Myth II: A Need To Survive by The Eye Of Time

Release date: August 3, 2018
Label: Denovali Records

Since releasing the first entry in his Myth trilogy back in 2016, Marc Euvrie (aka The Eye Of Time) has been through the wringer. He now describes the path of his musical progression thusly: “Myth I : A Last Dance For The Things We Love corresponds to my falling into darkness, A Need To Survive to finding the energy to rise again and the last record which will be named To Heal, corresponds to me right now, feeling positively mature.” Whilst steering clear of specifics around his experiences, he did have this to say on the subject: “I have fought darkness. I have faced myself. I’ve been into the deepest introspection ever, but I’m on my way to recover, and I will never be the same again. I guess I have faced the worst but most important period that everybody will face in his life. To know yourself better, to see the bad and the good things you’re capable of.” All of which seems to have manifested itself within the tracks on A Need To Survive. Here we have an album that shifts from jubilant hip hop instrumentals into the depths of a funeral dirge before ascending into a post-rock pomp.

The album kicks off with a Tarantino-style, slow-motion, street strut. It has the lurch of a bonafide gangster. The simperingly titled ‘There Is So Much Pain In This World That We Have Created Robots To Share It’ is a sneering assortment of swagged up beats, hummed basslines, and twitchy electronics that then evolves into an uplifting chance-grabber of a track. It’s resplendent with triumphant strings that appear as if swinging from champagne soaked chandeliers. The Tarantino connection continues with ‘To Rise Through Our Tears’. What starts as a portentous march with hooded heads hung low and sombre synth chords signalling defeat, maybe even loss, then surprises with the Ironside siren from Kill Bill wailing from out of the blue. It’s the longest piece on the album and it takes a torpid turn after the exultation of the first two tracks. It’s indebted to ecclesiastical misery and steeped in atonement, ritual, and malaise.

Conversely the second track – ‘In The Name Of The Earth’ – is forged from the type of trippy ambient beat that Tri Angle Records would have put out in 2011. It’s a hip hop instrumental complete with washy vocals that sound like they’ve been released from Aokigahara forest. There’s a snap and a crash that Clams Casino would have urged Lil B to jabber over. It tumbles and totters like a ride through leafy hills before rolling out with an ominous combo of rattling percussion and low throbs. The title track employs similar dubby bursts of bass. It’s spacious and exploratory. Like a drifting space probe, edging out in the the vast and empty. Palm-slapped rhythms give the impression of tribal leanings as synthetic strings yowl and burr their disdain.

‘Foldings’ features squelched and warping bloops that judder and dance from front to back and from left to right. A limpid piano announces itself emphatically before toppling into submission. Delightful twinkling deities plucked from Jon Hopkins’s Singularity cutting-room floor pepper the night sky. Filling it with stars, cosmic dust, and majesty. When the soaring guitars kick in, it becomes increasingly evident that this is one for uppers. Guitars also feature heavily on album closer – ‘Notre Amour Est Assez Puissant Pour Détruire Ce Putain De Monde’ – although this time they take on a more distorted edge that is rather reminiscent of Christian Fennesz. These are swooshing glints swaddled in fuzz. And when the gruff subterranean drubbing bass joins, it thickens and dismembers that initial sound, morphing it into something evocative of The Eye Of Time’s alphabetical neighbours – Explosions In The Sky. We end with a full, glorious, and transcendent post-rock opus that leads the charge towards home, hope, and the future.

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