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Customer Review
Reviewed in the United States on November 19, 2014
March of the Inanimate, the latest release from electronic music maestro Keith Richie, strikes a completely different chord than his previous albums. The overall theme is dark, brooding and suspenseful - melancholy in some places, ominous in others, with sequences that build like a horror movie soundtrack to a chilling crescendo. It is a distinct yet quite enjoyable departure from the contemplative musings that comprise Keith's other offerings.
From the opening track, Chasing Shadows, you can almost feel a dark presence building, dogging your footsteps like Jack the Ripper trailing behind in the shadows of a dark East London alley, hidden by the gaslights and thick fog. It's an appropriate metaphor as the following track, Out of the Fog, lets you know that you are, in fact, being followed, with suspense-filled sequences that make your pulse quicken and keep you glancing over your shoulder. Forbidden Cottage and The Chest provide a bit of a respite, with happier tones that evoke images of a warm and safe place in the midst of a dark and foreboding forest, but just beneath the surface there lurks a bit of tension, reminding the listener that the pursuer hasn't quite lost all interest in the chase.
Things pick up a bit in the title track and the chase is on - in a masterful bit of cinematic scoring, you can almost feel the fear building as the prey tries to outrun the hunter, never getting more than a few paces ahead of certain doom. The overlapping rhythms capture the emotions perfectly, with dark intent layered over fearful panic, with all the suspense and drama of the best horror villain themes. Then, suddenly, Crystal Projections chases the shadows away with a happy, peaceful melody that feels like a ray of sunshine bursting through the darkness. Suddenly coming into the light of day, with everything back as it was, you are left wondering if there really was a sinister presence giving chase or if it was just your imagination, irrational fear brought on by the darkness surrounding you. The journey ends with Running from Shadows, an end-credits track that leaves you pondering the entire story as you leave the theater and emerge back into the glaring brightness of day.
Overall, March of the Inanimate feels like a cohesive story, a soundtrack for a movie that you very much want to see again. Each track builds on the previous one with well-crafted transitions and emotional imagery, just the right amount of suspense and a dash of happy ending. It brings to mind a good Hollywood thriller in the vein of Friday the 13th, Halloween or Psycho, where the music is just as important as what is happening on screen. It's less ambitious than some of Keith's other offerings, like the Maestro Interstellar suite or La Familie du Solonode, but that's a good thing - it stays true to a central theme and holds your attention like a gripping short story. This is an excellent concept album and a great introduction to a talented artist you definitely want in your playlist.
From the opening track, Chasing Shadows, you can almost feel a dark presence building, dogging your footsteps like Jack the Ripper trailing behind in the shadows of a dark East London alley, hidden by the gaslights and thick fog. It's an appropriate metaphor as the following track, Out of the Fog, lets you know that you are, in fact, being followed, with suspense-filled sequences that make your pulse quicken and keep you glancing over your shoulder. Forbidden Cottage and The Chest provide a bit of a respite, with happier tones that evoke images of a warm and safe place in the midst of a dark and foreboding forest, but just beneath the surface there lurks a bit of tension, reminding the listener that the pursuer hasn't quite lost all interest in the chase.
Things pick up a bit in the title track and the chase is on - in a masterful bit of cinematic scoring, you can almost feel the fear building as the prey tries to outrun the hunter, never getting more than a few paces ahead of certain doom. The overlapping rhythms capture the emotions perfectly, with dark intent layered over fearful panic, with all the suspense and drama of the best horror villain themes. Then, suddenly, Crystal Projections chases the shadows away with a happy, peaceful melody that feels like a ray of sunshine bursting through the darkness. Suddenly coming into the light of day, with everything back as it was, you are left wondering if there really was a sinister presence giving chase or if it was just your imagination, irrational fear brought on by the darkness surrounding you. The journey ends with Running from Shadows, an end-credits track that leaves you pondering the entire story as you leave the theater and emerge back into the glaring brightness of day.
Overall, March of the Inanimate feels like a cohesive story, a soundtrack for a movie that you very much want to see again. Each track builds on the previous one with well-crafted transitions and emotional imagery, just the right amount of suspense and a dash of happy ending. It brings to mind a good Hollywood thriller in the vein of Friday the 13th, Halloween or Psycho, where the music is just as important as what is happening on screen. It's less ambitious than some of Keith's other offerings, like the Maestro Interstellar suite or La Familie du Solonode, but that's a good thing - it stays true to a central theme and holds your attention like a gripping short story. This is an excellent concept album and a great introduction to a talented artist you definitely want in your playlist.
