Architeuthis Rex — Urania
“Urania” has six tracks, spreading across about fifty minutes. The first piece is called “Spacemetal #1”, and this should normally set the alarm bells ringing for any right-minded person... Fortunately though, whilst space is present, metal is absent. Instead we have an eleven minute long track which is built from reverberating synth loops and drone, echoing percussion and whispering, strained vocals. The track builds really quite nicely, slowly growing in intensity and attaining a hypnotic effect at points. If it wasn’t for the rhythmic percussion, it would be a good sonic representation of a heat haze. As it approaches its end, some elements of the track start to stretch and change a little; it feels like a half-hearted attempt at “the track is breaking down…” - it isn’t thoroughly convincing.
The rest of the album doesn’t deviate a whole lot from this model. That’s not to say that all the tracks on “Urania” sound the same; but their construction and structure vary very little. Various elements - normally a mix of synth sounds, string patches, organ, percussion, drum machines and female vocals - are layered or looped and invariably processed through delays and reverb. Sometimes, the tracks are quite cluttered and busy; other times, things are pared back a little - its these latter tracks that feel more successful.
There’s a sense of drift, of suspension; and not necessarily in a good way. There’s no great impression of composition, overall; and the sounds themselves (and their processing) are not beguiling enough to keep me engaged. There are only two moments where notable “events” take place. The first, happens halfway through “Basiliscus”; where the echoing blips and drone are superseded by a melodic breakthrough, using lush synthesizer sounds. Coupled with a more rhythmic percussive sensibility, and vocals, the track suddenly seems to come together - though, in fairness, it does sound like an old moody trance instrumental… The second moment to display more sense of composition, is during the final piece, “Spacemetal #2”. This starts with a looped bass riff on the organ, with twirling organ decoration at a higher pitch and more whispered vocals; after a while, the riff becomes central and again there’s that sense of the track coming together. It also has more propulsion than the earlier pieces; though, again, there’s never any sense of a destination.
From reading the previous paragraph, you might imagine that the chaotic, swirling voids of the cover and insert were aptly chosen: the tracks they decorate appear to have little sense of direction or structure. However, whilst the pieces do drift and wander, they do so in a incredibly linear fashion; the constant use of delays and reverb pins the tracks to self-imposed grids, where sounds reverberate predictably back at the listener. This, combined with little tension and a near absence of any dynamics, does not make for an enthralling album.