'Get Off My Planet'
The tales of Liquid Divine are an electronic lack
lustre of melancholy shapes of energy & electronic signature,
which at moments becomes a combined force of reckoning.
I have always enjoyed Liquid Divine. Great
dream tracks, where the music is setting the destination in your
brain’s adventure. Problem was; it was a mash of everything, and
the albums left your sense organs confused and not knowing which part
they should have attacked in your nervous system.
Christian Fritzsche and Guido Stoye have seen themselves go rather unheard since the prior decade, as their feats and compositions in the electronic world, were not the highest of features in dark subculture's populism. However; they have composed a new album. With vocal appearances from Diskonnekted’s Jan Dewulf and Seabound’s Frank m.Spinath. This factor alone, either complimentary or fundamental; blew up Liquid Divine’s past, and made 'Get Off My Planet' a blunt injection of angelic falls of grace of depression and sub-verse.
‘Now And Then’ is a heavy start into the album and really commits to a 60% Seabound composition. The track list really starts at the 3rd, where a new organised Liquid Divine noise comes out with ‘Fireflies’. Straight after this synth acceleration, the following tones of 'House of Leaves' see the duo already hit the BPM into cruise control.
‘Die To Meet You’ is a pleasant hybrid. It plays with the momentum of the song and fantasy frequencies; before hitting the vagary melancholic tones of ‘Regolith’. ‘Home ground’ accelerates you with a 90 degree turn to get out of there! With clear vocals and high distortion.
‘Little Soul’ is the epitome, of why this composition has a remarkable score in 2016 charts of alternative albums. Highly progressive, yet with dark centrifuges, that spin the mind into a fierce spiral of all that is black & fluid. The signature key on the album's success is the highly clear vocals, which are underestimated in a lot of releases.
The final four tracks in their own way tell us we are reaching the epilogue. ‘Here She Comes’ has a clear awakening in rhythm that lets us dance out of the mind’s entrapment, or does it? ‘Trillion’ is bringing the pillow back to sooth oneself with calm symphonies of making you accept the fact you are not going to change.
Here we are, at the end with ‘Basic Bitch’. A modern Liquid Divine outre; hitting the mind’s best and worst parts. No lyrics are necessary here until the next time, as a slash of distorted drum & bass get liquefied, with divination of a Coma girl’s wet dream.
Christian Fritzsche and Guido Stoye have seen themselves go rather unheard since the prior decade, as their feats and compositions in the electronic world, were not the highest of features in dark subculture's populism. However; they have composed a new album. With vocal appearances from Diskonnekted’s Jan Dewulf and Seabound’s Frank m.Spinath. This factor alone, either complimentary or fundamental; blew up Liquid Divine’s past, and made 'Get Off My Planet' a blunt injection of angelic falls of grace of depression and sub-verse.
‘Now And Then’ is a heavy start into the album and really commits to a 60% Seabound composition. The track list really starts at the 3rd, where a new organised Liquid Divine noise comes out with ‘Fireflies’. Straight after this synth acceleration, the following tones of 'House of Leaves' see the duo already hit the BPM into cruise control.
‘Die To Meet You’ is a pleasant hybrid. It plays with the momentum of the song and fantasy frequencies; before hitting the vagary melancholic tones of ‘Regolith’. ‘Home ground’ accelerates you with a 90 degree turn to get out of there! With clear vocals and high distortion.
‘Little Soul’ is the epitome, of why this composition has a remarkable score in 2016 charts of alternative albums. Highly progressive, yet with dark centrifuges, that spin the mind into a fierce spiral of all that is black & fluid. The signature key on the album's success is the highly clear vocals, which are underestimated in a lot of releases.
The final four tracks in their own way tell us we are reaching the epilogue. ‘Here She Comes’ has a clear awakening in rhythm that lets us dance out of the mind’s entrapment, or does it? ‘Trillion’ is bringing the pillow back to sooth oneself with calm symphonies of making you accept the fact you are not going to change.
Here we are, at the end with ‘Basic Bitch’. A modern Liquid Divine outre; hitting the mind’s best and worst parts. No lyrics are necessary here until the next time, as a slash of distorted drum & bass get liquefied, with divination of a Coma girl’s wet dream.