CD (ltd. 300)
More than five years of silence could suggest that the album "The Invisible Hand of Market" released in 2014 was the last sign of life of this Russian project. However, the musicians of the Cyclotimia duo, who consistently create soundtracks for a society of global capital dominance in their works, still have something to say, as it turns out.
The album “Regnum” consists of six tracks (the CD version additionally contains a long-playing bonus track) and lasts for about half an hour. The compositions have a distinctive vibe of “the blessed 80ies” typical for the synthwave genre that has been in fashion in recent years, yet they distinctively go beyond the borders of this predominantly stereotyped style towards rhythmic post-industrial.
"Regnum" comes out in turbulent times. Perhaps it’s no coincidence that the cover shows a man walking on a deserted night street into the unknown? And although the musical atmosphere doesn’t inspire anything optimistic in the end, the opening track with the characteristic name “Battlefield” is apparently intended to set the listener in a combat mood in relation to the future.
The album is released in collaboration with Monopoly Records and Shadowplay Records. The physical edition is presented in two versions: a CD limited to 300 copies in a matte 4-panel digisleeve and an audio cassette limited to 60 copies. The digital version is available on bandcamp.
The third album that I hear from Cyclothimia, a duo from Moscow. They had an album 'Music For Stockmarkets' (Vital Weekly 668) and ''The Invisible Hand Of The Market' (Vital Weekly 933) but now they seem to have left the world of finance behind and offer 'Regnum', the Latin word for Kingdom. The music is all synth-heavy again, poppy but with a fine dark touch to it. The titles show similar darkness, 'Battlefield', 'Cntus Firmus', 'Nocturne', 'Dasein', 'Regnum' and 'Sinking Ships' and an Edward Hopper nocturnal scene on the cover. The world is no pretty place; well, it probably never was, but we see much more of it these days. 'Battlefield' opens up and is an eighties synthwave tune in marching order. The other pieces have a similar retro feel to it. Lots of arpeggio's, Linn drum sounds (I think), and fine melodies. If you had no idea, you could think this is also at times quite joyous, with sometimes a bit of moody passage, such as in 'Dasein'. It would be an interesting experiment to play this music to someone and ask the unaware listener to name these pieces or describe the mood. I might be surprised if the same sort of thing came out of it. Regardless, I thought it was all great music, uplifting as well, in the land of drones and hums that is Vital Weekly.