audio.
tracks:
1- intro - cymbals hell
2- powerless
3- emptiness at dusk
4- twister! (mp3)
5- industrialized (mp3)
6- roads
7- mentally distorted intro (mp3)
8- maelstrom
9- midnight airport
bonus tracks
emptiness at dawn (empty version)
midnight flight (turbulent rmx)
Note: To download, right-click on the name of the song, then left-click on “save destination as”.TRACKS REVIEWS:
The songs are all instrumental and there’s no sampling from any external source. To have an idea of how they’re made up, see the Concept section.
1- INTRO – CYMBALS HELL: (1998)
Cold and hollow is its main feature, with sounds emulating brushes, hollow pounding beats, and a high-pitched sound circling about and adding a touch of minimalism.
The second half of the intro consists of a reverberating percussion alternating from one octave to the other, halting and going on repeatedly.
2- POWERLESS: (2001)
Originally called “City with no lights”, this song, as shown by the name, refers to the importance of electric power, which provides us with all kinds of comfort, including the possibility to create.
A leading synth-bass and a string pad are in charge of a gloomy and melodic sequence together with a rhythmic synth-bass sounding at the back as if out of tune. All this synchronizes with the density of the drumbeats, going from a slow tempo to a fast one.
3- EMPTINESS AT DUSK: (2001)
An interesting song with a few Noise features, but a tough one to label. It starts off with a deep, droning and hollow choir; then an unchanging bass-line comes into play followed by a series of jammed drumbeats. The leading choir is distributed and altered into two stages; and a high-pitched melodic sequence is alternated with Square Bass drones.
The song itself is an eccentric one: bleak but kind of “merry” at the same time. The name talks by itself: “(a feeling of) an emptiness at dusk” – there’s an absence of mind that leads to act thoughtlessly.
4- TWISTER! (2000)
Innovative and transparent, this song depicts in musical notes a frightening description of a mysterious geographical phenomenon. At the beginning it might go together with the stages of tornado formation (see the description in the Goodies section for more info): thunderstorms, low and dark clouds, still air, a deep rumbling sound, dissipation...
A collage of sounds emulating catastrophes musically and briefly depicts all these elements, till a bass-line comes gradually into play.
Improvisation is the main feature of this song - some homemade freak sounds suggest minimalism.
A string pad appears discreetly like forming a “blanket”, suggesting a feeling of foreboding; the Reverb effect stands out in the jammed percussion.
The ending is almost similar to the beginning – but this time “it dissipates into the gray sky, leaving a path of devastation in the plains of Kansas (!!).”
5- INDUSTRIALIZED: (1999)
This one couldn’t have another name, as it is Industrial in nature due to the predominance of snapping kicks and Industrial Hits.
This song has gone through many changes, but it keeps its original structure. It was originally divided into two, but some parts needed to be shortened and put together.
Like in many of these songs, this one features one or more freak sounds replacing human voices.
It turns interesting from the middle onwards when two bass-lines fade in, then a third one takes the lead till the end. Feels like a real journey.
6- ROADS: (2001)
This one sounds like another “journey” - really. It starts off with my homemade “Freak Vibrations” and the sample-based Tibet Bells.
Bass-lines feature all along the song, layered with the never-absent string chords and my homemade “Snappy” revolving around in a few measures. This song REALLY feels like “driving on a road at midnight”; the bass-lines go at one with the percussion. This sequence is later driven into a chaos of pummeling drumbeats, spattered with open hi hats, until it stops abruptly for two seconds, and then goes on, combined with the bleak serenity of the pad.
7- MENTALLY DISTORTED INTRO: (2001)
Experimental in nature, this intro sprang up unexpectedly. It represents something like the “mental side” of the album, there’s no focus on places and weather conditions this time. It consists of a bass-line plus a sample-based Cannon sound as percussion. It depicts the deepest and most concealed side of mental distortion: extremely appalling situations mingled with a desire to stab uncontrollably and wrathfully.... a huge state of insanity.
A short, simple anti-musical sequence, but at the same time the most shocking and charming.
8- MAELSTROM: (1999)
A suitable follow-up to “Mentally Distorted Intro” - an interesting song with a pessimistic, apocalyptic and purely somber nature.
Like in most of these songs, this one consists of dull, hollow sounds featuring harmoniously with slow-paced reverberating percussion.
The beginning is rather improvised, with a cowbell-like sound adding some mystery. High-pitched and gloomy tones play beneath a sustained, hoarse and screeching blowing sound; then a low and lush choir fades in, together with a bass-line and some dry and clanking percussion.
9- MIDNIGHT AIRPORT: (2001)
That’s why the name - this song suggests an airport-like setting, especially the short Intro, which leads to this abandoned airport.
Its essence is kind of “abstract”, with a dense, clangorous and industrial feature. The bass-lines are those typical of Symbol of Inexistence, a leading synth-bass and a rhythmic one.
Charming at the beginning, but gradually monotonous as it goes on.
Due to its bleak and repetitive nature, the almost-end of the album is the right place for it. It takes no strings or pads - the song itself creates an atmosphere on its own.
BONUS TRACKS:Personally, this is the most interesting part of the album: second versions of two already described songs, but carrying a daring and more refined characteristic than their corresponding original versions. They are:
10- EMPTINESS AT DAWN (EMPTY VERSION) - (2002 - 2003)An enlarged and altered version of Emptiness at Dusk, featuring the low-pitched Choir combined with jammed drumbeats and a distorted Square bass, create an oppressive and chaotic environment. The semitones in the main chords are slightly modified in comparison with its original version.
Towards the middle of the song, the already mentioned set of sounds varies from a state of tension and wrath to a calmer and lonesome atmosphere.
A striking detail is the fade-in of the original bass-line in Emptiness At Dusk, but in this remake it plays off-key with octave transposition.
Its ending is similar to the original version’s - but this time there’s an “emptiness at dawn”, an open, infinite end .....
11- MIDNIGHT FLIGHT [TURBULENT RMX] - (2002- -2003)A shortened and altered version of Midnight Airport, this one maintains the essence of the original, though far shorter. The bass-lines remain the same, but with some interesting changes in pitch and effect parameters. Two of them combine towards the end of the song, making it even more distinctive.
This is a freak, freely composed and unique version, based mainly on experimentation; it’s more experimental-based than the rest of the songs; it’s like, metaphorically speaking, “icing on the cake” - nice ending for an album.
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