Since 2010's "Astral Unity", I've been waiting patiently for something new from Phelios, the man with the plan, that dark dismal delighter who crafts glittering 'scapes of sound and silence. "Gates of Atlantis" is the newest work of Martin Stürtzer, and as a 3 year followup to Astral Unity, it delivers on so many levels.
I. Gates of Atlantis
The opening track begins with a harp-like overlay and echoing synth hits. The atmosphere is one of grand majesty, not bleak horror or desparing miasmatic chaos. Compared to his earlier work, Phelios really has come a long way in the development of dynamic soundscapes, as the scene suddenly yet smoothly transitions to and from a more complex arrangement of heavy drums and other instrumentation. Also unlike certain tracks on the Passage album (2006), the length and development of the sound is fully matured here- it is aged to perfection and not a second more is given to decay or unneeded noise. I could easily see this track used as a cinematic score, it's that good. A terrific opening to Phelios' newest work.
II. Temple of Yith
The second track opens with a deeper ambiance which evokes a more brooding darkness. The sheer immensity of the soundscape gives a feeling of colossal magnificence, much like the alien temple in the movie Prometheus- old, yet somehow familiar. Even when the sound fades away, it soon fades back in with friends- accompanying synths and tones that lend more mystery to the enigma that is the Temple of Yith. Serpentine fluted columns echo with half heard pings of noise as the age old wind blows across the scarred face of an antediluvian ruin. This is the soundtrack to Lovecraft's finest works.
III. Spiritual Possession
Having already heard this track on the Malignant Website preview gadget, I was prepared for the content. That being said, I was not prepared for the quality. Soundcloud, for all it says, really does not do the CD quality justice. The slightest grains are gone in the perfection of quality that you hear on the CD, and I admit even now I am pondering if a vinyl release would "up the ante", so to speak, on this amazing album. The track itself takes the formula from track one and modifies it, adding more stops, changes, and aural mutations. The track is more lively than the others- the things beyond the veil of time are moving, eager for the age that was prophesized. The outro to the track even has it's own subtle rhythm, gone are the steady tonal outros of Phelios past!
IV. Hibernation
The fulcrum of the album, but by no means the climax, the fourth track starts off differently than the others we have journeyed through thus far. The instrumentation here is more disorderly- a primitive culture perhaps? I am reminded of the savages that so graced the not all together tolerant pages of Lovecraft, the skraelings and picts fleeing the fall of Atlantis. The sounds change ever so steadily, but not at all predictably. Make sure you listen to this track with the volume turned up, as there are half hidden sounds that echo just beyond our aural perception that a low volume would mask and hide.
V. New Stellar Age
The sound bridge to track five is slightly off, yet the opening is by no means changed for the worse by this fact. A more oceanic feel graces this track, a lens being laid over slight sounds to make them more grand and encompassing. For me, this is the beginning of the end of the album. The Old Ones are waking up- the stars are right in the heavens, but wrong in our eyes. The aquatic cities are rising from the deeps, and the buildup begins as it should. If there's one thing Phelios has improved upon greatly, it's the sense of magical majesty that music can give- many of these tracks impart a sense of great things occuring. Great, but awe inspiring, things.
VI. The Shadow out of Time
The longest track on the album turns out to not be all that long, at least by Ambient standards. But then again, this isn't really "Dark" ambient, is it? This is more of an ambience set to a theme of cosmic fear. Perhaps "Lovecraftian Ambience", like the work of Nox Arcana, would fit the bill, yet Gates of Atlantis is a much greater work than even that. This track epitomizes the feeling of the album: here are the churning waters that ripple with the movements of slimy tentacles, here are the heavy drums that pound away in Azathoth's ears, here are the primitive flute drums that tap in the half-glimpsed crevasses that surround all nightmares before anything was ever evil. The drums metamorphose with the other sounds on this track, and the entire feel is very developed through the foreshadowing of the previous five tracks. If the final track is the climax, this is the rising action, as it were. It is certainly an actionable track, and rising on a vertiable tidal wave of anticipation. What could be next? What has Phelios done that trumps this?
VII. Ascension
This is it. This is that scene in the film when the hero has reached the pinnacle of their journey- when Alexander has no more worlds left to conquer, and the Sorcerer no more magicks to cast. I talked about a sense of size and colossal magnitude before- this track towers over all else. The name is one of the most labels ever garnered to a track, as this truly is an ascension of sound from that which uplifts the soul to that which uplifts the mind. Don't get me wrong now, this isn't the happiest fare, but then again there is an air of the veils being lifted here. The grand discovery is being made. A brilliant climax to one of the greatest buildups ever, this track is malignantly massive and cinematically concise. Of course it's my favorite track on the album- this track makes the entire album worth it more times over than almost any other purchase. This is art, and it is hard to listen to it without getting a taste of the wonder which graces the soul of the artist who creates grand works such as this.
What more can be said? Phelios has created what I believe to be his masterpiece, and possibly his best work by far so far. If all Dark Ambient albums could be like this, I would be content. Fortunately, they are not- making this jewel of a release all the more special. Get it now before it's gone (like we shall be when the elder things below finally awake from their earthen tombs).
I. Gates of Atlantis
The opening track begins with a harp-like overlay and echoing synth hits. The atmosphere is one of grand majesty, not bleak horror or desparing miasmatic chaos. Compared to his earlier work, Phelios really has come a long way in the development of dynamic soundscapes, as the scene suddenly yet smoothly transitions to and from a more complex arrangement of heavy drums and other instrumentation. Also unlike certain tracks on the Passage album (2006), the length and development of the sound is fully matured here- it is aged to perfection and not a second more is given to decay or unneeded noise. I could easily see this track used as a cinematic score, it's that good. A terrific opening to Phelios' newest work.
II. Temple of Yith
The second track opens with a deeper ambiance which evokes a more brooding darkness. The sheer immensity of the soundscape gives a feeling of colossal magnificence, much like the alien temple in the movie Prometheus- old, yet somehow familiar. Even when the sound fades away, it soon fades back in with friends- accompanying synths and tones that lend more mystery to the enigma that is the Temple of Yith. Serpentine fluted columns echo with half heard pings of noise as the age old wind blows across the scarred face of an antediluvian ruin. This is the soundtrack to Lovecraft's finest works.
III. Spiritual Possession
Having already heard this track on the Malignant Website preview gadget, I was prepared for the content. That being said, I was not prepared for the quality. Soundcloud, for all it says, really does not do the CD quality justice. The slightest grains are gone in the perfection of quality that you hear on the CD, and I admit even now I am pondering if a vinyl release would "up the ante", so to speak, on this amazing album. The track itself takes the formula from track one and modifies it, adding more stops, changes, and aural mutations. The track is more lively than the others- the things beyond the veil of time are moving, eager for the age that was prophesized. The outro to the track even has it's own subtle rhythm, gone are the steady tonal outros of Phelios past!
IV. Hibernation
The fulcrum of the album, but by no means the climax, the fourth track starts off differently than the others we have journeyed through thus far. The instrumentation here is more disorderly- a primitive culture perhaps? I am reminded of the savages that so graced the not all together tolerant pages of Lovecraft, the skraelings and picts fleeing the fall of Atlantis. The sounds change ever so steadily, but not at all predictably. Make sure you listen to this track with the volume turned up, as there are half hidden sounds that echo just beyond our aural perception that a low volume would mask and hide.
V. New Stellar Age
The sound bridge to track five is slightly off, yet the opening is by no means changed for the worse by this fact. A more oceanic feel graces this track, a lens being laid over slight sounds to make them more grand and encompassing. For me, this is the beginning of the end of the album. The Old Ones are waking up- the stars are right in the heavens, but wrong in our eyes. The aquatic cities are rising from the deeps, and the buildup begins as it should. If there's one thing Phelios has improved upon greatly, it's the sense of magical majesty that music can give- many of these tracks impart a sense of great things occuring. Great, but awe inspiring, things.
VI. The Shadow out of Time
The longest track on the album turns out to not be all that long, at least by Ambient standards. But then again, this isn't really "Dark" ambient, is it? This is more of an ambience set to a theme of cosmic fear. Perhaps "Lovecraftian Ambience", like the work of Nox Arcana, would fit the bill, yet Gates of Atlantis is a much greater work than even that. This track epitomizes the feeling of the album: here are the churning waters that ripple with the movements of slimy tentacles, here are the heavy drums that pound away in Azathoth's ears, here are the primitive flute drums that tap in the half-glimpsed crevasses that surround all nightmares before anything was ever evil. The drums metamorphose with the other sounds on this track, and the entire feel is very developed through the foreshadowing of the previous five tracks. If the final track is the climax, this is the rising action, as it were. It is certainly an actionable track, and rising on a vertiable tidal wave of anticipation. What could be next? What has Phelios done that trumps this?
VII. Ascension
This is it. This is that scene in the film when the hero has reached the pinnacle of their journey- when Alexander has no more worlds left to conquer, and the Sorcerer no more magicks to cast. I talked about a sense of size and colossal magnitude before- this track towers over all else. The name is one of the most labels ever garnered to a track, as this truly is an ascension of sound from that which uplifts the soul to that which uplifts the mind. Don't get me wrong now, this isn't the happiest fare, but then again there is an air of the veils being lifted here. The grand discovery is being made. A brilliant climax to one of the greatest buildups ever, this track is malignantly massive and cinematically concise. Of course it's my favorite track on the album- this track makes the entire album worth it more times over than almost any other purchase. This is art, and it is hard to listen to it without getting a taste of the wonder which graces the soul of the artist who creates grand works such as this.
What more can be said? Phelios has created what I believe to be his masterpiece, and possibly his best work by far so far. If all Dark Ambient albums could be like this, I would be content. Fortunately, they are not- making this jewel of a release all the more special. Get it now before it's gone (like we shall be when the elder things below finally awake from their earthen tombs).
