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Dark and heavy.  I’m not talking about a metal band or an album in this particular style, but of the atmosphere of Malthruyst’s ‘Live in a White Space’.  Rarely in the musical world has electro been so dark and hopeless, except for Matt Elliott’s Third Eye Foundation, and his fabulous, but uncomfortable album ‘Ghosts’; which is one of the main references here.  The whole beginning and mood of this 45 minute-long song refers to Matt Elliott and Aphex Twin tunes, but the rest of the work remains original and much darker.

Everything here is offered for the purpose of creating uncomfortable spaces and lands, deep noises, and sounds.  Only the beginning seems to be, well, joyful and calm.  The drum and bass style gives place to other electronic instruments and noises (sometimes a kind of train, sometimes bells, but it’s never clear), and a continuous bass, very oppressive and long.  Here lies the main interest in this album: nothing is clear.  All is hopeless and black; no light comes in.  Fans of the ambience music from the Silent Hill series will be very familiar with this sound;

During these 45 minutes, the listener goes from drum and bass to experimental, and, most of the time, gets lost in this unique musical universe.  Except for the beginning and the end, everything is full of noises, reversed sounds, and distant and low voices.  ‘Live in a White Place’ is a journey through a long, experimental space in which we can only get lost.  As you first listen to it, all you can do is ask yourself where you really are; and the only answer is: in hell.  This music sounds like a long improvisation about the end of our time; even during moments when a little instrument seems to be melodic, there is always a low noise covering the lightness of this holy sound.  In this way, Malthruyst is also a reference to earlier Pink Floyd (Saucerful of Secrets, Echoes) or, more recently, Fiend 2-Caledonian Cosmic (who remembers this amazing self-produced album?).  It is funny to say that this music looks like an improvisation, when you know that it has been recorded in one single day; and that’s a kind of technological exploit, because even if listening the entire song is really difficult, no one would think that it isn’t intelligent and well-thought out. Atmospheres are consequently well-built, and must have been difficult to create.

Rhythm remains in perpetual deconstruction; sometimes clearly appearing, sometimes drowning into noises and industrial loops.  The middle part of the song recalls some of Godspeed You! Black Emperor’s intermedes: using them as bridges to go from one part to another.  While looking at the CD, it seems that the whole title has been organized in different single parts, and it becomes a kind of game trying to find each one of them.

But let me be clear; this album is never boring, and its length is the main interest in it.  It is a kind of long and hard journey through unsafe and foggy countries, where the listener discovers lots of unknown territories and visions.  Each theme is no longer than about two minutes, and the song remains in perpetual evolution, from one theme to another.  What seemed to be frightening and scary slowly becomes exciting and impressive.  The listener wants to know more and more about this universe, and sometimes finds inspiration in these noises and loops.  As a masterpiece built during a sleepless and nightmarish night, ‘Live in a White Space’ gives us an opportunity to explore terrible worlds, and creates a kind of dependency inside you.  It is a drug for dark souls and thoughts, a way to see its hidden and more tortured thoughts brought to life.  Sometimes screams reminds us of a humanity we’ve lost, sometimes industrial sounds plunge us to an android-like life.

This album is dark and heavy, and really uneasy to listen to; but, while trying to penetrate this hopeless world, the listener faces a deformed reality not really far from everyday life.  It looks exaggerated, but it lives in everybody’s mind.  Perhaps Malthruyst succeeded in bringing people’s darkest thoughts to life?  That is the question, and I’m sure he’s got the answer¼‘Live in a White Space’ is more than dark music and noises; it is a work of art, and a disturbing vision of life...

                                                                                                                  Slug

Tracklisting: 1. In Photographs 2. Marianna 3. Through Countless 4. Our Fading Will

1. In Photographs

A chorus of interesting noises and sound emit from the speakers as the first song of Son Of Adam’s Dawn Treader EP, ‘In Photographs’, begins.  Soon, a guitar comes in, giving the song an upbeat and carefree sound, although the vocals are slightly depressive.  The melody of this song is very memorable, which I liked.  The end seems a bit abrupt to me, but all in all ‘In Photographs’ was a nice way to begin the EP.


2. Marianna

A gentle, yet disorienting guitar melody starts up ‘Marianna’, that continues to play when the vocals take hold.  Dave’s vocal talents are shown off nicely here; his voice soars high at some points, providing a hopeful tone, and retracts into despair at others.  During the last 2 minutes of the song the tone drastically shifts, switching from a gentle kind of sadness to a much more desolate sound.  The guitar work (especially at the end) gives the song a vast emptiness, to the point where the listener has only the melody to hold on to in order to keep from being pulled under.  The song’s conclusion was well done, and gave a definite sense of finality to the track.  In my opinion, this is the standout song on the Dawn Treader EP.


3. Through Countless

Though it is over quickly, ‘Through Countless’ is another example that a song doesn’t have to be long to be pleasing and good.  The overall sound of this song is very interesting, because the melody is happy and bright, but the vocals are melancholy.  This is one of the most distinguishing traits about Son Of Adam’s music; the ability to blend sad and happy sounds together within the same song, yet express them both clearly.  ‘Through Countless’ is the best example of this style found on the Dawn Treader EP.  One minor complaint is that although the song is well done, I wish it had been longer, so that it would have had more time to grow and develop.


4. Our Fading Will

Waves of sound start off this track, getting progressively darker as the song plays through and sending the listener on a downward spiral, leaving them hopeless at the end.  ‘Our Fading Will’ is another great example of what Son Of Adam brings to the table.  At the halfway point of the song a guitar begins to play, leading you out of the vortex of sorrow that occupied the first half of the song.  The vocal effects used in this song are interesting; they sound reminiscent of a chorus of people singing in a large hallway, with their voices echoing off the walls and ceiling, surrounding you.  This last song ends quietly, but still manages to leave a big impression.



Pros:
All of the songs here are memorable, and the music doesn’t completely lend itself to only one emotion, making it good to listen to regardless of your mood.  The blending of upbeat melodies with the sad vocal delivery makes for a very interesting, unique sound that I’ve yet to find anywhere else.


Cons:
The melodies, while they were well composed and memorable, were, in juxtaposition, in contrast with the sound of the vocals and the lyrics.  They seemed a little too upbeat and happy when combined with the sorrowful vocals, and it gave the songs an odd combination of feelings.  I think this was both a strong point and a weak point in the music because while it made it interesting, the combination of emotions was bizarre and confusing.


Overall:

While the Dawn Treader EP only clocks in at 16 minutes, it is a good sample of Dave Orenday’s work, and successfully presents an idea of what Son Of Adam is capable of.  I hope that he will continue to cultivate and build upon this unique style that he uses; with time I think it could turn into something great.

Tracklisting: 1. Rust 2. The Pond 3. It's Over Now 4. Silver Wash 5. Last Light 6. Storm 7. Soft Bipolarity 8. Blue Room 9. Sunday Evening 10. Cold 11. Still 12. Lost At Sea



1. Rust

In the first song on Last Light, we are presented with a blank, empty canvass, on which Tor Lundvall begins to paint the sounds as they play, while our minds wander and try to decipher the complexities of the melodies.  Rust is a very gentle track; it starts with nothing and quickly introduces the listener to the world of Tor Lundvall, without bombarding them with sound.  Overall, this song is very well done.


2. The Pond

‘The Pond’ is a very desolate song, with a gloomy piano bringing us down before it is accompanied by light, almost ethereal vocals.  The song plods onward and the sound continues to expand, growing more distant from the listener with each passing minute.  I think this is an amazing feat by Tor Lundvall; they are able to present themselves captivatingly, and then gradually wander away, leaving you wanting more.


3. It’s Over Now

This song continues with the depressive atmosphere found in ‘The Pond’, but brings something new to the sound as well.  This version is more energetic and alive, with industrial noises and guitars breaking up the main tune.  An example of the complexity in this band’s sound, ‘It’s Over Now’ combines heavily industrial elements with unconventional sounds and an acoustic guitar to create a unique kind of music, something that I wish more bands today would try to do.


4. Silver Wash

Bells and synthesizers make up this track, along with an airy chorus from the ghostly voice.  ‘Silver Wash’ is a great example of Tor Lundvall’s distant, introspective sound.  A song very similar to ‘Rust’, ‘Silver Wash’ does not really contain much to make it lonely or sad, but rather it is simply a journey of gentle sound.


5. Last Light

My favorite song from Last Light, the title track is a very complex one, with small, separate melodies that are hidden in the background, beneath the gloomy exterior.  The sound here is akin to escape the day, in that it is a beautiful kind of melancholy.  All of the noises in this song combine to create a very deep and striking sound at times, offset by the gentle melody that makes up the main song.  The vocals here are especially good, and they perfectly fit the music.


6. Storm

One of the more rhythmic songs, ‘Storm’ still manages to retain the sad atmosphere of the previous songs, despite the more upbeat melody.  From the perspective of a metalhead, Tor Lundvall at times seems to have a lot in common with the sound of Doom Metal, only without the ‘metal’.  It’s as if they have isolated the depressive and gloomy sound that is present in said genre and brought it into this new type of sound that they have created.  I think this is quite an achievement, whether it was intentional of not.


7. Soft Bipolarity

What sounds like a music box starts out song number 7, before a wall of sound confines the listener.  This song is different from the rest, in that it actually sounds hopeful, but it doesn’t isolate itself from the rest of the album by retaining the band’s trademark sound.  All in all, this song is good, and it shows the ability of Tor Lundvall as well, how they are able to make more than one type of music.


8. Blue Room

This song is one of the highlights of Last Light, starting off with light drumming and again utilizing Tor Lundvall’s amazing ability to create a feeling of distance between their music and the rest of the listener’s surroundings.  The lyrics of this song are of note here as well, because they very accurately describe the feelings of confinement and weariness that we all feel from day to day, while the music tries to illustrate it.  A standout song, and a nice effort overall.


9. Sunday Evening

Another plodding song, ‘Sunday Evening’ is one of the most gloomy offerings on the Last Light album.  Like most of the others, it contains a few tiny, hidden melodies for you to find and revel in, while the main sound continues on.  The sound of a clock serves to pace this song, and goes well with the theme of passing time.  While this song is a bit plain compared to the others, it is still very good.


10. Cold

Synthesizers manage to create a sound that truly lives up to the song’s title, with sudden bursts of sound resembling a biting wind, while other strange noises and an occasional tapping sound drive the song.  The music box sound from ‘Soft Bipolarity’ returns here, with a quiet melody of its own in the middle of the song.  The sadness-laden, ethereal vocals complete the sound, culminating to make this fantastic song.


11. Still

If I had to put Tor Lundvall’s music into one type of category or genre, I wouldn’t really know what to do, because the sound is very original; at times borrowing from industrial music, while using unconventional, experimental sounds at others.  This is the case with ‘Still’, this song takes the best from both of those respective genres and blends them together to create an interesting, melancholic piece of aural artwork.


12. Lost At Sea

The final track of Last Light; a piano is all that you will find here, and really it is all that is needed.  The instrument alone has the ability to create amazing atmospheres and melodies, and Tor Lundvall uses it to its full potential.  An utterly hopeless sound pervades the closing song of this wonderful album, captivating us for a short time, before departing once again.



Pros:

In every one of these songs, save for ‘Soft Bipolarity’, Tor Lundvall manages to craft an incredibly gloomy atmosphere that also contains a lot of beauty, and to express these beautiful elements very subtly, to the point where the listener must search for them at times to discover their sound; and that makes it all the more rewarding.


Cons:

I really can’t think of any that are notable.


Overall:

The depressive and captivating vocals, well-written lyrics, and interesting melodies combine to form a unique sound that is a blend of several different styles.  One of the most impressive aspects of this album, in my opinion, is the band’s ability to create an impression of vast distance within their songs, to the point where the listener feels far away from everything else, and enveloped in the music.  This is a truly excellent album, and I am really looking forward to hearing more from Tor Lundvall.

Val