ALPHA WAVE MOVEMENT: Horizons (DDL on Harmonic Resonance )
This release from 2014 offers 39 minutes of lively electronic music.
Alpha Wave Movement is Gregory Kyryluk.
This time, AWM's music explores realms beyond ambience with electronic tuneage that fairly bristles with bounce and vitality.
The electronics are versatile, ranging from ethereal background textures to lush keyboard riffs and additional electronic effects. The tones are rich and pulsating with invigorating verve. Squealing diodes and heavenly chorales augment an already diverse panorama of crystalline sound. Many of the sounds possess a sense of wonder bordering on the majestic.
A high percentage of the melodies are governed and perpetuated by keyboards. Nimble fingers produce sweeping riffs that soar and cavort. Each subsequent layer thickens the mix, crafting melodies of delightful complexity.
A degree of percussion is employed to bestow extra locomotion to these songs. There's even some traditional bass lurking in a few pieces.
These compositions seethe with lively character. Their pleasant nature is further enhanced by their adept presentation. An astral flavor is discernible, boosting the listener from their mortal realm and lifting them to vertiginous altitudes, where airy passages rule and are seasoned by auxiliary touches of grandeur. Many of the tracks exhibit an alluring agility.
Thoroughly enjoyable.
OPEN CANVAS: Relics of the Sun (DDL on Harmonic Resonance)
This release from 2014 features 48 minutes of diverse electronic music, this time consisting of rare tracks, demos and remixes from the Nineties.
Open Canvas is Gregory Kyryluk.
There's a diversity among these tracks; some are urgent electronic compositions, others explore more sedate temperaments, while a few delve into experiments with throat singing and other vocal effects, there's even one quasi-techno track.
The electronics vary, depending on the song's mood. Things are quite atmospheric in soft tunes, while the sonic tapestry expands to lively pulsations with more substantial offerings. The moody pieces are characterized by pensive oscillations. The animated songs glitter with sparkling resonance.
The vocal effects run the gamut from ethereal throat-singing to chants to celestial chorales, all of these modes evoking antediluvian vistas.
Percussion is employed in many of the tunes, from dreamy chimes to demonstrative e-perc to bopping bongos. The rhythms prove to be nicely intricate, injecting just the proper degree of propulsion to the melodies.
With the diversity of modes presented, these compositions cannot be easily classified or described under a single banner. The shorter experiments with ambient vocal effects are pensive and evocative of ancient rituals. This adherence to ceremony is present in other pieces, though, where the rhythms establish a primitive character that is then counter-balanced by thoroughly modern keyboards. The enchanting duality of this music merits singular attention.
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