Faded and subdued chords accompany the relentless sound of time ticking (and picking) away at life, which is exactly what this melody is about. The song’s grayed-out beginning soon unveils an epic and diverse soundscape. Melancholic to the extreme (that voice!) and yet… so, damn, massive!
Adventurous and evocative, tied to the ground with a strong bass line, this is one highly original body-mover. Rhythms transform, crescendos abound, the story unfolds and before the last vibration dies out there’s already an insatiable desire to have some more. So just hit play again!
Dark but mellow, this old school drum’n’bass creation is a master class in the clever use and mixing of vocal samples, something I’ve noticed that this artist is particularly good at.
This song also introduced me to one of my all-time favorite album covers. I’ve tried to contact Sorrow to find out who’s behind the masterpiece but no luck. Hopefully one day I’ll find out who’s behind this magnificent drawing.
A solid bass line is the foundation of this melody, thumping away relentlessly. Serving as the counterpoint, singer Alice Carreri delivers with dreamy, hopeless sensuality. Tight sound, good production, there’s some solid groovin’ goin’ on here.
What a delicious, murderous beat(ing) this song delivers. It plows right through from start to finish. There isn’t much that can resist the tenacity of the buzz-saw synths that leap at us from all sides.
Perhaps if I hadn’t seen the video for the song I wouldn’t have described it as “murderous”. The twisted creation is inspired by an urban legend about “The Cleaner”, a guy who is called to dispose of evidence. It’s a video I can’t really recommend watching.
Aliens came to Earth some years ago, descended upon Mexico City and, together with two talented musicians, created this little trip for us. It’s true! This is exactly the sort of music aliens are listening to when they sledge it around the galaxy in their party cruiser – mysterious spacey synths, excellent percussion and the all-conquering God-drum. This is a solid thumper that (in my not so humble opinion) shouldn’t be missing from any decent electronica collection.
This is one little marvelous dark gem. It serves its goods on the same plate with pinpricks of lighter, lively sounds, but these are only offered to emphasize the overall somber mood. Without any lyrics to tell stories about the motorcycle cop, distorted male voices, the occasional siren and motor sounds make an excellent job of constructing an atmosphere that gives an efficient, wordless message.
A mysterious buildup leads into a red-hot melodic core that fuses orchestral arrangements with powerful electronic textures. It all leads to even more mystery and evocative sonic landscapes. The audio sample used in the song is perfectly chosen, contributing to the melody’s feeling of cosmic adventure.
This one is definitely a body mover, but I prefer the “eyes-closed brain massage” part of it even more. It’s also one of the best songs I heard in 2017.
It takes a while for the gloomy droning to lead to any sort of melody, but it is this exact atmosphere building that dark electronica master Subheim excels at.
Ghostly female voices lead the song into its foggy blossoming. This is as much melody as it is an experiential shard of some distant, unfathomable Universe.
I’m thankful for having shared the same lifetime with artists that have managed to translate the ineffable into sound.
Mysterious in the beginning, mercilessly groovy all-throughout, here’s an atmospheric body-mover and a consistent head-bobber. Not only is this song full of energy, it is also very well composed and produced. It shines like black oil as it meanders its way through a labyrinth of vibration.
Electronic music has brought with it a staggering amount of diversity. The entire universe of sound suddenly became accessible, bringing with it supreme flexibility. Never before had artists such a freedom of experimentation as today. And it shows.