![]() Golden shimmering, overdriven electric guitar layers evoke happiness of the majestic kind, and only occasionally does the slowly changing melody step over into melancholic territories, held and maintained in minor. Let's see how intriguing this album really is.ĭeserter launches the album with a warm glow. Whereas other Drone albums unveil their multiple layers and particles on higher volume levels, the work of S ND Y P RL RS grows in voluminousness and saturation – clear-cut attributes of its Shoegaze roots. ![]() If there's one particular Drone album of 2012 where fun and volume level coalesce and depend on each other, it's definitely Rex. Despite quieter moments and carefully layered drones, this is a powerful album that boosts each respective emotion to the maximum and literally blasts away the Ambient-adjusted ears of a whole generation who grew up in the surroundings of stacked synth strata. It oscillates between threatening, intimidating and incisive guitar layers, true, but at the same time, there's a great depth, warmth and even euphoria to be found. Rex isn't about one single capricious mood, though. Released on Umor Rex in August 2012, his particular guitar treatment will be intriguing to fans of suspense movies, lovers of Dark Ambient and, yes yes, even the occasional Rock fan who is willed to soak in the meandering layers. Drone music of the dreamy kind is the breed one encounters most often, so let me stress how refreshing – and intransigent – Jantzen's seven-track debut called Rex is. Think of the early works of Ben Frost, the Dark Ambient crypts of Svarte Greiner, the adamant guitar monotony of Ryonkt or the Punk attitude of Dreissk … and S ND Y P RL RS aka Sunday Parlours, the project of the up and coming Berlin-based Drone producer Malte Cornelius Jantzen who brings back the crunchy-grungy flavor into the subgenre that is otherwise ruled by a mellifluous mellowness in 2012. But seldom is there Drone music with a glaring in-your-face attitude, mediating between acidified piles of guitars and shedloads of Shoegaze schemes. Then there's the kind where cleverly filtered guitar layers are interwoven that merge perfectly with the synth structures so that listeners of the structuralist school cannot tell them apart anymore. A lot of different crowds would enjoy “Free Myself”, whether through the Weeknd vibes or for the dark, mellow vibes that could attract fans of rock and metal.There's Drone music that's created with the help of synthesizers. It showcases that he can both subvert expectations all the while staying accessible through genres. The opening track to Anders’ newest album, Honest, is an excellent representation of the artist’s musical capabilities, all the while being a prime, addictive song through and through. The way Anders plays with rhythm fits the tone, and the song, perfectly. The chorus is irresistibly catchy, but the verses are really this song’s strongest suit. The backing tracks are drowned in reverb, and the guitar layers that carries the progression forward bring the whole track together immaculately. The production is extremely floaty, grounded through the low, punching 808 bass and the tight trap drums. His tone is also quite ear-gripping, going for a vibe that crosses both Pink Floyd and The Weeknd, especially because of Anders’ voice, at times sounding almost exactly like the former. The way Anders traverses is quite clever he masterfully dodges the cheesy tropes of the progression, and instead sticks to a more melodic rap route, which works beautifully. ![]() Lately it has been spread all over modern pop, and has been around since the dawn of time. The chord progression looped through the entire track is one that many would recognize instantly, even without having any prior knowledge to music theory. Coming straight from his new album, there’s something quite cleverly unique with Anders’ opening track, “Free Myself”, through both its tone and melodies, paired with the lack of clear genre and its uniqueness.
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