The Great Divide
3 September 2012
|The Great Divide (Original Mix)||Velvetine|
|The Great Divide (Myon & Shane 54 Summer Of Love Mix)||Velvetine|
|The Great Divide (Seven Lions Remix)||Velvetine|
|The Great Divide (Soundprank Remix)||Velvetine|
The Great Divide (Original Mix)
This is Aruna's best work, bar zero, bar infinitely punched up; this is a ṭriassicist ḉḼạṩṥḭӄ. The true gulf is between what you are before & after you listen to this. The Great Dividing Range is not more visually psychocharged: the sheer number of alternative transitions & shades of mind is breathwhippingly hippodromic. Whisking us off to start with, the ringing drums spin up & up, tumbling into the cryptocirrus of the vyolyn, which only gains more dimensions & times as it fades into view, beginning with a descent from an abyss floor, & ending with a question shark- before a relapse of bouncy hits.
These win favour when Aruna coaxes them into tunefulness. The background eeries & touches build a robust, fully-rounded worldscape for the tune to set fire to. The verse-snapping piano ignites as LSD could only hope to, even without the lifelong brain sickness attacks, leading into an ocean of uprain, & shoving our heads down until we have passed into the new realm. Achromatising into nil, time restarts & we discover what Ur-music should have been: a Loveḵraft bird whips us into the cricket-zinzulative, ṼḮṎḼỈṈỊḰ blak iceglobe Earth, gyring & whizzing out of time again, a Penrose splitsaw of irrealia that won'thave anything to defy if left spinning. 3:08 to 4:32 is all the blood you need.
But it calms down to strip to the piano's tonal rift, between the starting innocence, & the final inking. & that, xadies & xentlemen, is our climax: a cheaply psychedelic riff on the provably alien rambrosia. Although the climax is too weak to be water, the overall song (& its editable parts!) are a reason for Earth, & a reason for reason. There's none in particular to choose the OM over the IM, though.
The Great Divide (Myon & Shane 54 Summer Of Love Mix)
Before 2015, "Summer of Love" meant inciting quality, exciting viciousness that left no stone unpolished. Unlike the previous decades, this mix was pored over & poured over with hard platinum. In past genres, long, dusty tracts of über-common, ashful, cymballesque, incessant, infinite, predictable, standard, & thus below-standard banalities reigned in the beginning & ends of trance tracks. The mind-fleaing boredom, the potato-flavoured dirt, & spirit-crushing familiarity of that wretched trope is mocked & abandoned here, where the first sign of life is the first mark of humanity. The drums here spark, crackling with life, smattering & whipping in a througher energy, a thorougher introduction to exertion, the meaning of zeal. The vocal smithereen warbling in rapid drumfire heightens the heat to the boiling point: & the mist evaporates away.
The tune is uncurtained, but the wizards have proven themselves. Switch-flicking & the final soar upgrade this smaragdinous burg to Platinopolis, a fully automated luxury space makethrough, the pearoc feather in their caps, an everbright, lividescent reason why I made this wiki. The hyperwavering, the simplicious sounds that mark every note shift, & the electrical grounding of the piano make this the silkiest vastation that ears can take.
A short, digital burst of descendo drops into a full syringe of adrenaline teardrops. ABA sounds just as rorative as the OM, her Thebaic woahs cohering the stadium-fryer liquidly. The climax leads to the only electrotrash we get, sadly: the three-striker paperbass growler is the height of 2012 & kinetics. No divides here, just interlocked winergy.
The Great Divide (Seven Lions Remix)
JM tried to work the OM into his final copy in his final time on AB. It works, as a contrast to an alien world to another dimensionless place. But time never had meaning in here: the violins in this mix do not feel remotely the same, despite being copied & pasted in, because they are transported & transmade, the backdrop & foredrop to the atmosphere which cannot be unbreathed. The rest is all new, starting with the mood-setting & otherwise functionless intro, the note-shift-markers, whatever they are, laid against Montalvo's own black saccharin. Having proved the unity of these disparate worlds, Jeff flourished the alternativity that AB sorely lacked some of the time, by cutting electrodes open & splashing meκaniɮal cruor, his personal touches filling the air. Whereas some would be content to paint a wall a few colours, or patterns, 7L made every metre its own. There are too many to fully describe. A high point of the verse is the iota of light that shines through to the floor in a break between lines, but a viper eel snatches that up. The climax-slidein again is its own event, a snippet of the larger sentiment battleram that jumps over subtle building-up for the rhodiumhammer that smashes through everything we need. His style is also too different & complex to fully describe, but a major lungbanger is the robotic oscillator at 4:00. Aruna's "& I" is a heart per se, & the second climax's extended chordophone is dubstep's height, an acoustical snail's marathon of air that sticks. He went on to make the song Creation.
The Great Divide (Soundprank Remix)
As one closed his door, another entered the window. CF's first Anjunabeats venture is not one of his zeniths, but is listenable. His last remix, this still has plenty of ipseity to make up for the dry notes, though their instruments are coltish. The chainring of keys is a harsh pleasure of his best style. The mild tease in the verse is just that; the violins are unrecognisable, & more Wonderlandian. But a film score is no role model for music. & this climax is too smoothed to be emotional. Titan's waves are bigger than the small wrinkles in this sanddab.
- Vocal Trance 05
- AB died in 2016, remember.