Oscillotron "Sniezna" (2025)

Seeking revival through experimentation, Oscillotron lands on a firm identity with succinct ties to its space horror ambience origins. Leaning on subtle wobbles of unsettled pitch shifting, disjointed pianos and old school synths evoke an eerie, uncomfortable setting. Accompanying them, ghoulish foggy synths in the backdrop conjure looming terror and sense of dread. The record toys with variations on this aesthetic arrangement, a feverish, unending, dreamy phantasmagoria. The resulting inspirations mainly birth three to four minute scenic stagnations on its initial idea.

The arrival of Natt always perks my ears, a proven promise of gradual evolution leaves a distinct impression. At thirteen minutes, it bucks the trend, leading us down nightmarish corridors of fright. The march of its synthetic pulse pulling us through macabre grown and howls, forever brooding in its cataclysm drum loop of distorted dissonance. Its an absurdly effective drone, a mediative trance of abysmal origins.

Lacking a fair amount of percussive force, Sniezna can feel understated with its ever transient presence. Familiarizing oneself with its craft, a brilliantly composed vision will emerge. An artistic, devoid of cheese, a soundtrack to the zombie apocalypse. Decimated wastelands of gravely atrocities, laid barren by its grim inhabitants, no longer fit for human survival. Somehow conjuring Halloween horrors with a serious foreboding tone. On recognition of this thoughts, I see how fitting the cover art is.

Rating: 7/10

Enigma "The Cross Of Changes" (1993)

 

In a pleasant surprise, it seems this assembly of musicians was no fluke. Evolving from MCMXCa.D., the group lean further into the Worldbeat sound, shedding some New Age vibes as striking a nerve with indigenous chants on a familiar Return To Innocence, another commercial hit preserved to memory through its recurrences in movies and adverts. Its a stirring union of loud, crashing, Hip Hop influenced drums and ritualistic cultural vocal chants. On paper a contrast, in performance an easy pleasure to take in. Oddly, its character stands apart from the rest of the record.

The Cross Of Change is mostly a moody, esoteric voyage through ambiguous avenues. Contemplative atmospheres, soothing in nature yet softly melancholic and mysterious. The archaic airy synths and subtle choral voices of its openers lay this foundation. Driven forth by drum machine grooves the music expands with drifting samples and instruments fleshing out its linear nature. Briefly interrupted by the aforementioned Return To Innocence, we then plunging further down the rabbit hole.

I Love You... I'll Kill You plays a remarkable pondering on loneliness. A darkly sorrow song, achieved without the usual hallmarks that often evoke such darkness. With Silent Warrior, we hear the Phil Collins influences again, punctuated by gated toms lifted from Genesis's Tonight Tonight Tonight. Its unnecessary but it fits in.

After Age Of Loneliness works its way through the established conventions that make up its identity so far. Out From The Deep serves as a closing pivot, drawing uplift and reprieve from the heavier themes. Deploying Eric B's classic sample of The Soul Searchers drum break, it barely manages to make sense as the music links up with a grandiose Glam Rock guitar solo. The Cross Of Changes then too pivots its synths to bright glossy chords, like the sun breaking apart storm clouds after the downpour. All in all, a strong record with a curious vibe to get lost in, if that's your cup of tea.

Rating: 7/10

Enigma "MCMXCa.D." (1990)

Catching my ear through the Spotify playlist shuffle, a curiosity was peaked given its early release date. This both felt and sounded like a missing link in the tapestry. A convergence of New Age and Worldbeat, at the alter of 90s drum machine aesthetics from the emerging House and Dance scenes. Before, I've covered similar evolved vibes from En Voice, Dead Can Dance and most keenly Delerium. This one swiftly clicked into place. Research revealing its position as a pioneering record, with surprise commercial success for these relatively unknown German-Romanian musicians.

The record has a trance like meditative presence. Easy listening, as its Dance rhythms gracefully drift through soundscapes of worldly atmosphere. Loaded with samples, spoken lyrics, Ethereal synths and keyboard instruments jostling New Age melodies. It forms an evocative collage of complimenting aesthetics suggesting deep and slightly esoteric themes about the human experience. Best of all, the inclusion of Gregorian Chants aids in playing up the ever present sense of spiritual significance.

Highlights include the mini epics Principles Of Lust and Back To The Rivers Of Belief. Both venture through lengthy song structures, packing a lot of intrigue as their powers hold over the listener. A shorter four minute piece, Callas Went Away, catches the ear with an even touch of plagiarism, as its subdued tom drums and lonely atmospheric synths clearly borrow from the timeless Phil Collins mega hit, In The Air Tonight.

The rest of the music falls into place around these key pieces. MCMXCa.D. is a soothing experience from start to end. One to return for, in need of these worldly spiritual vibes but with a touch of pace from its classic Dance drum machine patterns driving the music. I'm glad I stumbled onto it. It seems they had continued success with the following few records, which I may just check out next.

Rating: 7/10

Skepta & Fred Again.. "Skepta .. Fred" (2025)

The title along says all it needs too, advertising an enticing collaboration between two big UK artists. Dance/House producer Fred Again.. and veteran Grime MC Skepta, a voice I've not heard in some time. I was hyped but to be frank, this mostly feels like padding for the killer track Victory Lap. Hard hitting and obnoxious, its gritty groove rocks off the bold synth baseline and tight drums. Kicking off with a wild monotone hook, the fast vocals chop and change with Skepta filling in a pair of atypical verses.

 

With a sense of adventure, Fred transitions through the first four tracks. Starting with a dirty Grime beat, steadily blending in his signature vocal snippet tunes and touches of House atmosphere. These are tricksy, intricate instrumentals, layered with intimate textures. By Last 1s Left we are fully submerged into the club vibes, holding onto a mysterious urban darkness. 21 Years sheds that Grime hangover, while his partner in crime leans into the sound harder than ever. Its as if their ideas don't quite align.

For me, Skepta is the weak link here. His confident persona an entertaining one, yet his cutting flow and slang laden rhymes feel predictable and aged, lacking a spark of freshness or urgency. Its acknowledged on the aforementioned track, referencing the unchanged nature of this now classic London rhyme style. Aesthetically, the two have chemistry but the overall mood feel somewhat off bar the powerful Victory Lap.

 

Rating: 4/10 

BABYMETAL "Metal Forth" (2025)

Round five and were back on form with the triumphant Metal Forth! Not their fourth, unless your counting "metal" in the record title. Anyways, this latest installment is a lean thirty five minute, ten track blitz focused on creative collaboration. The likes of Poppy, Slaughter To Prevail, Polyphia and Spiritbox appear among other big names, lending their characteristic for a true crossover experience, something Metal has sorely lacked for decades. There's only three solo tracks Babymetal and one could be forgiven for thinking the closing White Flame featured Sabaton. Its a blazing roar of Power Metal might, executing all the tropes, practically a tribute to the sub-genre.

Interestingly, the remaining two solo tracks feel flat, recycling ideas the band have burned through before. That's why Metal Forth's merits rest on the synergy of its alliances. The creative partnerships genuinely cross a divide between sounds and birth a unique middle ground. Of course this all boils down to banging riffs and stomping grooves. The record fires on all cylinders in its stride but the point remains just how much freshness these uncommon unions provide. This is no "featured artist" but a firm commitment to integrating each others identities and it works so well.

Highlights include My Queen as the two bands jostle their heaviest aesthetics back and forth. Song 3 is another banger where the exchange yields a curious callback to Slipknot with its unhinged pinch harmonics and brutal riffage. RATATATA will likely stand out as a fan favorite. Electric Callboy's brand of tongue in cheek party meme metal a fun fit for the J-Pop influences. In a way it summarizes the overall mood, just a fun record about pumping out animated compositions embraces obnoxious grooves and lively melodies. Cracking record, falling just shy of something truly great.

Rating: 7/10

Old Sorcery "The Lost Grimoire" (2025)

Previously released only under the physical medium of cassette, one can now indulge in what I presume are leftovers of old, given its similarity to the esoteric moods heard on Realms Of Magickal Sorrow. The first of four, To The Infinity Of The Forest conjures memories of A Forest Trapped. Its another slowly brooding enchantment, natural yet steeped in mysticism, led by glacial melody. Groans from a familiar yet mysterious deep bellowing voice eventually cry out to further enrich is curious tone.

 

A shorter piece, Mana Shrine Revisited, focuses efforts on a more abrasive set of instruments. Leading the arrangement, something brassy, woodwind alike that I couldn't nail down. Possibly a murky accordion? As the song progresses, steely yet animated melodies rush in to chime, evoking a classic castly Dungeon Synth motif.

 

Raven's Fortune sparks a little mischief with its opening playful melodies, only for its jollity to give way to a yawning synth string section. We are whisked once again into the ambiguous realms of imagination, laced with ancient, witchcraft suggestions. The playful tone reoccurs on its lengthy closer, The Tranquil. Bell chimes and staccato strings pace themselves as the steady brooding of flutes slowly ushers in strings that build to the tracks fading conclusion with a touch of cinematic scope.

 

These compositions fit in snugly with that classic era but one can see how they perhaps lack a sense of adventure Old Sorcery's album embark on, as pivots and transformations usually serve as the gratifying mystique to tie all this Dungeon Synth inspired imagination together. Either way, The Lost Grimoire is a welcome addition to a fine discography!

 

Rating: 5/10 

Amos Roddy "Minecraft: Chase The Skies (Original Game Soundtrack)" (2025)

 

Admittedly, I've waited until the drop name had been unveiled to write my thoughts. With that extended exposure, its become clear that Amos Roddy expands on the delightful work of Aaron Cherof, one of my favorite contributions. Dreamy wistful melodies, straddling the serine, conjure introspective moods. Illusive instruments, lurching on the heels of echo and reverberation, blossom into flourishing strides of soothing melody. Reflective of life's passing beauties, these moments swell and pass by, just like many moments that make a memory. Its evocative, nostalgic, a slow brew who's boil creeps up on you. Ghostly pianos, yearning strings, stealthy sunlight synths and brooding atmospheric pads, melding through exquisite composure.

 That's the magic of its five opening pieces. For the Nether, we get another bop! Tears bangs with its quirky melodies of impish fright! Pitch shifted Ghast sounds wedge haunting, spooky arrangements between the crunchy strident groove of its meaty kick drum and snappy snare sway. The concept makes itself known swiftly, repeating again after a mid track melody suggests the presence of a player on adventure. Its a fun and obvious hit, yet perhaps the simplest of offerings on display here.

Rating: 6/10 

Magdalena Bay "Killing Time" (2024)

Imaginal Disk serves as my introduction to this talented multi-instrumentalist duo Magdalena Bay. Clocking in with a mightily entertaining fifty-three minutes, this album plays like a dreamy journey through the soothing serine, as conceptual narratives punctuate its seamless flow. Pronounced by gorgeous instrumentation, layered yet consistently apt, warmth emanates throughout as the pair explore upbeat vibes, meaningful and dialed in, compared to traditional popular "happy music". Moments of soft tuneful melancholy do arise, finding resolution as breezy winds whist any sorrowful introspective reflection back to the arms of this curious serenity.

 

Housed by the expansive nature of Progressive music, they aesthetically sit at the crossroads of Synthpop and Rock, with a Shoe-gaze Dream Pop nature, often leaning into melodic influences from Dance, Disco and Funk. Songwriting is king as these identities yield to the dreamy directions their music meanders in. Many aesthetic tangents arise as regular structures give way to swells and subtle crescendos. This ebb and flow keeps the record interesting, swinging through creative strides, offering a playful exploration of expressive ideas packaged in vibrant instrumentation.

 

My initial hurdle with Killing Time was Mica Tenenbaum's singing! Lacking oomph and power, her breathy, shy voice felt tame, limping by on subdued expressions. This impression was emphasized by her wordy interludes, the spoken temperament highlighting a narrow range. With the music calling for grandiosity, I anticipated a powerful, soaring voice that never came. Despite that, repetition has grown on me. She may not have big and bold presence but actually leans into her casual range, finding a soft charming chemistry with lively music which could easily overpower. Her grace and softness becomes a strength playing into the dreamy mood.

 

Stacked with its bangers early on, the record does mellow out as the initial Dance and 90s Alternative Pop energies subside, allowing songs to ruminate on ideas not quite as flashy but equally gratifying. Its an exciting, lively record, rich in musicality neatly packaged, making a bold impression on this listener who will have to dive deeper!

 

Rating: 8/10

Oscillotron "Cenotaph" (2025)

 

 With lowly expectation, I tentatively picked up this fresh three track from a once adorned Oscillotron. Still rocked by the horrors of an eight year weight, the cursed fuzz of unsavory one hour noise-piece Oblivion still echos in my ears. Cenotaph is another distillation of sound, honing in on tension, dread and menace through the aesthetic powers of masterfully crafted shadowy synth. Some of its tones echo the great astral charms of its predecessors but stripped of melody and percussive groove to shape its form, these synths linger and brood in passing paranoid episodes.

Dystopian in nature, dark nightly settings take hold as its textures conjure a sense of observed dangers in brutalist architectural landscapes. One can imagine futuristic visions of societies obscured by technological integrations run amuck. Lifeless arpeggios spin a sense of cold menace, a watchful automated eye, inhuman authority.

The title track plays a game of starting soft, subtle uplifting choral voices transform in to tense apparitions. Menta revels in its distorted rumbling, a sense of severance pervades as loneliness triumphs. Filter rocks Tangerine Dream inspired sequences, adding a touch of mystique and intrigue to the dreariness. Three classy executions, brief but vivid and engrossing. Could easily elevate visuals as music in cinema.

Rating: 5/10

C418 "Wanderstop FM" (2025)

With fresh flavorful fruits flowing like a faucet, the lengthy quiet since Excursions seems like no absence at all. Creativity has been bottled up and unleashed, as another two hours gets bestowed upon unsuspecting listeners. Complimentary to the traditional, acoustic instrumentation of Wanderstop, a scenic, humble tone setting video game soundtrack, the other side of the coin drops. Caught adrift in nostalgic charm and ambiguous notions, Daniel's melodies arise again with his signature collision of EDM and Ambient. Familiarity runs amuck, as synthesizer tones, bass textures, production techniques and percussive arrangements brood with the fondness of his Minecraft hits and many memorable solo album songs.

 

It is only now, as I fumble over the track listing, I realize the eye grabbing quadrant album art represents four "channels", presumably the games radio stations. These temperament shifts were felt in listening sessions, as its initial run of quirky, upbeat "signature style" songs described above, suddenly pivot to cool mellow ambiences, temporal stints ruminating on the soothing calmness emanating from its core textures. 

 The third channel, "Sugar Cube" takes quite a stylistic leap. Melding its innocent melodies with a rural, farm life flavor. Competent but far shy of remarkable, these themes end up yielding to Daniel's EDM synthesizer instincts, progressing with House inspired beats. We drift further again with the last chapter, which lacks a particular theme or identity, seeming more like the leftovers from ideas explored before.

 

 Wanderstop FM is such a treat for fans. The core soundtrack gave us an particular avenue to enjoy but with these radio stations, we can revel in the broader spectrum of an artist who's set of sounds is always a pleasure.

 

Rating: 7/10

Nobuo Uematsu "Final Fantasy VII Original Soundtrack" (1997)

As the peaks of youthful adoration converge on true musical magic, the stars aligned. This form of wonderment, powerful and persistent, has shadowed me like a ghost, unveiling its brilliance at every return to the epic. Mirrored alongside an unforgettable storey told through the medium of RPG, Nobuo Uematsu's genius provided a deep imagination to enrich format constraints. Low polygon graphics and narratives projected through text on cathode-ray tubes, his soundtrack brought the vision to life. So too were orchestrations shackled to the eras technology. Despite compact discs offering outsized audio fidelity, producers opted for MIDI driven synthesizers that have stood the test of time. It speaks volumes to the fundamentals of melody, harmony and rhythm in the face of artificial aesthetics, which do have a charm.

Housed within a mammoth four plus hours, the music is remarkable absence of filler. With intent to imbue the storeys many twists and turns, characters and settings, each of its ninety songs come sharpened by vision and intent. Tone and temperament are always aptly poised to illuminate the emotional narrative told through its charming melodies and emotive backing tracks. From emphatic portraits to mischievous sketches, Nobuo brings these characters to life. Glorious battle tracks and luminous Fanfare victories reign supreme, undoubtedly deeply engrained by there repetitive placement in the game, these galloping riffs and triumphant tunes are utterly iconic.

So too can this soundtrack cut into sombre, shadowy, esoteric corners when called upon. Sometimes with a majestic utilization of minimalism, its often these dark compositions that show the power of balance. Nobuo is wise to hear the strengths of timely quietness. At its opposite end, a large collection of playful, quirky songs, upbeat in nature and warm spirited await within. The delights of the various Chocobo tunes and storeys happier grooves swirl with joyous melody, often dressed up by creative rhythmic hilts and inspired backing instruments. It gives an unusual sense of depth to what can seem simplistic on first glance. A subtle brilliances resonates on every track.

Having heard these songs re-imagined on the recent FF7 Rebirth remaster, I am transported back to that youthful magic that seems ever more evasive as the years grow old. These freshly updated tracks are fun but the originals still hold a nostalgic power. Although I'll yield to the notion that my epoch of exposure greatly amplifies my connection to it, I do not doubt the excellence on display here. Given how many casuals mention this soundtrack in comparison to other games speaks volumes to the genius operating behind it. For anyone who has never heard it before, Its a quirky listen in original form. I only hope you hear the magic FF7 fans were bestowed with.

Rating: 10/10

Krusseldorf "Laidback" (2017)

For now, our Krusseldorf venture concludes at a lower altitude. Distant are those charmed curiosities that drew me in. Laidback is certainly calm in demeanor, easy on the ears but much of its lengthy runtime circles over dulled ideas and bland aesthetics. It suggests the artist enjoyed the subtle details of its sound design much more than this listener. Lacking melody and groove, the focus seems to lay in the textural craft of these dreary downtempo drives. They Fall conjures a soothing mood with its dreamy warmth. The following Rebuilding Icarus flips the script for a lean cut, darkly intent with sharp brittle beat. From those distinctions, the record drifts into obscurity. Tracks drone on, seemingly fixated on strange Industrial like samples and breathy snippets. These ideas are scant, ruminated on endlessly, A tired slump I didn't enjoy much.

Rating: 3/10

Krusseldorf "Cloud Songs" (2020)

 

Still charmed by Krusseldorf's curious demeanor, we venture further down the rabbit hole. Cloud Songs' titling nods to its lofty ambiguous nature. Quirky compositions, delving into a haze of softness, lazy, relaxed and inviting. These cozy tracks meander through inconsequential landscapes of melting melody and circling rhythms that evoke Pysbient suggestions when percussion hones in on Downtempo templates.

Despite getting off to a strong start, establishing soothing vibes and cruising through chilled melodies, the tides turn in its second act. Dub For Slouchers hits a high as the records best track, cohering the classic Dub baseline to its whimsical follies, ushering in dazzling arpeggios near its conclusion. After this, the mood shifts, dramatic, subtly sorrowful, with a sense of abandon, proceeded by chemistries brewing unease.

Between them, Dance Of The Sleeper revels in that winning Dub formulae again but otherwise the record fizzles out as emotional narratives fail to resonate within the soft obscurities electronic music can offer. This is oddly punctuated by the arrival of dreamy, Ethereal effeminate singing, which had previously done the music wonders. This outing they played into the diminishing flow. Cloud Songs had immense promise but simply drifts out of focus after a strong start.

Rating: 5/10

C418 "Wanderstop" (2025)

 

Clocking in with a verbose 195 minutes of fresh instrumentation, C418's latest video game soundtrack is understood mostly through its soothing vibes and cosy moods. A safe feeling in which to curl up inside, as its soft fuzzy warmth, painted by classical instrumentation, works claming wonders. Adorning strings, chiming bells, felt pianos, a magical xylophone and lean cello bass, blush harmoniously in delightful ambient reverbs and crafted echoes. All these sounds arrive luscious and clean, with occasional touches of subtle electronic synths woven within its pristine chemistry.

Its a mastery heard before on both Beta and One, now restrained by its core focus on traditional instruments. One will also hear intermittent echo's of the classic Minecraft Alpha soundtrack in its meandering piano motifs. I'm perhaps now re-realizing how much similarity to the likes of The Plateaux Of Mirror this iconic sound of C418's has.

Wanderstop sets itself apart from familiarity through reoccurring themes and melodies that shift with the record. The deeper in you get, those recurrences subside for fresh ones. A few darkly passages emerge mostly between in usual crooning and quirky expressions. All are likely shaped by the timing of their appearances in the game.

Its nice to see Daniel has been busy with no shortage of inspirations. Assuming this has kept him busy for some time, I hope we will hear a new full length original soon. Its been seven years since the last! This however is a separate project, one that stands on its own two feet well and hopefully serves the vision for this game as well.

Rating: 7/10

Krusseldorf "Fractal World" (2014)

Winding back a decade from a recent curiosity Mushroom World, this record plays out in its imaginative shadow. Resting on mellow laurels, these harmless ambient soundscapes exchange sleepy, murmuring lethargic melodies against busied yet often aimless glitchy drum grooves. This percussive aesthetic finds itself in vogue with similar trends of the time. The ten tracks that make up Fractal World, mostly shuffle through subdued instrumental chemistries, painting soft welcoming atmospheres.

 

Devoid of human emotions, songs jostling soothing oddities and ambiguous expressions through its synthetic instruments. The result is soothing, indulgent yet misses a power to make deeper impressions. Lacking definition, music passes by in a pleasant, disconnecting haze, pierced only by the occasional human voice. South Of The Sky Temple is a shining example. An effeminate, Ethereal voicing drops in to contextualize the curious atmosphere with humanity. A magic that could have been.

 

What will proceed finds depth in yielding these strange instrumental textures to a higher purpose but in their infancy, Krusseldorf has only aesthetic charm, missing on purpose beyond the slightly psychedelic mellow hallucinations this chilled out record provides. A fair listen, sorely lacking a magnetism to pull one back for more.

 

Rating: 5/10

 

Sundial Aeon "Analysis" (2014)

 

For a while now, I've found myself drawn like a magnet to what I describe as "inconsequential music". That realization helped this latest discovery click swiftly. Far from the meditative ambiences I usually associate with these inconsequential moods, Sundial Aeon's bustling electronic soundscapes carry a similar sentiment. Mid-tempo tracks drift by with a casual ease as layers of chirping synths harmonize without grandiose melody, scale or direction. Instead we embark on curious escapades through synthetic equilibrium that evokes astral, futurism and technological vibes.

 

Analysis plays out through a Trance architecture, dialing its temperament towards ambience, backed by often understated percussion. The motifs and themes explored sway dramatically away from dance floor rhythm towards a tone I adore. Pioneered by Carbon Based Lifeforms and further diversified through the likes of Timewave, Andrew Odd and Dreamstate Logic, these introspective, astral vibes fit snugly with my taste.

 

The ten songs found here all swell into welcoming moods, every track meandering through a whirl of instrumental overlap that rarely expressive individual ideas yet becomes bigger than the sum of their parts. Its an entrancing listen, evoking focus and calm through a rather busied wall of sound that relents in its expectant ebb and flows that are navigated gracefully by these two accomplished composers.

 

Rating: 6/10

Krusseldorf "Mushroom World" (2025)

By forces of coincidence, this intriguing album cover crossed my path. What lay in wait has captivated my curiosity consistently. With its many elements coming onto focus, I can unwind details of this spellbinding listen. Reminiscent of Dusted's Downtempo classic, Swedish composer Krusseldorf's electronics collide with that breezy chilled out realm, infusing soft touches of psychedelic charm into its design. Aptly named Mushroom World, is certainly a realm of ideas to loose ones self in. This overt hint could take its hallucinogenic temperament far, such is the power of suggestion.

 

 What I felt was the percussive persuasions of mellowed out beats, driving the music along with an understated power. Classic Downtempo, yet dialed back to let other instruments take focus. From the deep murmuring Dub baselines of Recliner Song to Chromatic Vapors bustle of playful melodies, these mid-tempo grooves lock one in as an mixed bag of oddities take over. Peculiar, disjointed melodies dance. Synths buzz and whirl in bursts of strange color. Ambiguous sounds flash in and out of focus. And densely reverberated audio snippets inject weighty suggestions of "tripping out".

 

 The record starts tame, its ambient leaning songs play wedged between flimsy melodic stints. Textures shine as these zany meddling aesthetics establish themselves. With the arrival of The Midnight Factory, a nightly noir charm begins to linger, a sense of theme builds, crooning as the record stretches into its second half. Unease gives way to kaleidoscopic wonder, with lively synth melodies playing up its mysterious inspirations into a bizarre, intoxicating indulgence. As suggested, its like drinking Tea With The Cosmos in its better strides. Krusseldorf seems to be a freshly unearthed treasure! No doubts I will be digging for more in their back catalog.

 

 Rating: 7/10

Den Sorte Død "Hemmeligheden Bag Den Sorte Slanges Konstellation" (2025)

 

Named after the black death plague that riddled the middle ages, Den Sorte Død unsurprisingly burrow into a solemn funeral gloom with this morose offering. It strikes me as a series of epitaphs, strung together across six lengthy numbers with a latent sense of reoccurring theme. Musical tones linger with grace on the sorrows of man faced with perilous suffering, a reflection of darkness felt through glum melody and decedent tempo, as opposed to a stylistic plunge into aesthetic depravity.

Thus a curious soothing magic emerges, as yawning church organs brood and deep bass murmurs in its lethargy. A calming sense of ease overcomes when in the background. At the foreground of ones attention, the weighty burden of mortal death is ever present. Woven together with subtle intent, Berlin School synths whirl and pine in soft majesty.Touches of ghoulish horror show tropes shine through on occasion too.

No individual track stands out. As the record cycles through its various instrumental compositions, one gets a sense of recycling chemistries, as if revisiting a sombre motif explored earlier. This all plays into its construct, a morbid dwelling on mournful woes. That's at least as I experienced it. A translation of "Hemmeligheden Bag Den Sorte Slanges Konstellation" speaks to something astral and cosmic, which I did not get the mildest sense of, however its synths could be conductive to such a suggestion.

Rating: 6/10

Yagya "Vor" (2025)

Vor feels like a valiant return to fundamentals, that familiar mesmerizing magic spun to a new level of aesthetic excellence. The entrancing hallmarks of Dub Techno remain intact, soothing synths jostle in a haze of dramatic reverb to deliver dense, wondrous atmospheres. A slightly unsettled yet blissful tone bestows one, as inconsequential meandering melodies resonate a naturalistic beauty. The soft power of deep bass and Downtempo grooves aid these suggestions of chilling, tundra landscapes.

 

So to does its snowy cover art. Each song gently broods, easing its way into the dreamy rhythmic sway. Illusive tunes give way to pulsating thuds of bass drum kicks and stabbing wave saw synths. With crafty deception the walls of sound engulf us. Often built alongside northern countryside sounds, the crashing of waves, howling winds and squawking of distant birds, one is persuaded to its visual conjuring.

 

Icy caves, frozen mountains and snow smothered forests, their is no doubt the native Icelandic winter gives rise to these stunning Ethereal experiences. Nothing unexpected in its familiar construct, yet astonishing by the weighty power it holds. Its two halves, Vor and Haust, did suggest a shift in tones on paper but the whole thing flows as one, eight glorious shades of superb and dreamy Dub Techno.

 

Rating: 8/10

Dynatron "Beyond Space" (2025)

  

Bridging Synthwave and Cosmic Ambience, Dynatron returns from a four year silence with this soothing astral inspired pair of tracks. These two halves delve into nightly aspirations. Powered by mid-tempo groove, the simple pleasures of a snare to kick sway play repetitive but serve its purpose. Around this drive, tuneful melodies jostle for focus, changing focus whilst a bunch of airy saw synths conjure its dreamy stargazing atmosphere. Lined with the expectant gated tom fills and glossy synth tones, it checks all cliche Synthwave boxes. The calmer demeanor tilts towards that sense of ambience but it is mostly in name this suggestion directs ones imagination to the night sky. Unremarkable yet competently executed, I'm mildly excited for what might follow, a possible full length indulgence would be most welcome.

Rating: 3/10