![]() ![]() Zoom, notorious for a 2013 viral video featuring him literally popping his eyes out of their sockets (a condition known as proptosis) in time to Daft Punk.ĭaft Punk is certainly an inspirational touchstone for Magic Sword, although Magic Sword don’t completely share Daft Punk’s booty-shaking beat fetish. For a promo video in 2014, a hyperbolic screed aligned with Magic Sword’s comic book plotlines was delivered by Britain’s John Doyle, aka Mr. Magic Sword’s strategy is similar, and no less fun. Gwar has long disguised their marketing degrees behind alien costumes Nation of Ulysses entertainingly remained in political character during interviews. In performance, they remain masked and cloaked. Those pseudonyms are all that’s easily known about Magic Sword’s personnel. Enlisting Boise, Idaho based artist Shay Plummer, Magic Sword’s mythology lands with intriguing comic book installments, in which a ‘magic sword’ figures prominently and plotlines feature band member slash characters like the Keeper of the Magic Sword, the Seer of All Truths, and The Weaver of all Hearts and Souls. They’re also a full experience – a 360 degree roundhouse of live spectacle, fictional identities, and illustrated accompaniment on the page. For one thing, they’re uniformly vocals-free. Magic Sword may have materialized momentarily to witness synthmetal’s earliest incarnation, but they aren’t content to only update with touches of Kavinsky -esque synthesizer and modern-pedal guitar shred. ” Or, if you professionally crate dig: Neal Schon and Jan Hammer’s “Untold Passion ” album. ” Ronnie James Dio’s “ Rainbow in the Dark. To wit: The soundtrack for the film “ Heavy Metal. Around 1981, synthwave and pop-metal had a one-night-stand. As previously discussed, it’s been both strange and rewarding to see the rise once again of the kind of active instrumental synth rock that used to wash over the landscape in the wake of Tangerine Dream.Let’s take a trip. Much of the artists creating it labored in near-obscurity for years before the axis shifted their way once again, including S U R V I V E. The quartet has toiled away in the shadows of Austin’s music scene since 2008 before suddenly being thrust into the spotlight when two of its members provided the soundtrack to the Netflix hit Stranger Things. While well-deserved, the success of that series has overshadowed the band’s big-league recording debut RR7349. The group’s second album flows like the score to an obscure 80s science fiction flick, the kind that thrived on VHS and is remembered more for the music than the visuals. The creamy “Dirt,” the hazy “Sorcerer” and the pulsing “Wardenclyffe” utilize gorgeous electronic tones and enigmatic atmospheres that encourage you to make up your own bizarre 80s filmic artifact. RR7349 deserves to be spun as often as Stranger Things. Zombi has been at the forefront of the synthwave revival for years, and, as with S U R V I V E, one of its members has a side gig as a soundtrack composer. The Mind’s Eye is Steve Moore’s latest (though the film came out in 2015), following Cub earlier this year. As such, it’s much harder to divorce from the visuals it’s meant to accompany than his work with Zombi. That’s not to say he’s not a master of texture and movement – a tune like “The Shot” brings on the perfect atmosphere for the horror flick it supports, with just enough energy to keep from being wallpaper but not enough to distract from the action. Most of the pieces are under two minutes, so they die before they get old, though the closing “End Credits,” which encapsulates most of the ideas Moore put into the soundtrack, is a significant exception. Though not as compelling as Moore’s work with his main band, The Mind’s Eye still catches the ear. Mysterious ensemble Magic Sword also produces a soundtrack with Legend EP, the group’s second release. But it’s for a comic, instead of a film, one revolving around a strange, powerful weapon and the Keeper charged with guarding it. Fortunately, having the pages turn in front of you isn’t necessary to enjoy the sounds of these three tracks. A steady electro-pulse and buzzing bass tones keep the rhythms percolating as synths and guitars exchange melodies with dramatic flourishes. ![]() On paper it sounds like progressive rock, and there is some of that ambience, though the sonics favor early videogame music just as much.
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