The initial music of “Hypoxia” was created over the course of the first wave of the COVID-19 pandemic as the composer’s way to process isolation, loneliness as well as channel lots of profound, negative emotions and thoughts upon him during that time.
Well, the expansive, textural waves and atmospheres Canadian Mike Carss sketches out during the 62-minute recording prove particularly tense, dark, and occasionally even haunting, gothic. The latter certainly applies when some heavy, unexpected stark sequencing kicks in briefly like on the second track. Aside from that slices of melody are heard on the faintly sequenced “Foreign Visitors” while stark intense spheres gather darkness on “Metal Fatigue”. This said, it’s like the weight of another world is presenting itself throughout the full release, a still point while in search of some kind of peace of mind, a slice of hope. Ghostly, mysterious soundscapes keep rolling in on and off on the second half of “Hypoxia”, turning into a haunted aural cinema on “False Light”. The broadening “Void’s Landing” (Eulogy), the final track, seems to air one has come to terms with the situation more or less though the loss is still felt profoundly.
All in all, “Hypoxia’s” deep, heavy and mysterious journey (in Mike’s words a story that had to be told) is not suitable for the faint of heart, offering various insights and farscapes across the view as it unfolds.
You can see what reviews I have done of this artist on the Altus artist page
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