Alpha Chrome Yayo - Dream Chaser

Review by Karl Magi

Overall Album Impressions

Alpha Chrome Yayo’s Dream Chaser exudes feelings of pure happiness and boundless encouragement. Not only is the music highly entertaining and energetic, but it also showcases Alpha Chrome Yayo’s skill and musical ear to great effect. The dynamic tracks weave together jazz influences and melodies worthy of the best Japanese game composers out there. Along with fascinating and funky synth sounds and some first-rate melodies, *Dream Chaser* includes songs that are uplifting and emphasize living life to the max and enjoying the ride. Alpha Chrome Yayo shows off his immense musical skill and personality to the fullest here.

Perhaps my favorite thing about Dream Chaser is the sheer sense of uplifting encouragement that fills the music. Alpha Chrome Yayo conveys a message of living life to the fullest and not letting anything hold you back. The combination of upbeat vocals and the overall dynamic liveliness of the music creates a sensation of happiness and the desire to never quit. I find myself lifted up by this music, especially during these difficult times in the world.

As for the melodies, Alpha Chrome Yayo has written some real gems on Dream Chaser. There’s a barely contained exuberance to the melodic content that grabs hold of me and carries me away. The music’s volcanic power, along with its speeding energy, supports the celebratory and joyful melodies. I also find myself reminiscing about the days of playing Dance Dance Revolution as the Eurobeat influences erupt throughout the album.

Of course, Dream Chaser is a great deal of fun, but one can never forget the musical talent behind it all. Alpha Chrome Yayo has a knack for combining superbly composed music with his own unique, quirky personality, creating harmonically and melodically complex tracks that still feel playful and energetic as they weave through the album.

My Favourite Tracks Analyzed

"Get In The Car (Make Some Dreams Come True)" comes into being as explosive drums join a piano that cascades and flies soloistically. The bright piano gives way to a sexy sax calling out in intricate patterns. In a robotic voice, the rap unfolds, full of lively emotion. The drums burst and cascade as a piano trickles in radiant lines, adding jazz-fusion cool.

The rap continues to stutter through the music as the drums explode. The piano climbs in flashing lines, pulling me along with it as it swirls through the music. The sax adds full-voiced lushness as it calls out again with a sensual feeling while the broken beat continues to stutter. The piano adds extra luminosity and carries the song to an end.

The narrator announces he's back on our stereos as he's "pumping out beats for every scenario," encouraging the audience to never slow down "with the dreams you’re chasing."

Our storyteller urges the audience to never quit and says he won’t either, adding that he’ll go "a million miles an hour ‘til the day that I die." He reminds them that they can do anything and that he believes in them, saying, "Get in the car, make some dreams come true."

He compares the experience to "Initial D with a party philosophy," telling the audience that if they bring the fuel, he’ll bring the sound. He acknowledges that life can feel unjust but reassures them, "We outrun the dickheads and we leave ‘em in the dust." He continues, urging everyone to fire up their engines because "it’s time to chase dreams and you got the thrust."

Our storyteller emphasizes that he knows what matters to him and, even if it’s a "hard road to drive," at least he’s free. He encourages the audience to "put your foot to the floor and hear the engine scream," reminding them to always hold on to their dreams.

The narrator talks about turning up the music and driving to survive, adding, "Flip off the bullshit, make life feel alive." He concludes by reminding the audience once again that they can do anything and that he believes in them—"Get in the car, make some dreams come true."

The beat rockets ahead with a fun, dancing feeling as the glistening guitar cries out in rapidly unfolding lines to kick off "Just Beginning." The drums and bass pump as an angular synth flies in energizing lines. A guitar dances with slicing life, pouring out brilliance into the track. The low end sends dancing feelings through me.

Now the vocals come in with a robotic sound as the synth blasts out luminosity and the hi-hat rushes in a shaping line. The swirling notes entangle with intense shine as the low end throbs and flies forward. A bending synth calls out, full of ecstatic liveliness and the robotic vocals jump with joy. I enjoy how this entire song exudes optimism and freedom as it evolves. The guitar swirls through the music again with an intense sheen, full of celebratory abandon before the song ends.

The storyteller tells the song’s subject that he has a feeling they’re winning. He asks the other person to hold on tight because "it’s just beginning." He adds, "We’re going faster, you’re getting stronger," and assures them that he’ll be there until the end.

Our narrator repeats that he thinks they are winning and asks the other person to hold on tight again. He concludes, "I’m fast as life, you’re strong as hell," adding that they’ll be there until the end.

"Forget the Brakes" begins with thundering bass exploding into excited motion, with light pouring from quickly tripping synth as piano notes flit out underneath. Kasane Teto's voice is slightly distorted as the leaping beat creates dynamic bliss, while a synth quickly rushes with bursting light.

The Eurobeat underpinnings launch the track forward with unstoppable energy as the vocals are joined by a rapidly flying electric guitar that spins through the music with contentment and uplift. The low end is endlessly propulsive as a guitar soars above it.

A sax calls out again with celebratory energy as the low end surges forward on the bass tide. The track drives to an end rapidly, with pure liveliness pouring from it.

Our narrator tells us to "forget the brakes, you're never slowing," adding that we don't need them where we're going. She asks the audience to listen up to what she's saying because "it's never too late until you are dead."

After repeating that we need to forget the brakes, the narrator tells us we're going at speed, so "just cut the goddamn cable and race for what you know you need."

Our storyteller tells us to fuel up and hit the gas because "it's your own sweet life, just kick it in the fuckin' ass." She goes on to say that we don't need the brakes because "we'll smash the competition and leave them bleeding."

As the song concludes, the storyteller says, "so buckle up, my sweetest friends. There are no brakes; the race never ends."

The drums scatter and rebound rapidly as the sax cries out with a slowly drifting melody to start "Asphalt Brain Frenzy." The sax wriggles as the drums shatter behind it and the bass is a steady flow. The sax solo unwinds with smooth, intricately interwoven notes floating as the dense electric bass throbs underneath. The sax moves through complex patterns, crying out as the drums break and erupt.

Now the track distorts and writhes, the drums thundering as the sax crackles. The track clears again as the sax wanders in a free-flowing solo that expresses a sense of unhinged emotion. The cascading percussion has its own wild patterns before the sax glides again, airy sounds hovering behind it as the cymbals burst. I enjoy the unfettered sounds of the sax as it contributes an uncertain feeling to the music. The drums continue to cascade before the track ends, with the sax diffusing into notes that move into silence.

"Kill Your Doubts" begins with a voiceover talking about taking care of a problem. Now the sharp hip-hop beat moves as the rap is carried on by a robotic voice, adding a clean quality as Kasane Teto’s softly drifting voice wanders with warm encouragement. The drums and bass keep popping along as the rap unfolds, crisp and cool, carrying the emotional weight of the music.

An elastic sound shifts in the distance, climbing in stuttering lines. The female vocalist sings the uplifting chorus while the piano dances in the background. The robotic rap is enjoyable and carries a message that I adore as the drums pop and snap. The sung part slips through again as the piano moves in minor key, dynamic lines before the song ends.

The storyteller speaks to the listeners, telling us to "kill our doubts and stab them dead." He urges us to "grab anxiety by the throat and put a slug in its goddamn head." He talks about how sometimes one tries to make magic and give it their all but "that shit don't fly when your brain won't play ball." He describes this as a meditation on what it's all about, saying "I don't believe in violence, but you gotta kill your doubt."

In the chorus, the female narrator says that killing our doubts is the only way to survive and that "when you kill your doubts, you can feel alive."

"Negative thought processes," the storyteller explains, "create stresses." He reminds us not to get obsessed but "instead address, make ‘em regress, express success." He adds that this is progress. He encourages the listener to look into their own minds, "pluck out all the hurt," and find their doubts, saying "Bam bam, put them in the dirt."

Our narrator urges the listeners to set their minds free, look up to the sky and shout, "I'm a bad bitch and tonight I'm killing doubt." He continues by adding that some things can't be repaired by positive thinking, but he still believes that "those doubts ought to be taught a lesson from Misters Smith and Wesson."

The storyteller affirms that the listener deserves "expression, progression, decompression." He reminds us to never hurt ourselves but "when it comes to those doubts, show no remorse." He tells the listeners that he wants us to thrive and concludes, "show me your drive, kill off your doubts, live life alive."

The drums rebound with massive power as glimmering notes tremble above them to start off “Watashi no Yume.” The vocals chant smoothly, drifting above shimmering notes that walk through the music with luminosity. As the distorted chorus slides along, the huge drums hit hard and the bass thunders. Slowly distorting, sharp notes cut through as the drums tick and tap. A chanted chorus adds to the hypnotic quality as a gleaming synth ripples through the track.

As the distorted chorus sails past, the drums add gigantic propulsion as they burst. Digital-sounding notes with jagged edges introduce another element as the colossal drumbeat pounds. Now, the sax leaps through the music with controlled madness. Gigantic, angular bass thunders as the shining notes vibrate, adding blinding light. The vocals are unique and a guitar flies outward, exuding fierce illumination as the lush drums continue to throb. Kasane Teto chants as the bright light of the high notes cascades. The distinctive sound of this track keeps my ears entertained as it unfolds. The drumbeat is heavy as it continues to shape the music before the song comes to an end.

Our narrator asks the song's subject to share their desires without fear. They go on to say that "there's more chance of a dream coming true when a dream is shared." The narrator adds that they both need this because "your dreams are mine and my dreams are yours," saying that they just want the other person.

In the chorus, the storyteller points out that they had no dream until they met the song's subject, who opened their eyes. In Japanese, the storyteller says, "my dream." They add that "there's nothing that can't be done, not a thing that we can't outrun."

Our narrator points out that the song's subject is "tired of feeling sick and sick of feeling tired." They tell the other person that it's time to reach out and take hold of everything they've wanted. They add that the other person owes it to themselves as well as to each other. They conclude, "Hold on tight, we know how to fight—let's give them hell."

“No Headlights” starts off as the low end rushes forward with extreme speed and the glimmering synth joyfully leaps. The guitar cries out with animated liveliness as Kasane Teto’s celebratory vocals soar. Her voice creates a great vibe and the low end pounds as a tambourine adds metallic luminosity.

The guitar slices through and a robotic, British-accented voice chants as the guitar spins out cascading lines, feeling incredibly uplifting. Kasane Teto spills out the words with encouragement. I enjoy the way this entire song explodes with massive speed as the glittering chimes add wonderful luminosity. The lyrics move along with the slashing guitar before silence falls.

The storyteller says that the song’s subject takes her there, pointing out that "with you, it's a race we've already won." She talks about the wind in her hair as the beats throb in the warm sun. She adds that she has the other person and he has her, so they ought to run away together.

Our narrator says that they don’t need any headlights where they're going because "the future’s bright and the road is glowing." She tells the song's subject to "hit the turbo," and she’ll be there to see them win. As they rush through the dark at light speed, they don't need headlights because "the future is so bright."

"Nobody can know what is hidden 'round the bend," and the storyteller says that the song’s subject should just "smack it head-on, this ain't no dead end." She adds that they're going faster than a speeding bullet, so "just hold my hand and we can reach the stars."

The storyteller concludes, "I've got you, boy and you've got me, so let's fly away forever."

A smoothly gliding organ intertwines with the clean drums to create a slow groove in “GP YES.” The voiceover flows with a laid-back feeling as the saxophone wriggles and smoothly moves past. The rap throughout the music is entertaining, while the chilled saxophone wends its way with effortless emotion. The robotic voices add to the track's engaging nature as the verses lay out an interesting tale.

The hard-hitting beat moves along with the drifting synth, which sails through the music. The sax slips in with a sexy slither and the rapping enhances the overall sense of fun. The sax is so sensual and caressing, while the clever puns add to the track’s highly entertaining vibe before the song winds down.

This passage is a playful and flirtatious dialogue between a male and female vocalist, using driving, navigation, and mapping as metaphors for romance and attraction.

The male vocalist begins by comparing his energy to an empty fuel tank. She says they should relax and enjoy a “saxophone sensation” while heading toward a "filling station." The conversation quickly takes a turn when the male character asks if she’s using GPS, excited to follow her coordinates. She talks about how erotic she finds navigation.

She playfully mocks him for using Google Maps, calling him a "basic bitch" while he finds her alternative choices—such as MapQuest—oddly attractive. She prefers using a Garmin, which thrills him. They soon face a challenge when the Garmin runs out of battery but the male narrator suggests using an Ordnance Survey map, which pushes all of the female character’s buttons.

I dig all of the double entendres about maps, compasses and topography. The female character notices his “compass” pointing north, hinting at physical attraction, while he mentions his "magnetic pole." She hopes he doesn’t mind "detours" as long as he takes time to "explore her contours."

“Touge Buster (The Final Race)” begins with a voiceover congratulating the racer before the slowly pulsing drums suddenly erupt into a battering rush, while the intensely flashing synth explodes in endless motion. The voiceover speaks about life’s complications and challenges but also delivers an encouraging message.

The synth is rapid and full of brilliance as it speeds forward. Bells and a pipe organ move alongside a vocal track that spills out a message of perseverance and success. Brightly leaping notes are joined by electric guitar cries filled with deep passion as the drums rebound and snap. The cascading sound rockets through and the guitar entangles itself in wild motion. The charging low end goes into overdrive before the final winning fanfare flashes out, bringing the song to an epic close.

Conclusion  

Dream Chaser has become one of my favourite albums to have reviewed so far this year due to its unstoppable energy and upbeat message. Combined with the jazzy feeling of the music and the entertaining lyrics, the overall spirit of the album carries me away and makes me feel as if anything is still possible. 

OSC - Sunrise Express

Review by Karl Magi

Overall Album Impressions

OSC’s Sunrise Express is an upbeat, jazz fusion-influenced, charming journey across Japan by rail. The feelings of classic Japanese jazz fusion, with its easygoing emotional flow and laid-back attitude, are present, along with influences from beautifully melodic anime themes and a dash of video game-like playfulness. I enjoy the way OSC weaves together all of these elements to create happiness and positivity as the album unfolds.

The first element I find deeply pleasing about Sunrise Express is the way OSC utilizes a liberal dollop of superb Japanese jazz fusion style. The melodies are fresh and lively, with good use of sax, piano and jazz organ. They feature soloistic passages that are free-flowing and ear-pleasing. The way the album tells its tale is cool and ultra-smooth.

Another aspect of Sunrise Express that I enjoy is how OSC’s melodies resonate with me. His melodic sense is inventive and full of playful touches, channeling some of the excellent Japanese composers of video game music. The melodies have an earnestness and emotional expression that are crucial to how they move through this album. I am both touched and charmed by the gentleness and joy that permeate the music.

For me, the atmosphere OSC creates on Sunrise Express is another reason for my enjoyment. It moves through funk and jazz to disco influences while creating a sense of travel and adventure. I love how each track takes me on a small journey, moving through interwoven sounds to transport me to a new place as it unfolds.

My Favourite Tracks Analyzed

"Sunrise Express" comes to life as hollow drums echo in the distance and a snapping percussive sound floats, growing in strength along with broadly flaring synth. The low end has a funky groove to it as the chimes above pour out celebratory light and the bass throbs. The electric bass adds a funky flow to the music and the higher notes are full of sunlight.

After a brief muffled moment, the drums come in and the slap bass intertwines as scintillating notes carry the joyful melody. I enjoy the way the entire track explodes with happy and warming vibes. The thudding bass moves as string-like notes swirl and intertwine, bright and full of life. The dancefloor-friendly beat drives on as the raised notes imbue the track with a rich glow.

A crying synth bends through the music, feeling energizing before an organ solo wriggles with dynamic emotion, shimmying and leaping. The low end fades and the slap bass moves again to add a deeper groove. The entangled notes that shine through only contribute to the feeling of the dawning day and the possibilities that come with the sunlight. The low end continues to thud with a hip-shaking feeling as the elevated notes spin out through the music with flashing motion before the track fades to quiet.

The solidly pulsing low end is joined by a sax that winds through the music with gentle smoothness to open "Futari-bun No Kippu." The bass has density as percussion ticks and slipping sounds rise through the music. Now the heavily throbbing low end is guided by lusciously intertwining electric bass and elevated, lambent string-like sounds.

The melody has an easy-going feeling, drifting through with peaceful chill as the sax adds expressive warmth and heartfelt emotion. The low end drives the track forward as varied percussion shimmers. The slap bass is fat and the raised notes drift past with delicate lightness. The low end continues to pulsate with locked-in drums and bass as the sax winds through the music with sensual motion. I quite enjoy this track's smooth vibes.

The track moves and bursts as the sax flies and spins out through the music, capturing every scintilla of coolness. The sax cries out again as the drums and bass hit with full weight. Chimes flicker in the background and the reedy sax skips through the music with irrepressible emotion before the track begins to fall silent.

“Doki Doki Densha” starts with the sound of a train on the tracks before the steady pulse of the drums swells with strength and launches the track. The slap bass moves through as the lower-end pulse is joined by notes that float with metallic sharpness. The percussion is active as the ringing notes add bell-like light and carry a melody that shimmies and twists above the steadily throbbing low end. The metallic notes have a minor-key quality as they glitter.

A piano moves with a melody that skips through the music with a Latin flavor, enhanced by the sound of the timbales. The low end has a dancing feeling as the train sounds drift past. I enjoy the disco vibes here as the track progresses, the percussion clear and sharp. The groovy little synth figure that makes its way through the track has a shimmy that's a lot of fun.

The piano slips past again, full of a relaxed vibe, as the dancing drums and bass keep pushing forward. The rattle of the timbales adds a unique quality and the bass continues to thump as intense flashes illuminate the track. Again, the disco-flavored melody and beat fill the music with fun and positive sensations. The metallic notes flash again as the beat moves actively and the percussion snaps. The drums rebound and the minor-key notes shine until silence falls on the sound of train tracks rattling.

Broadly glowing keyboard notes rise into the music along with a smoothly sliding beat to start “Kikansha No Yokubou.” The piano chords are expansive and slip by with ease before a sharper, brighter synth glows. The slap bass moves as horns call out with a catchy melodic lick and the synth radiates feelings of relaxation.

The drums collide as a popping, percussive synth bubbles through the music. A bending synth sails past with chocolatey, velvety tones. The synth bops through the music with lively energy as the slap bass adds a gnarly element. The strings glisten as a distant-sounding, elevated synth drifts through the music with a calming melody. The horns burst with more strength as the dancing synth line bounces before the track fades to silence.

“Ugoite Iru Yume” opens as the drums thud heavily and the crystalline notes above them undulate slowly, rocking back and forth. The drums are slow and weighty as extended notes float past and the piano trickles in silken motion. Now, the guitar echoes with an intense glow, carrying a tranquil melody that glides with a Japanese flair. Sparkling notes descend as the guitar echoes, the melody peaceful and reminiscent of a train’s gentle rocking. The bright notes drift in smooth motion as tiny lights flicker in the distance. The guitar melody wraps me up, full of dreamy sensations.

A jazz organ moves in now, sharper and fuller in tone, roaming through a lushly interwoven melodic pattern. Each sonic element contributes to the feeling of summer relaxation as the track unfolds. The drums and bass are a steady heartbeat as the glittering notes slip past. The lead synth radiates hazy light as it carries the wistful melody above the steady drumbeat. lustrous notes cascade and the drums rebound heavily before the song comes to an end.

Flaring synth with clean, sharp edges moves in quick bursts to kick off “Nana to Yon.” The drums begin to slowly tick as 8-bit sounds flit through the music and the ragged-edge synths glow. As the 8-bit sounds skip past, the drums stutter and break above the dense bass. Slap bass adds another element of low-end richness as the leaping notes continue to emit sunlight. The drums rebound as a twisting synth frolics through the music with abandoned joy.

The varied percussion fascinates my ears as it throbs and shapes the music while madly whirling notes dance. Floating notes trip to the rhythm with a chilled-out smoothness as computerized notes glimmer. A synth with a vocal quality drifts through with elevated warmth as the drums rebound. The slap bass dances and there's a segment where the track hovers before the explosive drums jump again and the track pulses to an end.

“Akarui Hoshi” starts off with an extremely funky guitar and solidly thudding drums and bass. The guitar has a sensual and smooth quality as it unfolds with laid-back motion. Exhaling sounds move along with quickly flickering, aquatic noises as the drums continue to pulse with a melted chocolate quality swirling around them. The guitar moves in the distance as ethereally fluting notes hover and sparkling chimes ripple past. I enjoy the way the entire track breathes and fills me with a deep sense of peaceful relaxation.

Brighter notes flare with a metallic ring as the sharp percussion snaps and the bass moves below. The exhalations continue as a bell-like synth sings out with easygoing, blissed-out feelings. That funky guitar continues to intertwine as the drums punch. The track drifts into a segment in which misty sound flows before the drum and bass heartbeat begins again. Chiming notes add a delicate, glittering quality as the drums continue to rebound cleanly and the bass undulates.

Quick-bending sounds float past and the chimes continue to exude illumination.The keyboard spills out notes that add an element of affectionate feeling as the trickling notes tumble past. The track pulses on in mingled richness and glow before coming to an end.

The piano loops in and the bass glides as the percussion begins to dance to open “Ikisaki Funku.” A minor-key, Japanese-influenced melody moves in on the piano with an excited feeling as the low end throbs. Bright notes descend through the music with intense shine as roundly glimmering sounds rapidly descend.

Sharp-edged notes pulse as the gleaming synth melody flies and fills me with thrilling energy that continues to unfold. The guitar strums in a tight figure and the timbales move through the music.

The synth has a string-like ring to it as it fills the music with a luminous sensation. The drums and bass have a disco vibe, which I enjoy as they press on. Elevated noises skip past with smooth light radiating from them and the main melody calls out again, full of an undeniable groove and celebratory energy.

A sense of dynamism and irrepressible energy fills the music as it evolves. The entangling notes fly past with shimmering light and the booty-shaking low end continues to throb. brilliant notes jump out again and cascade through the music along with a twisting synth that wriggles in smooth motion. The low end drives on unstoppably as the main melody spins out and fades away.

Conclusion

Sunrise Express is an album that bursts with positivity and melodic beauty. The way OSC mixes all of his different influences creates music that is ear-pleasing and extremely entertaining. This album will definitely go on my list for music to improve my mood if I feel a bit down.  

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