The cyberpunk phenomenon won't be squashed, as another excellent example surfaces from Almark Thaolen, in a mind-expanding sojourn that he composed in 2013.
Crunching Matrices holds an amazing, audible impact that mirrors the works of William Gibson and the franchise they inspired: The Matrix. Crunching Matrices consists of seven, rotated parts, "crunched" from the initial movie, with sublime dialogue sampled straight from the source, in synch with the harmonic dossier of Don Davis, Graeme Revell, Rob D (et al), but with ample, original, drum/synth content (filtered by simultaneous DAWS & Renoise accompaniment), as only the talented Almark could concoct.
"The First Matrix" is the album's lengthiest segment (running a half hour). It forges a resurrected verve from the Matrix movies and even those science-fiction productions that came prior, where mad machines ran amok. The track's circuited scratching and intermittent beeping are catchy for this elongated excursion, forming a cut-up "run your ass off" modulation that's energized by a "little piece of advice" before it goes full-blown Neo-vs-Smith.
"The Second Matrix" continues the jiu-jitsu translation, using a "How did you know?" loop to generate its slap-happy earworms; and "The Third" is soldered to it and is, therefore, just as transmissible, but a wee more vibrational in its ascent, as it catapults one through an illuminating, parallel portal. The tapping computation is still tuneful, but from the palette, a cavernous responsibility waits, sown by an anxious, firearm loop that offers far "more than you can image."
"The Fourth" becomes more Morpheus-idyllic in its spoon-less, "back door" draw, rather like a lullaby in reverse, waking one to see what's beneath the sleight-of-hand surface. The track is mirthful in its percussive development, but it gets austere down the line, projecting a self-actualizing mission that (though daunting) mustn't be forsaken.
"The Fifth" & "The Sixth" submissions are led by telephone bells that ring a sweet, tug-of-war convolution to make Gil Gerard's Buck Rogers wanna get down and boogie. On the whole, "The Fifth" snaps like an electrocuted rubber band, underscored by a chilled, dripping succession, whereas "The Sixth" is a sheer, hot-footed prance, teeming with war-torn horns.
The seventh track, "Infinite Futures" epitomizes its label on every orchestral level. It's tenuous yet fierce at its contradictory outset, but then asks one to open the door, to see all the more, its pitch Faustian, though in the best, possible way. What lies outside is the truth. The finale's shuffling steps remind one (again) that "There is no spoon." One can only bend oneself to achieve eternal enlightenment.
That enlightenment (that cerebral ticket to unplug and be free to see) is only a copy-and-paste away:
https://synthoelectro.bandcamp.com/album/crunching-matrices-show-1252013?fbclid=IwZXh0bgNhZW0CMTAAAR1wS341F3t2JmTcfuI0gU0771aM6fsg_sCJy_2eQMEOiVzSYM9oWT2aFxU_aem_ZmFrZWR1bW15MTZieXRlcwv
And for further, revolutionary adulation, behold Almark's Matrix-crunched video at
https://www.youtube.com/watch?v=Nvih6ny9xTs
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