Happy November, folks!
This month, Spaceman Fantastiques is back with yet another gorgeously articulated record, scoring his life from the previous month, entitled ‘October (2018)’. Combining a mixture of well mixed sound textures with smartly composed arrangements, this record took me on an adventure that was left waiting to be continued from his last release.
One thing I deeply admire about Spaceman Fantastiques, and a couple reasons I review his work so much, is because I not only love it, but there is also a never ending stream of real creativity that spews out of every variety of instruments used for each album. A multi-instrumentalist, Spaceman Fantastiques uses each acoustic texture or synthesizer to new brinks of limitations, combining that art with both storytelling and beautiful, listenable music. This record, and his previous, have been so easy for me to write about because they’ve been so relatable.
The record starts off with what is my favorite track ever written by this artist. ‘the future is oh so out of luck’ slowly glides us through the process of change: It combines mastery of synthesis with mixing techniques while showing a range of intense, ever changing emotions that provide an insight into how artists need to let their thoughts flow into their work to process situations. I really think that anyone who digs electroacoustic work to synthesizers to movie scores would fall in love with this one.
A sweet take on FM synthesis pairs unexpectedly into a duet with percussion, which had me pleasantly surprised. This was awesome to listen to. I missed Spaceman Fantastiques sound: Everything is the perfect score for a Harvest Moon game that hasn’t been released yet. I fell in love with the delayed synthesizer at the end; it reminded me of a Yamaha CS 15 and the patch beautifully paired with the melodic bells.
Here comes the head nodder. To me, this track was perfectly written: It’s so odd and eerie, and while the composition sounded intentional and avant garde to me, the liner notes read ‘sorry my cat ran across the keyboard’. The entire time I listened, I was trying to figure out what sample vocals are from (Bustamove 64?) I’m obsessed. This track is weird and awesome, and still stays true to Spaceman’s compositional techniques.
I’m a fan of anything gritty, and, holy crap, was this track on loop the first time I listened to it. I loved the sense of control over the synths, the heaviness of the kick, the softness of the melody, and the pads creating space. One aspect of Spaceman’s compositional techniques that I love is his sense of layering and revisiting melodies later on: I love a melody that can hold its own, and I love the hip-hop technique of looping, adding, and changing vibes based on surrounding textures. Even though the track is obviously not hip hop, this is something that I think would appeal to beat makers. I was obsessed with the ending (in my opinion, delays make everything better).
I loved that the album was so short because the storyline was told with limitations, but I also, selfishly, wish that it was longer! It is always such a thrill to check out work written by Spaceman Fantastiques and I’m always so honored to write about his releases. I eagerly wait for the next release, and hope to hear something soon!
Until next time,
The Unicorn Princess