Terminus Void´s impressive “Origins Unknown” prompted me to investigate his debut “Interstellar”, a recording released during the Covid pandemic. From the first notes, it’s clear this emotionally charged album is another winner and therefore wholeheartedly recommended to any deep space music aficionado.
Smooth textures and melancholic CS-80 pads on the opening title track invite us to enter the grand cosmic expanse. The tracks thereafter assist to travel vast distances into the great beyond and reach out to its farthest fringes. CS-80 sounds surface prominently as smooth soundscape tapestries and ethereal chord progressions unfold, a great ensemble to detach completely from worldly affairs. “Beyond Static Tolerance” proves a tad more active with a light sequence pattern running next to drony as well as lush textures plus some NASA communication chatter.
The 11-minute “Darker”, the longest piece on “Interstellar”, deepens the drifting aural atmosphere once more while recalling Vangelis’s “Blade Runner” as well as parts of “Heaven and Hell’s” “So long ago, so clear”. “Nothing in the Way” starts out almost joyful while the surrounding soundscapes move in circular, minimalist patterns, although I’m not a fan of the brief deep voice narration showing up halfway. The journey comes to an end with the gracious “Lost in Time”, its ethereal aural colors allowing us to find our way back from cosmic exploration. “Distant World -Epilog mix” is nice -slightly extended- a reprise of the second track, offering a few more moments in the outdoors before J. Ronald Smith allows us to touch the firm ground again.
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