 |
|
Délire, "Diaspora"
Synaesthesia
What starts off as a seemingly random collection of noise gels into anamazing conglomerate of unique sounds and atmospheres. Each unnamedtrack seems to have a consistent theme running beneath the random bellsand whistles that holds everything together. If it weren't for thiskind of consistency, Diasporawould sound totally random and become too difficult to focus on. Partof what makes a record of sounds and noises successful is the qualityof the sounds themselves: those used must be interesting and compellingor brutal and confrontational. Diaspora succeeds on this levelby employing some unusual sounds and effects. Futuristic computers, rayguns, drones of impending doom, aquatic fans, solar explosions, andalien bells are all peppered over the duration of the album. In someinstances, like the sixth and ninth tracks, these sounds are arrangedin an intriguing way, as the tracks are both heavily atmosphericglimpses into a world of nuclear winter and heavy-metal killingmachines. I find myself returning to particular songs and then becomingextremely engaged in everything that follows. As I listen to the firstfew tracks now, I realize that I am really attracted to almost everysound used. Hints of melody and coherency do emerge here and there andthe short duration of every song helps things move along nicely. Délirehas molded an album of eleven distinct tracks that belong together.Though the songs are indexed, Diaspora sounds like one longarrangement broken down into its elements. The videos included are abit less interesting than the album itself. The sounds I hear justdon't fit together with the videos in any way and it ends up makingboth the video and the music just a bit monotonous. I think of Diasporaas a collection of interesting sounds more than anything. There'snothing particularly amazing about the arrangements nor the album ingeneral, but the sounds are just so captivating that I keep wanting togo back for more.
What starts off as a seemingly random collection of noise gels into anamazing conglomerate of unique sounds and atmospheres. Each unnamedtrack seems to have a consistent theme running beneath the random bellsand whistles that holds everything together. If it weren't for thiskind of consistency, Diasporawould sound totally random and become too difficult to focus on. Partof what makes a record of sounds and noises successful is the qualityof the sounds themselves: those used must be interesting and compellingor brutal and confrontational. Diaspora succeeds on this levelby employing some unusual sounds and effects. Futuristic computers, rayguns, drones of impending doom, aquatic fans, solar explosions, andalien bells are all peppered over the duration of the album. In someinstances, like the sixth and ninth tracks, these sounds are arrangedin an intriguing way, as the tracks are both heavily atmosphericglimpses into a world of nuclear winter and heavy-metal killingmachines. I find myself returning to particular songs and then becomingextremely engaged in everything that follows. As I listen to the firstfew tracks now, I realize that I am really attracted to almost everysound used. Hints of melody and coherency do emerge here and there andthe short duration of every song helps things move along nicely. Délirehas molded an album of eleven distinct tracks that belong together.Though the songs are indexed, Diaspora sounds like one longarrangement broken down into its elements. The videos included are abit less interesting than the album itself. The sounds I hear justdon't fit together with the videos in any way and it ends up makingboth the video and the music just a bit monotonous. I think of Diasporaas a collection of interesting sounds more than anything. There'snothing particularly amazing about the arrangements nor the album ingeneral, but the sounds are just so captivating that I keep wanting togo back for more.
