Life is a chaotic journey. Worlds fall apart. Histories rear their nasty heads around every corner. It's a never-ending, tumultuous world.
-Marcel "Akzron" Vitriant.
Yeah, Akzron is a really hard moniker for me to make. I love the project, but it's difficult to compose for. This was supposed to be the third album, but the other one is still in developmental hell. I actually think I improved here on this album.
Trapped in a Tumultuous World feels like the right step for Akzron in my opinion. It's loud, it's abrasive, it's chaotic, and in some places, it's downright terrifying. The opener, "Endless Changing Scenery", is brutally chaotic, with it's strange samplings from many of my other projects (I Remember 2006 and Rexton-Garnet Reels), mostly focusing on "The New World" by I Remember 2006, as well as sampling songs that are around a century old, to give off an even more off-putting vibe than "Against the World" did. All of said samples are used throughout out the album to give off this since of being trapped in a hellish dimension that you are desperately trying to escape from.
"No Way In, No Way Out" continues the album with one of the weirder songs. The haunting sampling of a century-gone recording echoes throughout the track, even up to the terrifying end. There's a section where there is a build-up sample that tears at what sense of normalcy is left in the song.
"Welcome to Wherever You Are" hits you with terrifying melodies and sounds that refuses to let up. The distorted effects tear at you, as an old-time sample is played at a dissonant melody. You get to hear something resembling "beautiful" for only a few seconds before it cuts out, only leaving you with a terrifying slowed down sample of drums and guitar. How did a song that started out with something sounding "happy" degrade into such a nightmare?
"Mapping a New Unfamiliar" is one of the strangest Akzron songs. Fronted by a old-time sample throughout the song, the track has a heavy emphasis on this drum pattern growing as time goes on. The song has several build-up, only for each build-up to grow weaker and weaker, until it can't handle it anymore and hits you with an immense wave of sound. It ends with a drum sample.
"A Different Definition Of" hits you with the weirdest sound on the album yet. It all feels out of tune and dissonant. The old-timey sample is used as the only semblance of normalcy in this evil, almost industrial rock, breakbeat track. The guitars here sound demented, with their low growling aspects. There is one of the most terrifying codas to an Akzron song here, with the samples not letting up, until all you hear are two old-time samples hitting you to close off the track.
The chaos of the album doesn't let up until you reach the sixth track, where you get a slow-grower that is the most somber Akzron song yet, being "Many Gateways Just for You". You hear the longer and old-timey samples playing the slowest yet throughout this cool-down that the album was begging for. It acts as a chance to regain you composure and sanity from this eldritch-like horror of an album This is the calmest (and saddest) Akzron song by far, which used to be "Worker's Nightmare".
Then "Leaving the World Where You Grew Up Behind" is Akzron's attempt at Vaporwave, and it is chilling. Using two songs on this album as its centerpiece, Marcel molds "Endless Changing Scenery" and the follow-up track, to form a haunting, yet beautiful eight-minute intro to the closer, that gives off James Leyland Kirby and m a l i b l u e : ( vibes.
The album comes to a close with one of the oddly happiest Akzron songs yet, despite it not starting out as such. "Where All Worlds Coexist (A New Home)" acts like the light at the end of this nightmarish tunnel. After traversing eldritch landscape for 37:20 minutes, you finally can see the end of the journey. Led by samples from "Silver Cell Letter (Kritorya's Perspective)" by Dimension 56, this chaotic, yet oddly beautiful song slowly fills you with hope, even up to the end, giving off the most positive ending to an Akzron song yet. However, to get there, you have to fight through the first section of the track that tries it's best to block you off. But once the piano hits, it's that final boost you need to escape this nightmare. It ends off with piano and guitar samples that finally give you a sense of serenity.
I'm really proud of what I managed to make with this album. It was taking months on top of months to finish. And all the weird samples here, bar, of course, the wax cylinder samples, were of stuff that Wilbur and I recorded together. I really think I made one of my best works here. I really love this album. I hope you do, too, and I hope that the wait worth it.
Rafe LaNore [or RonZak] is a multi-media artist, multi-instrumentalist, composer and producer that makes a wide span of
music. He delves into genres in the Electronic, Ambient, Folk, Rock, and Orchestra stages, with sub-genres like Vaporwave, Chiptune, Dark Ambient, Hauntology, Breakbeat, Progressive, Math. & more. He has other monikers like Toxins of Solitude, Dimension Log, Akzron, and Legs HQ....more
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