‘Termination Shock’ is the third album release from ambient synth composer Majeure (aka Paterra from Zombi). Comprising eight tracks of intimate, minimalistic ambient synth tracks, the record is part new age, part kraut rock with endless textural layers of 90’s/2000’s inspired synths which Paterra describes as his coldest and darkest work so far.
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I so desperately wanted to make a Midge Ure joke about ‘Termination Shock’, but ambient music is serious, so I’ll button up for the sake of civilisation. Majeure is actually Anthony Pattera, half man, half beam of light, who at the time of writing has now released three solo records under this fabled moniker. Listen to the coldwave fear mongering of “Nachthammer”, though, and I don’t think we’re that far from an Ultravox best-of: sonorous but reverberating piano, a melodramatic beat and the loudest synth sustains you ever did hear.
Okay, so it’s more Soft Moon than This Means Nothing To Me. Pattera is actually a diverse electronic artist who can bliss-out with the best of them (hear opener “Crystal Lights”, which is minimalism fading out of existence entirely), or even make topographical space jams like the title track, which pulsates bass while flicking between delicately kosmische synths. Each tune stretches out, becoming its own structureless amalgam: melodies float, rhythms come and go, but there’s always a drone hosting the movements.
“Eternal Intelligence” is a prime example of Majeure’s obsession with busying empty spaces, offering drones that come to life like a jump to light speed. It’s a gorgeous, celestial sound, but treated with a sense of constant wonder and renewal. These textures sound like they’re commuting.
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