Something unnerving is floating around as the synthesizers and keys of Serotonin Eyes are accompanied by (programmed(?)) drums that clapper in a frantic pace like Michael Flatley with his shoes on fire.
The ethereal melodies flow like a dream over snowy landscapes and icy lakes, entwining themselves in digital cold beauty. In the meanwhile, elsewhere, the drums create a strong contrast with their hyperactive and artificial nature.
The combat of dominion between rhythm and melody is on the verge of irritating as the listener is left unsure of which element to follow.
What is noteworthy is that the music still manages to sound rather whole despite the elemental cacophony.
Here I must give the track ďLo-Fi for the AgesĒ a special note as the tune is very moderate and extremely composed. Should I say, beautiful?
The overall bilateral nature of the music is what keeps the release alive and flaming as the melodies per se donít carry the whole EP length. As the music progressí the rhythms and melodies grow closer to each other, or then the ear gets accustomed to the dissonance.
Serotonin Eyes has some very good angles on Tintinnabulation, but the music still needs refinement and more thorough composing.
With that said the songwriting isnít the issue here and overall the songs have a good flow which makes them somewhat pleasurable to listen to.
...but when we come to the sound policy, Serotonin Eyes rubs me the wrongs way. Above all the drum samples need a good upgrade. On some accounts the plastic soundscape might work, but in the long run it becomes the audible equivalent of a barbie doll or Nicky Minajís body.