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Vox Empirea - dark reviews My reviews are different, 'encyclopedic', detailed and in-depth. Vox Empirea is a new alternative music page created and directed by Max.

Here you will find reports regarding only the best protagonists from the alternative music scene. The platform is specialized in these following genres: gothic - electro - industrial - hard/post/minimal/dark industrial - futurepop - electropop - ebm - idm - synthpop - avantgarde - experimental - dark - new wave - darkwave - cold wave - minimal wave - post punk - new folk - neoclassical - medieval

- martial - drone - ambient - dark/ambient - electronica - breakcore - powernoise - heavenly - ethereal...and more. Don't hesitate to contact me for a review!

UNITY ONE & KATARINA GUBANOVA - "INFRARED ( PIANO VERSION )" single   #  Synthpop / Futurepop / Neoclassical   # The det...
19/02/2024

UNITY ONE & KATARINA GUBANOVA - "INFRARED ( PIANO VERSION )" single # Synthpop / Futurepop / Neoclassical #

The detailed biography-discography regarding the Russian-Maltese duo-act is available in the review report of the single "Accelerate" ( 2023 / skyQode ) published on November 3, 2023 on this Vox Empirea page.
Mike E. ( musics / programming ) and Rush ( vox / programming ) finalize this suggestively romantic remake of the hit single that launched Unity One into the Futurepop / Synthpop orbit, "Infrared" ( 2012 / Synthematik [ DE ]) reissued today as "Infrared (Piano Version)" (2014 / skyQode [DE]) with the precious collaboration of the Berlin-based Ukrainian pianist and composer Katarina Gubanova.
The new livery of the song is completely separated from the original midtempo drum-programming percussive structures, the pulsing sequencer, the futuristic keyboard melodies and the vocalism adapted to the primary electronic dance context that had characterized the track, in favor of an introspective, moving sound , which harmonizes with the emotional sensitivity of the listener.
The lyrics of the song conceptualize a deep self-analysis seen through the metaphorical 'infrared spectrum' of awareness, highlighting one's limits, mistakes, but also loyalty, the desire for freedom and the unshakable will to fight to the end against the adversities of life.

Tracklist:
_________

"Infrared ( Piano Version )" > In the semi-acoustic version, the melancholy mood of the chant is intensified, now elegantly embellished by Katarina's piano counterpoints and an atmospheric background of synth chords which further intensifies the melodic beauty and spleen of the track.

)))))..."In infrared illumination..They're coming closer, don't you see
You have to put your trust in me..I believe in you so let it ever be
Discard your faulty expectations..I ain't gonna ever bend my knee
My heart still beats to forever be free"...(((((

"Infrared ( Piano Version Instrumental )" > Separated from the vocal sections, the song takes on an even more aura full of decadent, sentimental neoclassicism: the pianist creates a solo symphony of scales of notes that yearn, inducing reflection and reaching the soul.

Conclusions:
_______________

Unity One in their most intimate mode. The two new reconstructions of this successful single dating back to twelve years ago are an uninterrupted flow of grace, refinement, human warmth and poeticity, in which passion and vocal-instrumental euphophonism triumph. The centrality of the musician Katarina Gubanova gives an inestimable value to the song: her extraordinary piano ornaments are pure crystals that shine with inner light, while Rush's chant is a twilight elegy in the moonlight, not only to listen to, but also to visualize' through the 'infrared ray' of the spirit, which illuminates everything that the eyes cannot see.
Release with enormous emotional effect, absolutely magnificent, unmissable. Must have.

ELEZORIA - "TERRIBLE DREAM ( MENTAL DISCIPLINE REMIX )" single   #  Synthpop / Synthgoth / Darkwave   #The very detailed...
18/02/2024

ELEZORIA - "TERRIBLE DREAM ( MENTAL DISCIPLINE REMIX )" single # Synthpop / Synthgoth / Darkwave #

The very detailed biographical-discographical description of the Russian solo act played by Dmitry Nordman is available in the review of the single "My Boat [​:​SITD​:​] Remix", published on this page of Vox Empirea on 13 November 2023.
Elezoria returns to the scene with "Terrible Dream ( Mental Discipline Remix )" ( 2024 / skyQode [​ DE ] ) giving a renewed interpretation to this song included in the tracklist of the album "Apart" ( 2022 / skyQode [​ DE ] ), sensing its effective floorfiller potential as a hit remix and entrusting the reformulation process to the great genius of the solo project Synthpop / Futurepop / EBM / Industrial Mental Discipline, played by fellow countryman Alex Mental.
Mental Discipline re-arranges the original Synthpop / Synthgoth / Darkwave structures of the track, accelerating the primary fractionated downtempo-midtempo rhythmic base until it becomes linearly danceable, at the same time giving a crystalline timbre to the suggestive piano sections, increasing the amplitude of the keyboards, adding more dynamism to the sequenced pulsing bass lines and leaving the melancholic lipidness of the vocals unchanged.
The lyrics - written as always by Andrey Nefedov 'Andy', the owner of the skyQode label - thematically deals with the ruthlessness of real life and human impotence in the face of time that passes inexorably, lived in a nightmarish dimension from which one wants to awaken, despite the awareness that this is not possible. Essential news for all alternative electro dee-jay's, for all the Elezoria's admirers, and for all the advanced technological Synthpop lovers.

Tracklist:
__________

"Terrible Dream ( Mental Discipline Remix )" > The sequencing marks low intermittences atmospherically embellished by piano counterpoints, until the arrival of the midtempo beats of the drum-programming and the first verses of the nostalgic chant, which subsequently extends between catchy synth ornaments and the tonal intensification of the rhythmic base.

)))))..."This terrible dream
I want to forget
I want to believe
I want to wake up again
This terrible dream
An unbreakable wall
How can I believe
And wake up once and for all"...(((((

"Terrible Dream ( Mental Discipline Remix Instrumental )" > The separation from vocals makes the instrumentality stand out exponentially, mirroring the sung version, created with an admirable sense of beauty, with melancholy sentimentalism and with the extraordinary technological competence of which Mental Discipline is capable: drumming, sequencing and keyboard scores harmonize in a succession of emotion, rhythm, introspection and, at the same time, ultra danceable melodicism.

Conclusions:
_______________

High level performance that unifies the genius of two important protagonists of the international electronic scene. This clubby elaboration of "Terrible Dream" relaunches a song particularly appreciated by the public, preserving its essence while simultaneously giving it a new form and an irresistible energy that will instantly conquer the dancehall crowd, also adapting to those who instead want to listen in contemplative solitude .
Avant-garde romanticism and seductive sonic-technological charisma at the top. Elezoria meets Mental Discipline: the result could only be a masterpiece.

IM NAMEN DES VOLKES - "WELT IST KAPUTT" EP    #   Minimal-Electro /  Synthwave / Industrial   # Im Namen Des Volkes is t...
13/02/2024

IM NAMEN DES VOLKES - "WELT IST KAPUTT" EP # Minimal-Electro / Synthwave / Industrial #

Im Namen Des Volkes is the solo act founded in 1979 by the German multi-style musician and producer Matthias Schuster with the aim of exploring electronic analogic horizons, searching - and finding - a definitive, identifying sonic form through which to express their talent. The artist's musical training has evolved in parallel over the decades also through a wide range of experiences in the line-ups of German projects of the past and present - some of which are no longer active - contemplating different genres. In fact, the musician extemporaneously founded the Berlin-School / Krautrock solo-act called Lichtjahr and then was part of the Alternative-Rock project Garga and of the Indie-Pop ensemble Fuera, playing also in the Electronic / Minimal / Synthpop / New Wave band Peterwagen, in the New Wave / Electro / Minimal group Thermograph and in the Jeanette Und Das Land Z, which later became the current Synthpop / New Wave collective Bal Paré, being member of the Experimental / IDM / Industrial / Synthwave / Ambient project called Akustikkoppler. Currently, Matthias - as well as Im Namen Des Volkes - is musically active under his own name 'Matthias Schuster', playing also in the the Minimal / New Wave / Techno / Experimental / Ambient duo Das Institut, in the New Wave / Post-punk band Geisterfahrer and in the Electronic / Abstract / Ambient duo Geigenzähler. Matthias' ability in composing cinematic soundtracks is also worth mentioning, a characteristic that demonstrates the exponential versatility and ingenuity of this musician.
Since the beginning of his career to the present day, the sound of Im Namen Des Volkes - relatively to the specificities of the individual songs of his entire repertoire - combines the danceably squared patterns and the technological experimentalism of Electro, the keyboard-rhythmic essentiality of Minimal Synthpop, the electronically vintage sonances of Synthwave and the audacity of New Wave that goes beyond conventional sonic schemes: the musicality generated by the union of these elements recalls strongly the old 80's experimental, pioneering electronic-minimalistic sounds, built by linearly basic 4/4 drumming, low sequencer pulsations, alienating skeletal keyboard melodies, plus a chant coldly dissected and often transfigured by filtering, all this, as it is worth specifying again, created exclusively through analogue instruments.

This is how Im Namen Des Volkes radically summarizes his music and concepts covered in his songs from the beginning to today:

> "Im Namen Des Volkes is a project for surprising myself with electronic machines, means I never know what will come out so I play the machines and the machines play me. Lyrics mostly are improvised and unreal, or ironically meant, sung by the music without any idea what comes thru: its a musical journey and nobody knows where it will arrive.
I think mostly it's influenced by Surrealism and Dada". >

The official discography of Im Namen Des Volkes lists the following releases:

"Im Namen Des Volkes" - single ( 1980 ) / label: Konnekschen ( DE )

"Weisses Rauschen" - EP ( 2006 ) / label: NLW ( DE )

"Volksmusik" debut album ( 2007 ) / label: NLW ( DE )

"Klassenklobbe" - EP ( 2011 ) / label: Plastic Frog Records ( DE )

"Aus Den Anti-Imperialistischen Tagebüchern" - album ( 2016 ) / label: Peripheral Minimal ( UK )

"Welt Ist Kaputt" - EP ( 2024 ) / label: Ant-Zen ( DE )

The four tracks of the Extended Play "Welt Ist Kaputt" presents a parade of abstract, elementary Minimal-Electro / Synthwave / Industrial sounds, completely deprived of superstructures and complementary ornaments, created through bare harmonies of modular synths, dynamic-basic uptempo beats of drum-machine, pulsing sequenced bass lines and suggestive vocal essentiality.

This is how Im Namen Des Volkes concisely describes the release:

> "In this conceptual tradition, "Welt Ist Kaput" was born: it's not political, it's DADA!" <

Tracklist:
____________

"Die Welt Ist Kaputt" > The sequencer replicates a symmetrical, ultra-minimal succession of uptempo punctuations that form both the rhythmic path and the harmonies, recalling for their conciseness and tone those ones from 80's video games, over which hover unadorned spoken-words and cold trails of electronic effects.

"Wellengenerator" > The pounding uptempo percussiveness of drum machines and sequencers spreads a concatenation of tonally low beats with a simple structure, crossed by a dry vocalism sung in falsetto and by sporadic flows of synthetic effects.

"Alles Verfall" > Track energized by a seething, linear uptempo drumming and systematically dissected by the hatchings of the sequencer, under which essentially fractionated vocals and cycles of artificial noise alternate.

"Welt An Die Wand" > The synth chords in a minor key, the timbre of the voice and the cold evanescent downtempo beats of the drumming give this song a dark and ghostly mood, accentuated by the subsequent, intense underlinings of the keyboard and by extensions of electronic dissonances-interferences.

Conclusions:
_______________

Extreme analog 80's minimalism, transversal 'old-school' harmonies, gaunt sound-system and courageous experimentalism, cancel out the concept of 'explicit melodicism', to the advantage of prospectively avant-garde, original and uncompromising acoustics. Matthias Schuster's solo act proudly and confidently relaunches his technological style which will be particularly appreciated by that informal, expert audience of lovers of a 'living' electronic model, functional and free from superfluous extra-aestheticisms. "Welt Ist Kaput" is a thematically sarcastic, irreverent, surreal and musically counter-current release, the perfect antithesis of modernist sonic art. The myth Im Namen Des Volkes never ceases to amaze us. Super!

META MEAT - "VOICES" EP    # Electro-Tribal / Ambient / Tribal-Industrial   # Meta Meat is a collaborative duo-act found...
11/02/2024

META MEAT - "VOICES" EP # Electro-Tribal / Ambient / Tribal-Industrial #

Meta Meat is a collaborative duo-act founded in 2014 by French musicians Hugues Villette - aka the solo-act Somekilos - ( electronics / drums / percussions / acoustic instruments / vox ) plus the flamenco dancer, singer, performer and composer Phil Von ( electronics / drums / percussions / acoustic instruments / noises / vox ) with the intent on creating a unitary design with which to express an original electronic sound that possessed the following concept described by Phil as:
> "Both in touch with a true organic energy and with a perception of a transcendence".

The two protagonists come from experiences gained within projects - most of them French - belonging to various musical genres: Hugues was part of the Abstract, Electro, Post Rock band called [1] Kilo Of Black Bo***ge, of the Electro / Post Rock duo / Industrial / Experimental 2kilos & More, of the Krautrock / Noise / Post Rock / Ambient ensemble My Own and of the 'electro-flamenco' troupe Von Magnet, while Phil, as well as playing in the Von Magnet, was member of the Spanish IDM / Electro / Experimental platform Kònic Thtr and of the French 'remixing-arranging Von Magnet tracks' project named Spies Under Von Magnet Influence. The 'Meta Meat' effigy conceptually connects the origin of the 'meat' element to the overcoming of the 'meta', ideally illustrating the physicality of an act that moves body and soul into a higher dimension of liberation, knowledge and ecstasy that cancels basic instinctive nature inherent in Man.

This is how Hugues describes the birth of the project:

< "At the very end of 2014, I suggested to Phil that we should do a band where everything could be simpler, spontaneous and quicker than a troupe like Von Magnet was (without any negative ulterior motive) - both in terms of composition and live performance. As Phil was & is always very busy, I had to find a 'valid' reason to launch the project. So I contacted Gandi at the Elektroanschlag Festival in Altenburg in Germany and simply said to him: "You know 2kilos & More ( we 've already played at his festival ), you know Von Magnet, now we're putting together a duo with Phil, would you be interested in having us play? But on the other hand, I don't have anything for you to listen to or show". He thought about it and said yes. From that point on, we had less than two months I think to compose 45 minutes of music to play live, in April 2015… we didn't yet have the name Meta Meat". >

Since its foundation, Meta Meat's sound can be described as an ultra-modernized transposition of the evocative and ancestral sonances of Electro-Tribal, combined with the technologically minimal, experimental and stratified structures of Electro-Industrial: the result is an electronic-acoustic danceable, atmospherical music, predominantly instrumental, ritual and charged with powerful tribal-ethnic references, played through a voluminous presence of physical and artificial archaic midtempo-downtempo percussiveness, vibrant bass-lines, pulsing sequencer intermittences, transversal melodies of keyboards and laptops - almost entirely in the form of extended pads - and essential synthetic effects. Episodically, the songs may contain vocal samples of 'lost tribes' from remote lands of the world, or short sections of real chant belonging to Hugues or to Phil, more used in live performances.

This is how Phil sums up Meta Meat's music conceptually:
< We are not intellectualising anything, all our themes are inspired by our instinct and intuitions and mostly following a rhythmic research.
Meat Meat should be organic and stay somehow raw / raw, close to a body energy, although filled with a sense of a higher conscience, like in all tribal cultures." >

Meta Meat's discography mentions the following releases:

"Metameat" - debut-album ( 2016 ) / label: Ant-Zen ( DE ) - Audiotrauma ( FR )

"Infrasupra" - album ( 2021 ) / label: Ant-Zen ( DE ) - Le Label Beige ( FR )

"Voices" - EP ( 2024 ) / label: Ant-Zen ( DE )

The four tracks of the EP "Voices" thematically deal with the search for freedom, exploring electronic soundscapes even more full of elements belonging to even more ancient and remote populations, sonances that symbolically give 'voice' of that invisible and unknown part of Humanity who cannot express his anger, poetry and basic feelings. The tracklist is a succession of engaging and rhythmically-electronically dynamic Tribal / Ambient / Industrial songs, capable of transporting and making the imagination wander to distant and unknown places, in which spirituality and the primordial essentiality of human nature come together, generating a triumph of communicative acoustics, full of suggestion, to be internalized immediately and which overcome space-time barriers.

Tracklist:
__________

"Hue" > The low midtempo electronic drumming cadences a powerful ritualistic dance rhythm, intertwining with the arpeggiated punctuations of the sequencing, the sampled male-female tribal voices and the silvery trails of the synths.

"Acute" > The introduction is a dark, minimal filament of midtempo drum-programming rhythm under which alienating and dilated noise can be heard: the subsequent development energizes the sound through more structured and linearly segmented midtempo tribalistic dance percussive scores, rhythmically surrounded by bright sequencer hatchings , exciting loop micro-sections of vocals and a male shamanic sampled chant.

"Worth" > In the opening, a leading female voice with sloganistic inflections - full of rage, protest and rebellion - proudly incites a chorus of other voices who respond from the crowd with the same fervent tones, prolonging this form of systematic shouting for the entire duration of the song; at the same time, artificial uptempo drum-beats from ancestral ceremonial inducing dance are expanded, adorned with sequenced bass-lines, by monochromatic flows of synths and by sampled ethnic counterpoints of chant and fragments of tribal phrases.

"Glow" > A seductive Tahitian female voice describes with spoken words constellations contemplated by her tribe, in a highly atmospheric sonic context created through soft downtempo electronic drumming, clangs of orchestral cymbals and a colorless low pad that acts as a single chord, over which a obsessive archaic chant in loop, sequenced beats, synthetic noise and pale keyboard melodies.

Conclusions:
______________

Emphatic, refined musicality, full of charm, magic and great scenic effect, that of the duo-act fully reaches the listener's senses, mesmerizing, magnetizing and dragging him into an imaginary sonic Universe composed of primordial danceability, tribal cultures, mysterious rites, odes to Nature, transcendence and ardent desire for subversion on the part of remote civilizations that have remained silent for too long. The drumming - the main column of the entire architecture of the project's tracks - stimulates the psyche by inducing hypnotic trance, while at the same time urging the body to a frenetic, all-encompassing movement, made more intense by the electronic, keyboard and vocal complements expertly inserted into the whole. "Voices" is an essential release for admirers of conceptual technological sound inspired by themes of fundamental human value: it encloses and metaphorizes in its essence all the words never uttered or ever heard by those who have no possibility of expressing themselves, pronouncing them with a liberating spirit and directly reaching the sensitivity of the aware listener. Top expressiveness and evocativeness, subtle energy that captures with surprising immediacy, open minded sonicity: this has always been the extraordinary 'Meta Meat effect'.

XIPHOS - "THE RISE AND FALL OF ATHENS"     # Martial-Industrial / Neoclassical / Neofolk / Marches / Military   #The com...
09/02/2024

XIPHOS - "THE RISE AND FALL OF ATHENS" # Martial-Industrial / Neoclassical / Neofolk / Marches / Military #

The complete, detailed biographical-discographical description of Xiphos and the band's personal interpretations of the contents of this present album, are available in the interview conducted by Max and published on 8 February 2024 on the following page of Vox Tenebris dark interviews:

https://www.facebook.com/profile.php?id=61554867040860

Xiphos is the project founded in 2018 by three musicians from different European countries: the Italian Matteo Brusa ( all music / composition ) , the Englishman Troy Southgate ( vox / lyrics ) and the Dutchman Miklós Hoffer ( vox / lyrics ) ; in recent times, the musician of Greek origin Simon Shelmerdine ( all music / composition ) took over the line-up, replacing Matteo Brusa, who created the entire sound architecture of the debut album "The Rise and Fall of Athens". The three current band members also come from further, solid artistic backgrounds: Miklós Hoffer is part of two different Dutch projects, the Modern Classical / Electronics band HERR and the Experimental / Weird-Folk Alternative Pop / Ambient / Industrial duo called Donderdag . Troy Southgate boasts collaborations in a wide range of alternative designs: the English Dark Ambient band Elvatorium, the Swedish Power-Electronics / Industrial-Noise Survival Unit, the Polish Industrial / Neofolk / Ambient Horologium, the German Apocalyptic-Folk / Neoclassical Sagittarius, the Portuguese Psyc-Ambient Folk / Dark Ambient The Joy Of Nature and in two German projects, the multi-style Neofolk / Industrial / Ambient Von Thronstahl and the Modern Classical / Neofolk The Days Of The Trumpet Call, playing permanently in HERR and in the UK Modern Classical / Neofolk duo-act Seelenlicht. Simon Shelmerdine is instead a member of the Greek project Neoclassical / Martial /Ritual /Neofolk Dark Awake and of the 'New German Death Art' project Art called Schatten Muse.
Xiphos' music is characterized by the aesthetic rigor 'dark parade' oriented of Martial-Industrial, combined with a wide use of virtual emulations corresponding to the acoustic instruments from Neofolk culture; the result are sonorities permeated with ancient-filmic atmospheres, epic charm, glory and desolation, expressed through highly evocative keyboard orchestrations rich in neoclassicism, vocals alternately by Troy Southgate and Miklós Hoffer - a practice used by them also in the projects in which they participated together - sung with triumphal, nostalgic, contemplative pathos, or declaimed with spoken words full of melancholic pride and decadent romanticism, plus downtempo 'militaristic march' drumming and graceful strings-winds ornaments.
The vocals are distributed in the album's tracklist as follows:

- Troy Southgate > even numbered tracks.
- Miklós Hoffer > tracks with odd numbers.

All these sonic peculiarities that constitute the band's sound-system are poured into the debut album "The Rise And Fall Of Athens" and described in a technically impeccable way by the former member Matteo Brusa:

> "All instruments on the disk are virtual. The album was composed entirely on Propellerhead Reason 10, using basic soundbanks, rack extensions, additional refills and third-party VST instruments. Most of the timbres I used were obtained by modifying, combining or processing different virtual instruments ( for example, the pizzicato sound present in several songs is a modified version of a dulcimer sample; the percussions are different layered percussive samples; the sound in the intro of Themistocles it is a multi-processed English horn to simulate a duduk; elsewhere there are wooden flute samples filtered and combined to simulate an ancient Greek aulos ) .
I performed all the individual parts on a MIDI keyboard, deliberately without quantization for a more realistic effect, and taking into account the natural range and tuning of the instruments used or simulated.
In the composition I tried to maintain a martial and cinematic element, combining it with a melodic approach to writing and a "pop" song structure. The idea was to create music that combined the typical elements of the Martial-Industrial and Neofolk scene with the classic song format with melodic hooks, verses and choruses. Military Pop in the true sense, so to speak.
The songs were written to evoke the characteristics of the characters narrated; for example, the songs dedicated to Solon and Pericles are more reflective, atmospheric and airy, reflecting the protagonists' contribution to Hellenic culture, while those dedicated to Theseus and Cimon are adventurous and combative; Nicias is a limping piece like the uncertain resolve of its protagonist and Alcibiades is a "larger than life" piece like the character whose life it narrates.
After composing the music and the melodic lines, Troy and Miklós wrote and sang the lyrics.
As a matter of curiosity, the music on the album is not in standard tuning ( A at 440 Hz ) but in Verdi tuning ( A at 432 Hz ) , a characteristic that for several years has united all my compositions also for other projects".
"The Rise and Fall Of Athens" is the only work published by the group to date, although two tracks were released before the album's release in a sampler published by Antiq Records, the label that was originally supposed to produce it first that the project be taken over by Lichterklang". <

The concept album "The Rise And Fall Of Athens" - published by the band in 2022 in the first edition and subsequently in 2023 by the German label Lichterklang - consists of a succession of eleven songs thematically focused on the homonym book by the historian and philosopher Plutarch. The texts of the tracks tell in a biographical way the splendor and subsequent ruin of the Greek poleis, rereading them in an imaginative-narrative form through the chronicles of the historical protagonists of that Era: Solon, Themistocles, Aristides, Cimon, Pericles, Nicias and Alcibiades, from the dawn of the foundation of the city, until the destruction of its walls. Get ready for a unique, unrepeatable sonic experience, going back in time and with a formidable emotional impact. Plutarch, wherever he is now, smiles pleased.

Tracklist:
________

"Intro" > A low synth chord extends from the beginning to the end of the track, on which suggestive keyboard melodies and arpeggiated textures with crystalline tones flourish, in an atmospheric context of darkness and nostalgia.

"Theseus" > Harmonious rotations of plucked and strings blend with the dramatic symphonism of the keyboards and the severe downtempo martiality of the drumming, while the voice pronounces a slow chant which alternates hymn-like inflections and spoken words full of epicness and melancholy.

)))))..."Theseus, founding son of Athens,
Wandering seafarer and unifier of cities.
Eternal scourge of the Underworld,
Merciless destroyer of chthonic beasts.
Theseus! The Athenians roar!
Brave deeds in the days of yore!
Theseus! Slayer of the Minotaur!
God-man of the Sphairia shore!"...(((((

"Solon" > The introduction keyboard propagates a deep and choral pad which subsequently transforms into a long monochromatic and vaporous chord, on which melodically nostalgic vocals twirl, surrounded by an essential orchestration composed of low keyboard notes, luminescences of strings and suggestive aerophone melodies.

)))))....."Called upon by wise men, declared wisest of them all
And yet I never cease to learn as I grow old
And under the Attican skies, down by the deep blue sea
I witnessed the birth of a future - for you and for me
And under the Attican skies, down by the Aegean sea
I witnessed the birth of a future - for you and for me"...(((((((

"Themistocles" > The introductory segment propagates aerophonic notes that unfold suggestively in this song with twilight sounds, transporting the imagination far away through the cobalt blue of the Aegean and ancient, glorious Hellenic territories, while a downtempo drumming resonates far away, sublimated by a chant charged with infinite nostalgia and by grandiloquent keyboard symphonies.

)))))..."Thank the gods, Themistocles
For another, breath of life
You rise and fall like an empire
In struggle [up] and in strife
The dreams that crumble and fade, will always find a way
All visions are remade, and live for another day"...(((((

"Aristides" > The martial downtempo percussiveness cadences lines of beats that support with discipline an overall melancholic sound, created through sparkling string arpeggios and keyboard magnificence, all this adorned by the singer's exciting intonations, sung with ardent passion like a hymn to heroism and made even more intense in the interludes of spoken words.

)))))..."So, sing for Aristides
The just and honourable one
O, victorious at Plataea
A hero at Marathon
Sing for Aristides
The just and honourable one
O, victorious at Plataea
A hero at Marathon"...(((((

"Cimon" > Epic sonances flow from this song built through downtempo breaks of martial drumming that give the sound an aura of severity, voluminous orchestral keyboard chords, euphonious string arpeggios and wind sections, in a combination of chivalrous melodism and legendary atmospheres.

)))))..."Into the light, our sharpened blades are flashing
Under a hostile sun, on Persian skulls they're crashing
Into the darkness, slicing through blood and water
Tiremes are flowing east, on crested waves of slaughter
Into the light, the gods of war are calling
A vanquished foe, on broken limbs are crawling
Into the darkness, his warrior ethos rising
He bears a Spartan heart, no conquest too surprising".....(((((

"Pericles" > A low pad extends from the intro to the development, harmonizing with clear string touches, downtempo military percussiveness and a melodiously poignant, declamatory chant, which fills the sound with supreme, nostalgic grace, above which, towards the finale, statuary hovers keyboard arias.

)))))..."Behind the safety of the city walls
Outside, the fields are burning in this war
Once upon a longtime ago
In Greece
Glory to the fallen by a man
Unperturbed like Zeus there he stands
Praising the Athenian way of life
As an ideal"....(((((

"Nicias" > Artificial chorality and heavy downtempo martial beats open this track, based successively on fluted harmonies, austere keyboard symphonies and spoken words dictated with elegant narrative mode, all this in an engaging stream of sounds and voice that recalls grandeur and suggestion.

)))))..."Nicias first rose to prominence at a time of plague and pestilence,
when the city of Athens - citadel of philosophy and cradle of civilisation
- finally withdrew from the edge of the precipice
and began to bask in the wondrous splendour of Pericles
and his great rallying cry for Hellenic rebirth"...(((((

"Alcibiades" > The chant - sublimated by the backing vocals of Stefan Traunmüller, the engineer who mixed and mastered the album - is a fascinating elegy full of intonations tending towards nostalgia, while the instrumentality spreads noble keyboard orchestrations, accompanied by precious string embroideries and hypnotic downtempo military drumming.

)))))..."Fuelled by a raging fire
In everything that I desire
People just too blind to see
They're stronger with than without me
Fuelled by a raging fire
In everything that I desire
People just too blind to see
They're stronger with than without me"...(((((

"Lysander" > The severe gloom generated by the downtempo drumming, by the low chords of the initial keyboard section and by the strings, cloak vocals sung with saddened inflections but at the same time embellished with a regal magnificence, while further on the keyboard counterpoints rise which recall sensations of triumph and majesty.

)))))..."Lyyyyysander
The Hellespont awaits
Europe dips her toes
Outside the Persian gates
Lyyyyysander
No flag left unfurled
Let them know your name
Scourge of the ancient world
Lyyyyysander
The walls of Athens fall
Make the city yours
All in the Spartan cause
Lyyyyysander
Warrior of old
You serve your people well
And shower them with gold"...(((((

"Outro" > The short epilogue initially consists of an atmospheric narration of spoken words that extends over a monochromatic pad, over rarefied drum beats and over string punctuations, awaiting the progressive expansion of the downtempo martial percussiveness and the intensity of the keyboard that sumptuously finalize the song.

)))))..."Picture the city of Athens, home to many a hero,
surrounded by mountains and the sea.
Its port, the Piraeus, was a doorway to the Aegean.
Its people, the Athenians, relied on an inquisitive free spirit.
Not blessed with great riches from the soil,
they visited adjacent and faraway lands and shores
- quenching their thirst for knowledge and adventure.
And they had risen to dizzying heights.
And like Icarus, they had fallen.
Their imperial ambitions shattered,
they would never lay claim to such a vast territory again.
But their legacy would live on,
in the hearts and minds of countless generations to come,
all over the world.
The dreams that crumble and fade will always find a way"...(((((

Conclusions:
________________

Cultured, monumental album, a colossal in its specific music genre, which sensationally relaunches Martial-Industrial / Brass & Military style in a superlative conception : the sculptural features of this full-lenght take the listener back on a highly compelling sound journey, among remote splendors and the decline of a city-state of fundamental, immortal historical importance, transporting him into a timeless dimension through 'illustrative' sounds and lyrics sung with fascinating, figurative passion that will make him experience each episode of the title track as if he directly impersonated the narrated protagonists. Xiphos unsheath their superb art like a sword: the notes rise majestically, sometimes imperiously, illuminated by the commemoration of remote grandeur and at the same time darkened by the shadows of their fatal decadence. In each song we perceive 'romantically disciplined' and nostalgic sentiments, but also a proud spirit that looks and contemplates the Past, arousing immersive, emotional participation. "The Rise And Fall Of Athens" is prospectively perfect, fertile in content, determined in intents: it is together form, intelligence and matter of the new European Martial front. Release to absolutely have and to love with all the intensity of which your soul is capable. Forever.

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