studio

Are there any trends in music production or audio engineering that excite you or that you think are overhyped?

I’m tired of side-chained basslines (laughter). I rarely if ever go to that technique. The other thing that is overhyped is mastering plugins and AI mastering. Benn Jordan showed what a mess AI mastering is with his YouTube video. Good mastering is an art and it requires intelligent analytical adjustment so it can remain transparent. I think Ozone does people more harm than good because people don’t know what they’re doing and they have this confidence that the plug-in will do it all. Relying on a preset from any plugin is dicey because that preset is designed as one size fits all, not what best fits your song. I’m not sad to see Synthwave has started to run its course. We need innovation there, not more of the same. There was a golden age for Synthwave (2013-2018), at least for me. It was cool while it lasted but as musicians we owe it to ourselves to grow into whatever is next. 

How do you balance preserving an artist’s vision while ensuring the final mix sounds polished and professional?

My goal is always delivering the artist’s vision. They’re the target. So if they want a specific sound or effect that maybe detracts from the whole of the song, I’ll try and treat it in a way that makes everyone happy. I don’t think any artist ever wants their stuff to sound unprofessional. But sometimes you can get demo-itis. Where you listened to the rough mix of something so many times and fell in love with it, warts and all, and now anytime something changes you feel it has lost something from that original version. And that can be a hard hump to get over. Because like I said, you need to switch from your musical brain to the analytical engineering brain. And while you may be loving how you played that guitar solo, if it’s shredding everyone’s ears at 5khz, no one will want to listen. So it’s about treating the musical elements with the engineering respect they deserve. And in the end, if the artist is happy with the end results, I’m usually happy.

What qualities do you think make a great producer and engineer beyond technical skills?

To be a great producer you need to be artistically creative. You have to be a student of the game. You have to understand what makes a great song great from a songwriting standpoint. Learn the little tips and tricks. To be a great engineer, you have to be able to hear things from a technical point of view. Don’t get caught up on what he played during the guitar solo, focus on how it sounds.  What’s the frequency balance over the mix? Does this genre like the kick more up front? Being able to recognize these things quickly goes a long way to success. And be willing to try and fail throughout the process. Not every idea is a good one and sometimes you’ll try things that just don’t work out. Don’t be afraid to walk it back and try something different. Experimentation is key to being a great producer. Attention to detail is what makes a great engineer. 

What advice would you give to up-and-coming producers and engineers who are new to the art and process?

Work on your own music. Produce and engineer your own stuff when you start. Because if you’re producing something, you know how you want it to sound in the end. You know the target. Then it’s up to you to switch to your engineer hat to get it there. And sometimes maybe you do 30 versions of a song before you nail it. But over time that number comes down as you gain more experience and efficiency. But working on your own material gives you the bonus of having as much time as you need to get it right. You’re not on the clock for a client. You’re your own client. So take it to version 27 if that’s what  it needs. And the more you do it, the more natural it becomes. But there’s no shortcut to doing the work. The only way out is through. 

What’s next for Von Hertzog?

I’m growing my studio, The Social Club, and I’m currently growing my YouTube following. You can check me out at Youtube.com/@socialclubsound. I’m trying to produce videos that are helpful to people interested in producing music or people who want to know more about speakers and the process of designing and building them. My speaker company INCLINED Fidelity is getting ready to release some new models. And I have my new trip-hop EP that just dropped on Feb 14, 2025. I got to work with some amazing artists on this one. Jennifer Maher Coleman of Architrave, Anniee, C Z A R I N A, and Rob Rowe of Whitewaits. Rob and I also have a new VH x RR EP dropping this late spring/early summer. I’m keeping plenty busy! I just want to say thanks for taking the time to interview me. I appreciate it. And if you’re an artist reading this who might need some engineering help, hit me up! Thanks! 

“David’s Crate” is dedicated in loving memory of David Chapin.

For more Von Hertzog, visit https://vonhertzog.bandcamp.com

For VHxRR, visit, https://vhxrr.bandcamp.com

Xynapsis - Midnight Caller

Review by Karl Magi

Overall Album Impressions

Xynapsis’ Midnight Caller tells a vibrant and image-rich, cinematic tale. I enjoy the way Xynapsis has created a dynamic and engaging soundtrack for a movie that was never made. The mixture of finely crafted melodies, synth layers that paint vivid imagery and the overall atmosphere that feels filmic and characterful results in an extremely entertaining sonic journey, unfolding with creativity and fun.

One reason for Midnight Caller's success with me is the high quality of melodic composition by Xynapsis. These melodies capture me and transport me through the mental movie that the album unfolds. They evoke drama, danger and excitement along with a good measure of happy nostalgia. I am enamored with the way Xynapsis can grab hold of my ears and pull me deeper into the music.

Another compelling reason for my enjoyment of Midnight Caller is Xynapsis' careful use of a richly varied synth palette. Each sound adds to the charming auditory tapestry that preserves the emotional and visual sensations Xynapsis aims to create. As each layer combines with the others, the result is powerful feelings and beautifully unfolding imagery.

The way the melody and synth choices combine adds to the overall atmosphere of excitement and the celebration of the great action movies of the 1980s in Midnight Caller. The tracks feel cohesive, traveling through the story as it unfolds, pulling me in with their emotive strength and the sense of watching an intense movie.

I'd also like to mention the wonderful addition of saxophone to this album. I've always been a sucker for this instrument and the way Xynapsis deploys it here adds a deeply ear-pleasing mixture of throaty passion and gentleness.

My Favourite Tracks Analyzed

"Dangerous Love" comes to life as massive bass moves in a surging pulse and luminous notes flicker above it warmly while a tide of sweeping sound passes. As the tidal sounds wash, lambent synth shines and now the sax leaps into the music with passionate energy, its rich tones projecting a celebratory feeling.

The drums and bass punch hard, pressing the music ahead as the synth radiates an encouraging melodic pattern, the sax joining in to fill it with neediness and a sense of desire. The drums and bass interlock while the sax solos with heartfelt joy and a sense of freedom. I enjoy the way the sax deepens the emotional feeling in the music.

The track flows now as the drums and bass drop away briefly and the sax howls with reedy life. The elevated synth cries out with brilliant dynamism, projecting effulgent light. As the synth dances, it skips through the music and the sax jumps in again, adding ardent energy, becoming gentler and easier before the track ends.

Quickly spinning arpeggios revolve as the track swells into motion with warm pads adding luminosity to start "Transatlantic". The beat throbs tremulously as the drums erupt and a synth carries a melody that’s dancing and freely moving. The synth gleams with burnished light as it carries the adventurous melody, while the low end propels the music with rapidity. Piano adds a richer quality as the sharp drums burst and the bass continues to pulse.

The main melody takes hold of me and carries me away, my soul flying upward along with it. Now the track slows to a more measured segment in which crystal keys sparkle, adding gentleness to the melody. A ringing synth with broad brilliance takes up the melody, crying out and capturing yearning emotion. The drums burst forth again and the twinkling synth notes spin out a thrilling story. The drums and bass continue to undulate as the melody sings with glimmering light, skipping along as the track closes out.

"Inspiration" begins with broadly reverberating drums bursting below sparkling notes unfolding with luscious light. The drums and bass have immense force as glowing notes flow past and the sax leaps into the music, uplifting and joyful as it cries out. A smoothly gliding guitar adds jazzy vibes, lush and laid-back, before the sax calls out with the vibrant and energizing melody.

The drums continue to provide massive support and the bass is a strong underpinning as the sax calls out, creating an expressiveness that I find strongly engaging. The guitar has an easily slipping feeling, joined by the ardent sax as it leaps. The low-end pulse continues to propel the music as the sax unleashes sunlit emotion.

The guitar and sax form a superb interplay, trading off and deepening the feelings in the music. The drums keep punching hard and the main melody howls out on the throaty sax, filling the music with liveliness before the track closes out.

Widely spreading synth swells with strength and a sweeping wind to kick off "Antares." Oscillating, scintillating synth trembles and quickly shifting lines as the drum punches hard and the bass supports it. The full-sounding synth calls out with a melody that is hauntingly delicate and tinged with melancholy. Bright arpeggios spin softly as an exhaling sound joins a piano that floats through the music with an easy touch, giving off effervescent sensations.

The piano dances through the music and the light it radiates penetrates every corner. The piano grows in strength as it unfurls and the drums begin to punch again, driving the music forward. The melody adds fierce brightness, conveying mingled emotions in a way that I find gripping. The smoothly brassy synth that rises above it has a triumphant feeling, crying out to fill the listener's heart. The drums continue to rebound as the gleaming notes move out through the music and the track comes to an end.

“Syntheria” opens as tranquility pours from smoothly overlapping synths that glide into strength. The drums create a lightly tripping pattern beneath the smoothly intermingling synth notes that exude calm. The main melody cries out on a glittering, full and affectionately caressing tone, as dancing patterns below spin out an uplifting feeling. I enjoy the way the entire track oozes with luminous life.

The piano trickles through the music with a deft, delicate touch, while the drums pulse in again along with the guiding bass. The lead synth bounces through the music with dynamic brilliance as reverent sounds fill the background with a sunrise glow. The main melody moves with smoothly touching emotion as the slightly gruff-sounding, ringing synth swirls and sings.

As the track evolves, all of its encouraging and embracing emotion fills me and lets me breathe a sigh of relief. The piano closes the song out with deeply satisfying serenity.

Massive drums pound into the music and the main theme calls out on a choral synth that explodes with glowing happiness to start “One With the Universe.” The entangling synth has a medium-high, glistening sound as it sings a melody that is full of hope and resolution, filling me with a sense of pride and achievement.

The drums flourish and the melody calls out on a lambent synth that slips through the music with untrammeled ease. The piano rings out and shimmers with the light of a new sunrise. Now, the main melody takes on a slightly wistful, dreamy quality and adds a nostalgic note, as the vocal-sounding synth gives the impression of a jubilant choir.

The drums and bass erupt with life as the piano floats out in a filigreed and positive line. This is music that puts a smile on my face as the track comes to an end on fluttering piano and pulsing bass.

Conclusion

Midnight Caller is just a great deal of fun to engage with. Listening to this album reminds me of my younger days, watching an action flick on a rainy afternoon. Beyond the nostalgia factor, this album is well-crafted by Xynapsis and full of ear-grabbing melodies and intertwining synth sounds.  

DARKROOM DATA - First Echo

Review by Vero Kitsuné

After a brief hiatus, Ireland and Brazil-based duo Darkroom Data is back with a new dramatic single about longing, forlorn love and nostalgia entitled “First Echo.” Against the backdrop of atmospheric pads and crystalline synth melodies, the track first starts off in a slow and steady, nuanced pace, and balances woe and charm right before singer Gillian Nova profoundly proclaims “I want to be your everything” - a simple, delicate yet palpable revelation that sensationally lands in the heartstrings and dramatically stirs the air. Minimal, yet efficient in production, producer Márcio Paz’s choice of sounds brings a certain lushness and color that combined with Nova’s performance, they all create a captivating, understated and emotional beauty that is quite rare in the electro and synth landscape — masterfully delivering something that is not quite easy to pull off, and making listeners wanting to fall in love.

For more, visit http://darkroomdata.bandcamp.com