Sungazer "Sungazer, Vol.2" (2019)

 

Further approaching the duos origin, this sophomore EP fits a snug five track format of snappy, "to the point" tracks, clocking in at around three to four minutes each. This second volume's scope feels narrowed, as does the stylistic pallet, however this reduction is its strength, an ambition channelled. Fusing a shimmering Vapourwave mystic and joyous Chiptune cheeriness as its key electronic tone, their Jazz Fusion foundation often takes a healthy backseat to these grabbing glitchy production stunts.

Busy baselines and animated percussion are an excellence you'd expect of these passionate professionals. So to does the cast of other traditional instruments have moments to shine, however they come rather understated in the shadow of this fever dream whirl of colorful electronic mania. Ostinato is the one track to ditch this element.

The other four cuts solely focus on its quirky uncanny valley personality. Its lead keyboard solos and intriguing manipulating production elements dominate the show alongside these glitchy sampled vocal snippets that tie in theme and feel nicely. Altogether it creates a sense of exploring crossroads between robot and human. A distinct character making this brief record more impactful than I initially thought.

Rating: 6/10

Sungazer "Perihelion" (2021)

 
Kicking off with Threshold to establish a whimsical tone, we embark upon luminous musical crossroads. The duos Jazz Fusion architecture meets modernity as snippets of buzzing IDM energy, tonal Vapourwave synths and a soft Chiptune cheeriness emerges. Perpetually pushed by Neely's peppy basslines and Crowder's ever enthusiastic drumming, the aforementioned accents play second fiddle to their rhythmic powerhouse. The positively charged Perihelion has curious conductive chemistry. This current reflection of electronic trends generates inspired compositions, overloaded by the pairs prime instruments. Songs initially appear to be defined by there synthetic aesthetic but Neely and Crowder end up steeling the show.

Opening instrumentals Threshold and Macchina dazzle but following them, an introduction of pitched Vapourwave vocal snippets sours the rest of the record. Personally I find their moody presence a redundant distraction from the expressive blossom unraveling around their rigidity. Its a personal qualm, one that never quite dissipated. Around these intentionally voiced elements plays an joyous arsenal of ambitious lead instruments and adventurous compositions coming to life. Thicc feels like the one track to embrace it quirky vocal element in a playful cheeky tone. The arrival of that 80s TV talk show Jazz Cheese feels so right for them.

My conclusion lays firmly in the words already written. A fantastic record with a single element that unsettled my experience of a brilliant chemistry. Perihelion unites some trendier sounds with a tried and true sound. Executed by musicians looking to explore their musicality, it plays an animated treat full of twists, turns and adventure.

Rating: 7/10

Sungazer "Against The Hall Of Night" (2024)

Late to the party but happy to have finally arrived, my years spent following Adam Neely's explainer videos and showcasing of prodigy percussionist bandmate Shawn Crowder seem unforgivable in the wake of such a delightfully warm and musically riveting record. Perhaps its this latest chapter of bright, cheery Jazz Fusion that lured me in. Armed with an arsenal of well educated professional musicians, Against The Hall Of Night sails through vibrant excellence, a gorgeous aesthetic production, dazzling one with a snug fit of crisp instruments expressing emotions boldly.

Earmarked by intravenous illuminations from lead solos, song directions house these expressive delights through intriguing foundations. Experimenting with odd grooves, time signatures and an adventurous opposition to popular convention, song structures bustle from their power house rhythm section, gushing forth with stellar musical ideas. Crowder's crisp and clean drumming a continuous pleasure, as no beat ever seems to rest on its laurels, always finding a angle from which to spice up the pizzazz. 

On the journey of its nine chapters, familiar themes of bold, cheesy 80s gameshow Jazz "done right" frequently emerge, alongside other motifs within a broader Jazz Fusion landscape. Always seeking to expand horizons, much of the music has room for modern Electronic key tones, delving on occasion into the Synthwave style, retro Chiptune 8bit melody and in another realm of the spectrum, crunches of Metal groove. All classy and well executed, every idea feels fully fleshed out, expressive, matured, yet most of all, emotionally entertaining, gratifying and endearing.

To layer on at least some critique in the wake of my applause, the record does feel somewhat front loaded. Its opening half feels a grade above what proceeds but that could be personal preference. The latter songs seem to lean more into the Jazz side of the project. Lead instruments dance out melodies with less personal resonance. Even so, I like these numbers very much. What a cracking record, Bravo!

Rating: 8/10

Lena Raine "Celeste Original Soundtrack" (2018)

 

Wholly impressed by the new Caves & Cliffs soundtrack, I set out to discover more about Lena Raine's music. Celeste has been one heck of a place to start! I've never touched, or even seen the original game. Having now built up a world of emotions absorbing its soundtrack, an interesting experience awaits me if ever I explore the source of inspiration for such this mesmerizing music. She has struck me as a musician with a voice that's unique, a niche that will take much time and many records to decipher. Just taking my first steps, I'm sure it will be another wonderful journey.

Aligning glossy pristine pianos with buzz saw synths vaguely reminiscent of chip tune aesthetics and an assortment of virtual instruments, Lena flirts with the joys of digital imagination and fantasy with the real emotions they can evoke. The deep feels are first felt on First Steps. The lush piano and swirling synth melodies allure and blossom with a swell of reversing base synth that just elevates everything already heard to a magical place. Following up with a nine minute epic, Resurrections builds steadily to an end section of bustling percussion dancing melody that is entrancing every time. 

From here a meaty mountain of music follows, totaling one hundred minutes of scenic songs flowing back and forth to its main theme with a few short transitional sequences between. The first stretch of songs bar the opening three drift into dark places. Scattered And Lost ushers in eerie horror melodies and upheavals of frantic drumming, quite the maniac vibes in brief moments. Anxiety pushes hard with its unsettling siren like synths and deep brooding saw waves before it collapses into a place beyond the pale, the soothingly sombre space of pain and suffering past by.

With Madaline And Theo we come out on the other side, ready to encounter the main theme again along with some seriously lively and ambitious instrumentation. It swaying from calm ambiences to busy, bustling layers of synth and animated percussion is wonderful, all with an emotional narrative that leads me to think this game is heavily story driven. With an eleven minute epic, Reach For The Summit, we are pulled into the final stretch as its big thematic swells leads us to satisfying, conclusive vibes with a teary, solemn ending played out through My Dearest Friends.

As a record, Celeste is a journey, a tale, an adventure, a remarkable one too! Its most impressive aspects are found in the busy and at times cluttered compositions that do not shy away from complexity or abrasion. It navigates them remarkably, holding onto a core theme and always having fantastical melody and direction at its side. Best of all its progressive song writing style keeps the music evolving and unraveling as even returning melodies and themes get reworked, told again through multiple lenses. Through all this the wonderment, adventure and emotional siring never ceases! Its quite remarkable.

Rating: 9/10

Izioq "Hey Listen!" (2018)

Within the space of a week we have been graced with two new, short but sweet Izioq records! Late Night Golfing ventured into the spacey, nostalgic world of vaporware and the cutely named Hey Listen! brings us back to familiar territory. Its another selection of warm, fuzzy and carefree songs arriving here, set to relax and wind us down with colorful melodies that breeze through fields of innocence. Much of this record hits on the familiar childhood feels, the mixing of retro textured Chiptune VGM instruments and soft synths with warm piano melodies is as vibrant and characteristic as ever. Another round of youthful and spirited songs play us through the wonders of imagination, Its much of what Ive said before that applies again and so its probably unsurprising that my focus turns to the moments of difference.

The title track erupts with some spice as Latino guitars bustle warm cultural chords, somehow mixing right in with splashes of sound that introduce bright, cheerful melodies on chirpy waveform instruments, the chemistry is wonderful and unexpected. Hermits gets a nod for its wonderfully quirky opening tune that swiftly finds its way into a warm and spirited place as the music so often does, its opening goof diverting expectations. The Album will perk ears with a sampling of Lisa Simpsons voice, the song itself slow and dreamy, drifting in a precarious, slightly dreary but free of danger atmosphere. The final track Happy Meal sounds almost like another project altogether, its deep and rich atmosphere pulling on emotional strings similar to the likes of Sigur Ros, its welcome but feels like a different avenue of mood. All in all its another fine collections of melodies with a couple of sparks from rewarding experimentation.

Favorite Tracks: Hey Listen!, Hermits

Rating: 5/10

Pilotredsun "Achievement" (2016)

The mysterious Pilotredsun, or pilot red sun, is an anonymous American musician who's aesthetic for cheaply drawn cartoons with twisted, disturbing undertones is united with quirky electronic music. In my mind the two don't pair up, I see the charming side of the tunes, which maybe due to drawing comparisons with the more conventional Izioq. This collection of songs have a whiff of Chiptune, a touch of VGM but reside as melodies played on synthesizers with tones to compliment its vision which is down to interpretation. It may come across as mysterious, creepy and eccentric but for me I feel the warmth that exudes from the music passes the slightly quirky choices in vst's as a sort of childlike innocence. Its nostalgic, I see images of running across train tracks chasing a balloon, trying to jam a fork into the strange hole in the wall, or attempting to unscrew the lid of a strange bottle of blue liquid from under the sink. For me that quirky, eerie quality is danger, the sort young children aren't aware of as they explore their curiosity in a world of beautiful shapes and colors.

"Achievement" is fun, playful and flows with a free spirit. Simple melodies and there accommodating instruments create an ease for the listener to slide into. Nothing over complicates and there is just enough going on to enrich what is inherently simple, often two to three lines and light percussion. The drums are rather subdued but in "Warsaw" they burst to life with a bolder kit sounding more genuine than an 8-bit kit as some other tracks do. The genius comes from the selection of instruments to play these melodies. The slightly quirky, off kilt and "derpy" wave forms compliment the spirit of the music and add to that eccentric vibe which might come off as eerie or creepy, to me it is full of innocence.

The records production has a relatively simple job of balancing just a few, noninvasive instruments and so not much can be said other than it serves its purpose. The record has a great flow, nothing feels over played, or stretched out and between the twelve there is a comfortable balance of melodies and aesthetics. In the records run time a soothing atmosphere free of burden or worry is formed like a bubble drifting into the skies. Its engrossing and uplifting. Absolutely loving this record and Ive only gotten around to it a handful of times, just one of those you can connect with quickly.

Favorite Tracks: Warsaw, Sadpad, 8-Train, Funny Animals

Rating: 8/10

Izioq "World Of Izioq" (2016)

Time moves by fast! Already we have the second record this year from French composer Izioq. His first of the year, "New Songs For Old Kids", was my least favorite of the four but that's not to say it wasn't a good record, just a tad shorter and a little mellow in its second half as an ambient vibe drifted in. "World Of Izioq" feels like a cross between the first two. There's both recreational melodies of 8-bit wonder and lush, expansive, electronic synths which evolve from the strict set of oldskool video game sounds. In places we hear glimmers of new ideas and inspirations too which become some of my favorite moments in this latest record.

Again its a true homage to the innocence of childhood in the world of retro gaming and spirited imagination. With nostalgic carefree melodies and atmospheres of wonder there is no weight or burden for the listener. Its grounded in that innocence and is reflected so well by the record cover with its cuddly characters and welcoming smiles illuminated in the navy blue night by a friendly fire with the biggest smile. Kick starting the show with the self titled track we are brought into a rather jovial and lively upbeat set of melodies dancing around one another like the title screen of a game. As the mood continues in "Adventure Time" where we hear a distinctive accent as the song breaks for a slower moment. It may be me but I hear welcome echos of Final Fantasy and Nobuo Uematsu's story telling melodies. Again it emerges in the elegant "I Still Haven't Played Minecraft" where a flute like lead calls out a peaceful melody over lush strings and soft pianos. There are other moments where this noticeably different style emerges and it sounds fantastic, fitting in well with the overall theme.

In "The Passiest" there's an adorable moment where the song drops out to hear the clicking of controller buttons and the sound effects of retro games coming though television speakers. Its a charming touch and is very much the point of the record which develops some moodier, slower songs in the second half but never at any moment feeling a drop of sadness, with exception to Phill Collins. As we get to the back end of the record it unwinds with more abstractions and dream like melodies, finishing an arc from start to end that is quite satisfying for the thirty five minutes it runs for. A solid record and quite predictable one too. Although a few bright moments of creativity shone through this was very grounded in what has been established so far and expanded the depths of songs available for that Izioq itch.

Favorite Tracks: Adventure Time, I Still Haven't Played Minecraft, Bangers And Mash, Teenage Dreams So Hard To Beat, Song To My Cat, Mind On The Moon

Rating: 7/10

Jotun "Learning To Live" (2014)

As if coincidence had a meaning, on the day i decided to review one of my favorite albums "Jotun" the next day Crow dropped a new release! After 18 months of silence Jotun is back with "Learn To Live" which pickups up where "Night" left off. The forth record "Surreal" brought a change to Jotun's sound, retaining the detailed notation and melodic values of the project, and moving in a Trance like direction with sawtooth synth leads and heavily oscillation becoming the focus, which is common place in Trance, House etc... electronic music.

On "Learning To Live" we are bombarded by a loud and abrasive sound as massive walls of textural synthetic leads drip over each other and paint vivid and energetic songs that are driven by a powerful, crushing drum kick and snappy snare. As always lively and free flowing melodic leads build the character of these songs. One of the first details i noticed on this record was the change in the drum kit. Much louder and more involved, this new kit really compliments the Trance direction, building a much welcomed danceable intensity underneath the surface. At time they even become a highlight in these songs. Across the album there is much variety and some great repetitive leads in moments which are not too far from feeling like hooks.

The downside to this great record is the mixing, although the songs benefit from the loud and intense nature of the instruments, they are also drowning one another as they compete for volume, for example the end of "Futile" there is a moment where two leads cross over in what would be a climactic moment of the song, but one overpowers the other in a muddy wave of noise. Another chaotic moment occurs in "The Chase" where the bass kick picks up speed and sound erratic underneath a smothering lead. Despite the negatives, its listen-able record and the musical content is solid, the main highlight for me was hearing Crow find some more trance oriented riffs to fuse with his style as the direction he has taken is maturing. Looking forward to more!

Favorite Songs: Gazing At The Sky, Introspection, Futile

Rating: 6/10

Jotun "Jotun" (2012)

Having previously written about Crow's Lord Lovidicus album "Kyndill Og Steinn" it felt fitting to talk about another project of his, Jotun. I've had a unique experience of having another artists work attached my videos, "Sailing Clouds Of Night" being the intro to my Hermitcraft series it is a testament to Crow's musical genius when viewers cry out for the intro music when i have forgotten to include it. It has also been the soundtrack to many time lapses. Its fantastic music that fits well into the Minecraft universe, but it holds it own, this music is a pleasure to enjoy whatever the environment is.

From its inception Jotun has been complete package, a music concept that fully understands itself. It blurs the lines of definition, but a fair comparison would be to 8-bit FM synthesis from old consoles like the NES with chirpy synth sounds and a focus on the melodic content. With a modernized, crisp and tuneful sound set, Crow brings his musical ideas to life through a pallet of electronic oscillators, pianos and other simulated sounds layered together with substance to make lasting and meaningful songs. Through the nine tracks many musical ideas and themes are explored, on later albums Crow continues the exploration of themes, but from this first record the concept is perfect.

From start to end this record delivers fluent compositions with each song having several melodic leads that pull in and out of focus and on many songs layering on top of one another. This is one of Joton's biggest strengths, to build several memorable tunes and find the cohesion to bring them together in the same instance. The notation is varied and progressive and not shy of turning up the pace with some charging solo leads that grab your attention and leave you in we. Underneath the leads that steal the show there is a matured rhythmic presence with a lite pallet of drums adding a subtle element of groove to tracks. The bass and lower end synths are structured and hold the songs together well behind the leading presence in these songs. Everything this record offers is on point and fantastic. Theres not a dull moment, the only downside is maybe the album length, at just under 30 minutes it always leaves me wanting more, but that in itself maybe the charm.

Favorite Songs: A Quest, Sailing Clouds Of Night

Rating 8/10