Review Summary: escapism!
Watching an artist transcend his/her genre to achieve something as organic and effervescent as Tryshasla
is always a joyous and engrossing experience - one of child-like wonder and awe. The man responsible for the unparalleled beauty of Tryshasla
clearly perceives music as a profound journey, as he effortlessly weaves gorgeous environmental electronica and ambiance into one cohesive package that’s very well tied together. The pervasive natural motifs such as: chirping crickets, ebbing water, rain, wind, etc., distinctly breath life into Tryshasla
, allowing listeners to metaphorically paint from an expansive palette, as well as draw comparisons to electronica aficionados like ‘The Future Sound of London’. An album as electronically conscious as this could have felt cold and lifeless, but somehow there’s a resounding warmth surrounding Tryshasla
; something undeniably pure and organic (I cannot stress that word enough). Every song segues into the next seamlessly, which makes Tryshasla
“Hospital Requiem” leads Tryshasla
off in a frighteningly claustrophobic and worried manner with an oft-used breathing apparatus and concerned male voice pleading to be “let go” - to further delve into the mystical realm he was in. The dark, paranoid feel enveloping the former half of this song is quickly diminished, however, and the music is transposed to a happier setting. In the context of the album, “Hospital Requiem” is very important because it seems to set the parameters of ‘life after death’, as the protagonist is lifted from the confines of his existential form to further embrace his final metaphysical journey --something immediately relatable if you subscribe to the notion of life being wrapped in dream and death, therefore being an extension of dreams. A lot of this is thinly-veiled, but most certainly implied through imagery, and what’s best is that it’s left up to the interpretation of the listener. “Foliage Pathway” picks things up a little and brilliantly leads into the album’s crowning jewel (“Leraine”) with the sound of water gently flowing as an object softly sifts through it. A pensive synthesizer canopies the song and the soothing motif of water reappears throughout; pushing, flowing, and reviving. After the beautiful aura of “Leraine” washes away the listener is plunged into a somewhat darker atmosphere that’s surprisingly just as welcoming.
The rewards listeners reap from Tryshasla
come in both aural and visual form - the music works in tandem with its visual implications; a hospital bed, a forest, a creek, etc. - the whole is greater than the sum of its parts. There are plenty of outstanding electronica albums to be heard, but this is the one you’ve been waiting for. This has to be heard, felt,... experienced. The man behind Secede is a genius, easily comparable to the likes of The Future Sound of London. The tastefully sliced and diced vocal interplay of ‘Kingdom of Hearts’ -- followed by complete shifts in style and sound -- even emulates an aspiring artist like Kashiwa Daisuke. Tryshasla
is a mastery of mood and atmosphere that has a solid concept to go along with it pertaining to the splendors of the ‘dream-body’. The album closes with a philosophical and perhaps vital point: “We No Longer Need Ourselves” at the end of the road...