Minting a new collaborative project from Young Marco and John Moods, 'Into the Void' sets Moods' dreamy falsetto against Marco's elegant, hypnotic pulses and balmy new age-inspired soundscapes.
Amsterdam-based DJ and producer Young Marco (aka Marco Sterk) is best known for his cultishly popular psychedelic discoid variations, but eagle-eyed followers might have noticed his Music From Memory work with Gigi Masin and Jonny Nash as Gaussian Curve. Dead Sound follows a similar nostalgic thread, pairing muggy analog synthscapes, smooth acoustic guitar flutters and tender, trippy rhythmic spirals with Berlin-based pop auteur Moods' effervescent vocals. It's not Moods' first brush with Music From Memory - he showed up in 2022 with the AOR-inspired Zennmenn collaboration 'Hidden Gem'.
But 'Into The Void' isn't an attempt from the duo to capture a specific sound. Opener 'Pure Blue' sounds familiar - Moods' talkbox vocals are straight out of the early '80s soft rock playbook - but it's not a carbon copy of anything in particular. Sterk's rippling beats are masterfully restrained, and his faint synthwork never get lost in its own mythology. A better point of reference might be new age, and that influence blossoms as the album evolves; 'The Illusion' is a beatless ballad that veers closer to David Sylvian's mid-'80s run, and the title track loses Moods' voice in a saturated slop of overdriven drones and glassy pizzicato prangs.
On 'From The Perspective of a Stone', the duo harness the power of Harold Budd's ghostly piano trails, and they save their most colorful track for last, softening Giorgio Moroder's squelchy disco with 'A New Kind of Love'.
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Minting a new collaborative project from Young Marco and John Moods, 'Into the Void' sets Moods' dreamy falsetto against Marco's elegant, hypnotic pulses and balmy new age-inspired soundscapes.
Amsterdam-based DJ and producer Young Marco (aka Marco Sterk) is best known for his cultishly popular psychedelic discoid variations, but eagle-eyed followers might have noticed his Music From Memory work with Gigi Masin and Jonny Nash as Gaussian Curve. Dead Sound follows a similar nostalgic thread, pairing muggy analog synthscapes, smooth acoustic guitar flutters and tender, trippy rhythmic spirals with Berlin-based pop auteur Moods' effervescent vocals. It's not Moods' first brush with Music From Memory - he showed up in 2022 with the AOR-inspired Zennmenn collaboration 'Hidden Gem'.
But 'Into The Void' isn't an attempt from the duo to capture a specific sound. Opener 'Pure Blue' sounds familiar - Moods' talkbox vocals are straight out of the early '80s soft rock playbook - but it's not a carbon copy of anything in particular. Sterk's rippling beats are masterfully restrained, and his faint synthwork never get lost in its own mythology. A better point of reference might be new age, and that influence blossoms as the album evolves; 'The Illusion' is a beatless ballad that veers closer to David Sylvian's mid-'80s run, and the title track loses Moods' voice in a saturated slop of overdriven drones and glassy pizzicato prangs.
On 'From The Perspective of a Stone', the duo harness the power of Harold Budd's ghostly piano trails, and they save their most colorful track for last, softening Giorgio Moroder's squelchy disco with 'A New Kind of Love'.
Minting a new collaborative project from Young Marco and John Moods, 'Into the Void' sets Moods' dreamy falsetto against Marco's elegant, hypnotic pulses and balmy new age-inspired soundscapes.
Amsterdam-based DJ and producer Young Marco (aka Marco Sterk) is best known for his cultishly popular psychedelic discoid variations, but eagle-eyed followers might have noticed his Music From Memory work with Gigi Masin and Jonny Nash as Gaussian Curve. Dead Sound follows a similar nostalgic thread, pairing muggy analog synthscapes, smooth acoustic guitar flutters and tender, trippy rhythmic spirals with Berlin-based pop auteur Moods' effervescent vocals. It's not Moods' first brush with Music From Memory - he showed up in 2022 with the AOR-inspired Zennmenn collaboration 'Hidden Gem'.
But 'Into The Void' isn't an attempt from the duo to capture a specific sound. Opener 'Pure Blue' sounds familiar - Moods' talkbox vocals are straight out of the early '80s soft rock playbook - but it's not a carbon copy of anything in particular. Sterk's rippling beats are masterfully restrained, and his faint synthwork never get lost in its own mythology. A better point of reference might be new age, and that influence blossoms as the album evolves; 'The Illusion' is a beatless ballad that veers closer to David Sylvian's mid-'80s run, and the title track loses Moods' voice in a saturated slop of overdriven drones and glassy pizzicato prangs.
On 'From The Perspective of a Stone', the duo harness the power of Harold Budd's ghostly piano trails, and they save their most colorful track for last, softening Giorgio Moroder's squelchy disco with 'A New Kind of Love'.
Minting a new collaborative project from Young Marco and John Moods, 'Into the Void' sets Moods' dreamy falsetto against Marco's elegant, hypnotic pulses and balmy new age-inspired soundscapes.
Amsterdam-based DJ and producer Young Marco (aka Marco Sterk) is best known for his cultishly popular psychedelic discoid variations, but eagle-eyed followers might have noticed his Music From Memory work with Gigi Masin and Jonny Nash as Gaussian Curve. Dead Sound follows a similar nostalgic thread, pairing muggy analog synthscapes, smooth acoustic guitar flutters and tender, trippy rhythmic spirals with Berlin-based pop auteur Moods' effervescent vocals. It's not Moods' first brush with Music From Memory - he showed up in 2022 with the AOR-inspired Zennmenn collaboration 'Hidden Gem'.
But 'Into The Void' isn't an attempt from the duo to capture a specific sound. Opener 'Pure Blue' sounds familiar - Moods' talkbox vocals are straight out of the early '80s soft rock playbook - but it's not a carbon copy of anything in particular. Sterk's rippling beats are masterfully restrained, and his faint synthwork never get lost in its own mythology. A better point of reference might be new age, and that influence blossoms as the album evolves; 'The Illusion' is a beatless ballad that veers closer to David Sylvian's mid-'80s run, and the title track loses Moods' voice in a saturated slop of overdriven drones and glassy pizzicato prangs.
On 'From The Perspective of a Stone', the duo harness the power of Harold Budd's ghostly piano trails, and they save their most colorful track for last, softening Giorgio Moroder's squelchy disco with 'A New Kind of Love'.
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Minting a new collaborative project from Young Marco and John Moods, 'Into the Void' sets Moods' dreamy falsetto against Marco's elegant, hypnotic pulses and balmy new age-inspired soundscapes.
Amsterdam-based DJ and producer Young Marco (aka Marco Sterk) is best known for his cultishly popular psychedelic discoid variations, but eagle-eyed followers might have noticed his Music From Memory work with Gigi Masin and Jonny Nash as Gaussian Curve. Dead Sound follows a similar nostalgic thread, pairing muggy analog synthscapes, smooth acoustic guitar flutters and tender, trippy rhythmic spirals with Berlin-based pop auteur Moods' effervescent vocals. It's not Moods' first brush with Music From Memory - he showed up in 2022 with the AOR-inspired Zennmenn collaboration 'Hidden Gem'.
But 'Into The Void' isn't an attempt from the duo to capture a specific sound. Opener 'Pure Blue' sounds familiar - Moods' talkbox vocals are straight out of the early '80s soft rock playbook - but it's not a carbon copy of anything in particular. Sterk's rippling beats are masterfully restrained, and his faint synthwork never get lost in its own mythology. A better point of reference might be new age, and that influence blossoms as the album evolves; 'The Illusion' is a beatless ballad that veers closer to David Sylvian's mid-'80s run, and the title track loses Moods' voice in a saturated slop of overdriven drones and glassy pizzicato prangs.
On 'From The Perspective of a Stone', the duo harness the power of Harold Budd's ghostly piano trails, and they save their most colorful track for last, softening Giorgio Moroder's squelchy disco with 'A New Kind of Love'.