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Ákos Rózmann, "Images of the Dream and Death"
The word "epic" has lost all meaning due to overuse and misapplication in popular culture. Thus when something fits the true definition of that word, such as Images of the Dream and Death, it almost seems pointless to use that as a descriptor. However, spread across three LPs and attempting to capture the never-ending struggle between the two opposing forces of good and evil, with often terrifying results, there is not a more apt term.
This version is actually the fourth by Rózmann, with previous ones accomplished with only a Buchla synthesizer or a traditional church organ.While the full instrumentation on this edition is not necessarily clear, there is a definite, and unique use of analog synthesis that can be heard throughout but the sound is far fuller than that.
Split into three thematically linked parts, the A side of the first LP captures Part I and the first half of Part II.The first part is intended to present the types of good and evil in an introduction of sorts, and by Rózmann's own admission, good is presented less than idealistically.Alternating between guttural, monstrous growls and timid, whimpering electronics, the evil archetype is by far the more forceful and commanding beast.
The second part, conceptually presenting various forms and matter, is much more restrained and atmospheric.Quick squeaks and blips of synth are paired with low register groans creaks.It is far more ambient and environmental in comparison to what preceded it, with sustained passages of sound setting more of a mood than the jerky, erratic snarls and whines from the previous segment.
Part III encompasses three and a half sides of vinyl and begins with what sounds like a tolling bell and far off, almost wolf like cries.While it not is intentionally presented as such, this third part works like a final battle between good and evil due to its extreme aggression and jarring sonic turns.Sputtering, almost percussive noises pummel and then retreat, leaving openness that is soon upset by metallic banging and violent banging.
At times the dissonant outbursts are reminiscent of Autechre's most abstract moments, but rather than becoming sustained, it just as quickly falls away to silence, or is upset by terrifying animalistic growls.Even more disturbing, these bestial noises sometimes are muted into an almost heavy breathing like sense of menace.Demonic shrieks and reverberating scrapes alternate with bleak, muted choir like moments, creating a sense of battle that ends, but intentionally does not come to a conclusion.
Trying to put this record into words is a difficult proposition.The concept of using generated, synthetic approximations of "evil" sounds almost cartoonish (ironically enough Rózmann has done sound effect work for animation), but it never comes off that way.In truth, it sounds truly terrifying and unsettling, and its intentionally loose and erratic composition style just exacerbates this even more and makes for one of the darkest, most frightening sounding releases in recent memory.
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