SeYSMIC’s “Resurrection” receives a Darksynth album review.

Karl has been working as a freelance writer for more than ten years. He’s a music, art, and writing aficionado!

First Impressions

Resurrection by SeYSMIC is a dark, brooding horror film of an album, drenched in shadow, steeped in intricate guitar, and tinged with classical influences. The music has a strong sense of imagery, and the album tells a terrifying story through sound. The album contrasts and complements the other musical elements with well-played guitar, surging drums, deep bass, and synths.

The muscality is high, but it always serves the overall feel of the tracks rather than being showy for the sake of being showy. Resurrection has a rich, detailed, and intricate level of play, as well as churning power and surging darkness, which adds to the game’s power and danger. The guitar work on the album is, in my opinion, the most outstanding aspect of it.

The classical music influence is another aspect of Resurrection that I enjoy. There are classical arpeggios, the sound of a harpsichord, and moments that remind me of organ compositions, as well as sections that have the distinct feel of an orchestral string section. The contrast between these sounds and the album’s harder, more aggressive elements adds to the intensity.

On Resurrection, the use of a wide variety of synth sounds aids in the creation of imagery and the telling of the story. The interplay of the various synth parts is complex, and it creates strong sonic images for me. They’re layered and intertwined, producing piercing sounds as well as moments of starry gentleness.

The beginning

“Anastasis” begins with a synth growl that is constantly oscillating, ferocious, and sharp-edged. As it crashes into the track, I’m drawn to the wild, aggressive sound. As the music builds to a crescendo, the kick drum thuds and a surging, slashing synth cuts into it.

The music has a tidal energy to it as the big drum beat keeps going. As the track accelerates in a hard charge, a high, chiming synth carries a minor key, melancholy melody.

Before the mad, expressive voice of the guitar leaps in wild abandon, a segment with quick shiny arpeggios that flit around comes in. Now the electric guitar screams and shreds over the attacking power beneath it, flying and cascading in intricate notes. On this track, all of the musical elements explode in a whirlwind of energy and ferocity.

With harsh sonic pulses slicing in underneath and massive drums pounding, the synth oscillates and vaults rapidly. “Venice” begins with a hard-hitting, reverberating bass pulse and rapidly spinning arpeggios carried on a broad-sounding, lambent, and organ-like synth. The sound of the arcing arpeggios has a strong classical music influence, which I like.

That Theremin sound here has a special place in my heart. The guitar’s rich, full, slightly edgy tone sends swiftly flying arpeggios swooping across the track, while a Theremin’s eerie voice carries an ethereal and ghostly melodic line. As the percussion’s heartbeat continues to move through the music, the sharp-edged bass synth lacerates the music.

“Gloom” begins with elevated notes with crystalline edges that float through a gentle synth sound with a twist of minor key darkness in the background. Underneath the wandering, delicate, and caressing melody, a heavy, strong bass pulse and the surge of huge drums roil. I like how well the contrast in this track works.

The growling, deep underpinning’s huge shadowy power lends weight and “gloom” to the proceedings. In concert with the harsh well of gritty sounds below, Billy Mays Band’s guitar solo cries out in an arcing, howling voice that has tremendous power. As achingly bright arpeggios revolve like galaxies, an uplifted, yearning pattern of shimmering synths slowly revolves over the much darker and more powerful feelings beneath it.

A steady, deep pulse of shadowy bass pulsates through the music, accompanied by sparkles of high synth. A steady, slow drumbeat throbs, accompanied by a medium low sound that twists with a threatening feel, giving the music a sense of looming danger. To begin “6114 California Street,” full, dramatic synth pulses with an aching feeling drift into the wide open background in a minor key drift.

Before fading into silence, layered sounds continue to flow, feeling ghostly and threatening. As the unrelenting beat and bass continue to drive on, the slow, menacing beat moves along with the drifting, eerie Theremin and climbing organ notes. An arpeggio with a worried tone winds around the other musical elements in descending patterns.

Undulating arpeggios are interspersed with a static-edged synth flow and a deep steady bass throb in “Lovers at the Killer Hotel.” As the big, heavy beat pulsates and meaty slabs of guitar call out powerfully, the electric guitar cuts in.

As the guitar and synths double each other in a slicing line, dark energy surges and drums slam into the track. The guitar melody has some bluesy qualities and riffs along skillfully and fluently, while a thick knot of drums and bass throbs more slowly. I especially like the section where the guitar leaps, shreds, and flies while intricate arpeggios played on a medium-high synth with string-like qualities arc and dance.

“Heartcleaver” begins with a sharp, brittle electric guitar cry, followed by slowly spinning, climbing arpeggios. As a thick wedge of bass and massive drums shift beneath the string-like arpeggios that revolve with an orchestral quality, the guitar has an intricate tightness to it.

As the massive harsh pulses surge and drive, the complex, nervous guitar cries out in intertwining passages as the arpeggios keep climbing, adding more power and a growing sense of danger to the music. The way the arpeggios reach and yearn under the weight and gritty power of the guitar as it roars into the track with the battering drums is something I’m drawn to.

Before rich synths rise upwards in swelling, oscillating waves beneath the Theremin, there is a brief pause. The balance between a Baroque-feeling melodic pattern played on harpsichord and the strange voice of the Theremin in “Walpurgis Night (Epilogue)” intrigues me.

As the strings call out, the Theremin and the heavy synth underneath it are doubled, giving the music a more classical flavor. As brooding chords rise and fall and the sense of shadow becomes increasingly oppressive and deadly, a growing sense of power churns.

Final thoughts

Resurrection by SeySMIC is an album brimming with powerful sonic imagery and evoking a sense of heaving darkness rising to swallow the light. The album’s depth is enhanced by the way all of the musical elements are combined.

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