Yggdrasounds II is, like the name suggests, the second establishment of Yggdrasil Records. It has some artists that featured on the 1st release and some brand new.
But let us see what music “sounds” were brought to us:
The opening track Bikini Lagune (T1) by Konkylie is a smooth track with several interesting sounds. I like it because it keeps a mature and steady composition, and some electric leads that are in the right tone. The background sonorities go around in spirals making it a little bit twisty. Some breaks in the middle of the music make it more dynamic, but honestly I prefer the opening minutes of the tune, where it keeps a smoother and deeper mood to my tastes. This project is composed by Loke (Kim Svendson) and Kanka (Frank Otterson).
Expand Horizon (T2) is the work of Loke, who had already contributed in the opening tune. This track revolves in a different mood than it´s predecessor, mainly because of the “huge bank” of abstract sounds, and of course to higher notes on line of bass, that confer an “opening stroke” on the music. This tune is rich in terms of used sounds and it is much diversified, but it keeps a regular trance structure, due to the fact that it doesn´t present to much brakes, or anything that may break the overall flow.
Helan & Halven bring a disturbed tune with Gnomen (T3). It starts with some weird piano notes, mixed with some twisted sounds on the background. This track evolves in an abstract line of sound, touching hypnotic realms; also it has somehow a dry feeling; I’m not sure if this was the intention of the producers, but in certain parts of the music it seems it lacks something, nevertheless, this may as well give you room to have some moments to think during the track, and not be overwhelmed by so many sounds. One thing that I have noticed also, is that this track seems to be “contained” maybe because of mastering, it doesn´t have a clean approach, or maybe it can be my ears. The composers of this tune are Alf Olsen (Krussedull) and Frank Otterson (Kanka).
Krussedull starts WhiskeyJack (T4) with some acidic rain, and some bubbling effects. One thing that you observe in this forest track is the bass line: it seems a razor blade, and in a way, contrasts with the presented leads, that are sublime and smooth. Some bell sounds are also on the moisture with certain sounds that remind me a mad scientist on his lab. The sounds from the leads come in waves of vagueness, wandering, not in a rush but in a calm way.
Indianer (T5) from Hutti Heita kicks off with some aboriginal, tribal samples and some drums too create the “mood” – in fact this type of percussive elements will be a constant…this is the relaxing tune of the compilation…like a slow beat track, but this is the created effect of the percussive elements, cause this tune goes on a BPM of 150.
Next we have Purosurpo with More To It (Version 2) (T6). To speak of this project is to make reference to half a member of Derango project. This is my favourite track of the compilation, it has it all: nice tricks of the percussion, wicked leads, and twisted lines, great dynamic out of this world with spacey guidance, metallic resonances, acidic echoes and overall atmosphere. Of course you can feel the Derango trademark in here, but this one will blow you away. Favourite.
Now we enter into Troglodytes territory with No Isolated Archetypes (T7). This track enters in wicked and trashing atmospheres, and the kick and bass are reflection of that: razing and furious all the way. Personally I’m not much of a fan of this sonorities these days, but if you are a night lurk and like it hard beats and fast, this is for you, and besides the sharpened and grind sonorities are a good addition to the track.
Freeform Syndicate, is the project of Frode Mathiassen, one of the members of Helen & Halven, and Kim Svendson from Loke project. Roar Like Thunder (T8) is a deep night track, and although it has a strong presence on the kick and bass, the used leads, are long and vague, but very distorted material, so resuming this tune has a contrast in it´s composition: on one side it is very lively, on the other hand it is slow and weirdo. There is a moment in the track where the percussion fades away, and you are left alone with the leads, and in this moment we can see the true nature of the leads.
And we reach our final track, Kanka with Supreme Being (T9). This one goes to the mood of the first track of the compilation, it returns to deep and smooth sounds, mixed with some great leads on the background. The BPM counter is fast; in fact it is the fastest tune with 153 marking the speed. It is composed with water sounds effects, some buzzing distorted, and some electrifying leads, but nothing to outstanding our to lousy; and you can hear several distinct moments where the tune morphs in an instance into other sounds. This one without to much ups and downs or crazy build ups is able to create an involving atmosphere that, at least for me, left me glued from beginning to end of the tune. Favourite.
The mastering of the CD was made by Tim Schuldt at 4CN studios.
The artwork was made by Are Marmalade and with the contribution of Anders Schmoody on the photo. |
