Greek analog wizard June furthers his relationship with Artificial Dance on a 2nd album of narrative-driven dance music fantasias
A descendent of sorts to the great hairy legend Vangelis (R.I.P), the currently Berlin-based June also prizes his synths’ ability to conjure epic feelings and sci-fi cinematic sensations on ‘Window of Time’. Following the course of his preceding four albums since 2011’s ‘Cynthia’, the spectres of prog and big budget late ‘70s / early ‘80s sci-fi loom as large as his Italo and cosmic disco inspirations across these nine new cuts, which also make fine use of the album format’s broader canvas for expression.
It plays out like a library adjunct to Vangelis, with perhaps a trace of inspiration from Carpenter’s more furtive rhythmic impulses, guiding the set from the asteroid field turbulence of his title track to humid, stalking scenes in ‘Predator’ and mission-on mode sci-fi in ‘Year 2092’, stoking feelings of awe in ‘Cosmos’ and more romantic feels in its ‘Altar (Interlude)’ sections, with a silvery bullet of pendulous electro in ‘The Master of Electricity’ pointing the way to a heroic finale of choral motifs in ‘Elegy’.
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Greek analog wizard June furthers his relationship with Artificial Dance on a 2nd album of narrative-driven dance music fantasias
A descendent of sorts to the great hairy legend Vangelis (R.I.P), the currently Berlin-based June also prizes his synths’ ability to conjure epic feelings and sci-fi cinematic sensations on ‘Window of Time’. Following the course of his preceding four albums since 2011’s ‘Cynthia’, the spectres of prog and big budget late ‘70s / early ‘80s sci-fi loom as large as his Italo and cosmic disco inspirations across these nine new cuts, which also make fine use of the album format’s broader canvas for expression.
It plays out like a library adjunct to Vangelis, with perhaps a trace of inspiration from Carpenter’s more furtive rhythmic impulses, guiding the set from the asteroid field turbulence of his title track to humid, stalking scenes in ‘Predator’ and mission-on mode sci-fi in ‘Year 2092’, stoking feelings of awe in ‘Cosmos’ and more romantic feels in its ‘Altar (Interlude)’ sections, with a silvery bullet of pendulous electro in ‘The Master of Electricity’ pointing the way to a heroic finale of choral motifs in ‘Elegy’.
Greek analog wizard June furthers his relationship with Artificial Dance on a 2nd album of narrative-driven dance music fantasias
A descendent of sorts to the great hairy legend Vangelis (R.I.P), the currently Berlin-based June also prizes his synths’ ability to conjure epic feelings and sci-fi cinematic sensations on ‘Window of Time’. Following the course of his preceding four albums since 2011’s ‘Cynthia’, the spectres of prog and big budget late ‘70s / early ‘80s sci-fi loom as large as his Italo and cosmic disco inspirations across these nine new cuts, which also make fine use of the album format’s broader canvas for expression.
It plays out like a library adjunct to Vangelis, with perhaps a trace of inspiration from Carpenter’s more furtive rhythmic impulses, guiding the set from the asteroid field turbulence of his title track to humid, stalking scenes in ‘Predator’ and mission-on mode sci-fi in ‘Year 2092’, stoking feelings of awe in ‘Cosmos’ and more romantic feels in its ‘Altar (Interlude)’ sections, with a silvery bullet of pendulous electro in ‘The Master of Electricity’ pointing the way to a heroic finale of choral motifs in ‘Elegy’.
Greek analog wizard June furthers his relationship with Artificial Dance on a 2nd album of narrative-driven dance music fantasias
A descendent of sorts to the great hairy legend Vangelis (R.I.P), the currently Berlin-based June also prizes his synths’ ability to conjure epic feelings and sci-fi cinematic sensations on ‘Window of Time’. Following the course of his preceding four albums since 2011’s ‘Cynthia’, the spectres of prog and big budget late ‘70s / early ‘80s sci-fi loom as large as his Italo and cosmic disco inspirations across these nine new cuts, which also make fine use of the album format’s broader canvas for expression.
It plays out like a library adjunct to Vangelis, with perhaps a trace of inspiration from Carpenter’s more furtive rhythmic impulses, guiding the set from the asteroid field turbulence of his title track to humid, stalking scenes in ‘Predator’ and mission-on mode sci-fi in ‘Year 2092’, stoking feelings of awe in ‘Cosmos’ and more romantic feels in its ‘Altar (Interlude)’ sections, with a silvery bullet of pendulous electro in ‘The Master of Electricity’ pointing the way to a heroic finale of choral motifs in ‘Elegy’.