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| So Called Hell, 2020 |
"How fair are the bright eyes in the grass!
Evermind they are called, simbelmynë in this land of Men,
for they blossom in all the seasons of the year, and grow where dead men rest."
It is heartwarming for a new name to already be this adventurous and mature in its musical abilities. While never losing a dark and mysterious character, Uilos dances through a broad spectrum of nightly vista’s, ranging from the hopeful shimmerings of early dawn to the brooding clenches of a pitch-dark night sky. The fast amount of instruments never emerge at the same time but are carefully placed throughout the album, giving them the ability to surprise both first and long-time listeners. One example of this would be how, occasionally, an electric guitar gently cuts through Uilos’ synthscapes, grasping one’s attention, only to be swallowed back in by layers of newly emerging instruments. Like the ocean, Dark Night Of The Soul can be both gentle and overwhelming, as it grants the listener an environment in which it can either float or drown.
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| Uilos |
Uilos builds upon its stellar music through a production that is both conveniently familiar and refreshingly experimental. Its creative use of panning makes the album creep and drift through your room; never remaining in its originating spot, making it feel organic, pulsating, and thus very much alive. By combining sonic textures that remind me of 1970’s Berlin School with contemporary Dungeon Synth-esque melodies, Uilos balances between the old and the new. The result can be described as a stew of Tangerine Dream and Old Sorcery, with a slight hint of Boards of Canada; and man, does it taste wonderful.
TL;DR: A strong contender to become one of this year's most astounding Dungeon Synth efforts.
