This is when the ineffable comes on as sound, as echoes from an abyss where technology has finally fused with spirituality in a mystic dance that cannot yet be imagined. Sometimes an artist manages to travel back in time, reaching that future from where little can be brought back other than these snaking synths, creeping choirs, monolithic bass lines and the lost electronic voices of ascending civilizations.
Upon hitting “play”, a haunting depth opens. Despite its understated rhythm, the melody is, somehow, incredibly convincing. An almost ritualistic chant in the first half of the song acts as both compositional boundary and atmospheric enhancer. Are the choirs gloomy or ecstatic? This one is indeed a foray, a foray into an abyss where the imagination can wander and find wonders, or terrors. It’s all a matter of free will.
It starts gently enough. A minute later, the second movement kicks in and any seasoned listener knows that they’re in for a good ride. It ebbs and flows, playing our imagination’s inner chords. It teases us for a while and then, a bit more than half-way through, it comes. Spitting fire and awesome low frequencies, the song’s third movement is what the artist was preparing us for all along. Enjoy the trip!
It starts slow, creeping its way through echoes and dark soundscapes. Two minutes later, the percussion kicks in and you’re on your way to what Tzolk’in wants to be a journey into the ancient Mayan culture, reinterpreted by the contemporary electronic music style. Tzolk’in is a type of calendar used by the long-gone Mayan civilization.