Conrad Schuman (Vocals / Guitar / Synth), Stefanie Ku (Synth / Backing Vocals) and Veli-Matti Matilla (Drums / Visual Programming), who form the – loosely based in San Francisco (USA) though originally from Taiwan, Finland and the USA – synthwave band Beautiful Machines are putting the final touches to the concept LP Singularity.
In advance of the album they release part one – Bastian – as a standalone single on the 12th.
Bastian is a dream-sequence of liquid electronica, melted synthesis and sublimating vocal, held in its gaseous formation by the rounded beat of a gravitational percussion forming an aural nebula as transfixing as though captured by the Hubble Space Telescope.
Beautiful Machines are a trio regularly to be found around the world in performance and on the basis of Bastian, Singularity, appears set fair to further enhance their reputation and audience reach.
The album is something of an anthology of patterns, rather than a linear narrative with each track of the eight on 40950 being of different source to one another. The range of concepts include ambient electronica, clunky-rock, synthesised-folk and many more.
Whilst all disparate in style, settling back for the roughly forty seven minutes journey is perhaps the best way to absorb the release as inside the themes there is a realism of the vagaries and diversities of life which the LP is able to distillate.
The penultimate song, 69600, with its dreamy Seine reflective being my pick of the release.
It was back in the 2015 that the Finnish electro-rock project Forwardman last featured.
A nine track LP is slated for release this year and the first track from the album – We Are – was revealed on the 1st.
A quite different sound emerges from the speakers with the electronica taking front stage allowing We Are a more luxurious generosity of texturing that fills the room in expansive frequencies which, like agitating foaming bubbles, resolve in to ever changing shapes of sonic weave in to which the audience fruitlessly stretches arms to embrace.
Freshly out of the blocks with the first song to have been released at the tail end of last year.
Take Me Away is carried through the room as though by pall-bearers on splintered stilts as the juxtaposition of angular minor piano chords is pivoted by dream sequencing of synthesised guitar whilst the morose vocal holds spotlight.
Rather than combining as a collision of conflicts there is an underlying adroitness which enables Max Starzeff to deliver a deep, dark pool in which the audience desires to dive and become subsumed.