Austrian studio project Trylok has been active since 1996. On this, their 7th album, members Mind (electronics), Energy (percussion), and Strategy (vocals) have produced, well, a techno album.
Mysterious Girl - Here we have a flanged sawtooth synth techno-style windup with some choral synths, then onward into the vox. The vocals are deep, with heavy Austrian accents and rather blocky cadences (not unlike Laibach), underlaid by a KMFDM-type bouncy beat. This track has a rather orchestral feel to it.
Silence - A synth riff and some more choral synths start this one out, although in a more subdued manner than the first track. Silence features a fast, quiet breakbeat, with a sinister synth bassline. The beat eventually gets louder, then come the multiple half-chanting vox reminiscent of Yello, although of questionable quality. The occasional slightly medieval sounding high synth provides variety when the vox aren't chanting. These fellows seem the type who'd be comfortable in either rubber T-shirts or 3 piece suits.
Resurrection - Fast, downbeat synths abound here, with a high speed beat, and Strategy trying to sound like James Hetfield. Scary. It's followed by a bit of general fast synth weirdness, then back to the standard rather pompous vocals. I think this one was supposed to be a mite melancholy, but it's just too bloody bouncy and has too many silly, incongruous synth lines. There are a lot of really long tracks on this album, and this is one of them.
Radioactivity (Tribute to Kraftwerk) - Very much so; it's a cover that's barely distinguishable from the original, other than the addition of some string synths and slightly varying the melody once in a while.
World of Sounds IV - This one's a fast synth riff over a bass wash, with lots of random synth noodling. It's very much an electronic orchestral composition. Trylok seem to be considerably more light-side than is usual for Legends. This track rather reminds me of Philip Glass and Tangerine Dream.
Floating - Warped vocal samples open this one out, with a bit of squarewave synth, a slow techno beat, and a heavy bassline. This is definitely a bass driven track. Halfway through the track, a sawtooth synth line becomes prominent. Late in the track there are some synth drums and a couple of sucking sounds. It then adds a squarewave riff. Choral synths come in and out in the later part of the piece.
Extemporize - Some odd squiggly synth hits lead Extemporize off. This is a quieter track, albeit still fast. Complex synth riffs are the rule here, with some occasional flanging.
Burning in Hell (Remix by Dark Illumination) - Starts off with a hearbeat beat and a feedback squeal, followed by some snare rolls. Very fast beat on this one. The beat gets progressively more complex. Eventually a bit of heavily vocoded vocals is added. Then the beat fades out completely for a bit, other than the snare rolls, and the gap is filled by odd synth effects. In a bit the beat comes back full strength, accompanied by some of the squiggly synths and vocoded vox. Later in the track the vocals cease to be vocoded for a while.
Shame (Remix by Forma Tadre) - Blatantly odd electronics start this one out, followed by a fast beat and some sawtooth bass synthesizers. There's a periodic overlay of echoing squarewaves and some fragmentary vocal samples. Shortly, some orchestral strings and assorted auditory weirdness are added. Later in the track, the vocals become understandable for a period, as the beat and synths drop out. This continues for a while, then the whole hog comes back.
Torment (Remix by New Mind) - This one is a fast, slightly wistful sounding techno track with pulsing bass and high melodic riff. It actually adds guitar here, and so seems a bit harder than the rest. Unlike the last few tracks, it's back to the blocky vocals.
Waves (Remix by anstalt) - Starts out with a bit of very low bass synths. Very low, slightly fuzzed vocals. Then goes into unremarkable techno. This wouldn't be so bad, except that it's over 7 minutes long.
Shame (Remix by d.k.) - This is more or less the same thing as the previous version, although the vocals are understandable all the way though, and the beat is a bit less pervasive.
Subconscious (Remix by Sabotage) - Low, sludgy synths start this one out, followed by an extremely fast synth riff over a really slow beat. The beat eventually speeds up to match the synths, which sound vaguely like a cross between a record scratch and a disgruntled seagull. There follows a breakdown with fast synths of various types over a bass synth riff and a low beat. Then the beat comes back, and the whole thing gets rather like the Airwolf theme for a bit. This is followed by clanking noises and various synths, then some trickling noises. More fast techno ensues. This is an extraordinarily long track, which ends rather abruptly.
While overall, this is a pretty good EBM album, the vocals make it a little weird at first. One gets used to them, though. I'd have to call this B grade DJ material, although it might go over quite well in some places.
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