The BFW Recordings site tells us that Amygdala Projects is the stage name of Hungarian musician László Néder. He has played guitar for 20 years, and aside from Amygdala Projects, he’s also a member of a rock band, TerraLuna. This ten track album, however, is a solo release, and his fourth on the BFW label.
“Galactic City”, the opening track, starts with a long, slow introductory sweep, as a Berlin School sequence bubbles under sonics which sizzle off to left and right. A solid bass groove kicks off underneath as filters open and close. Halfway through, a driving beat kicks in, propelling the track forward relentlessly. The music fades, but then suddenly we’re back in a psytrance groove. It’s a fabulous opener. “Ancient Rite” begins with bells and a female choir; a slow rhythm builds up with guitar and drums. Huge, almost tribal drums appear, then male vocals (Indian, perhaps?) are draped deftly across the top. The track maps itself out slowly, almost feeling its way around the edges of the soundstage.
“The 7th” has a hazy, shimmering opening, with a male voice drone and female speech. Synthetic voices jitter and slither above a heady bass and drum groove, to be subsumed by vocals, now female and in English. “Gene of Machine” is slithering, sinister electronica, skilfully built from blips and coils into an almost physically tangible structure. A deep bass synth carpets breathy ethereal vocals. It breaks down just after the two minute mark, snatches of speech flittering in and out, before the quasi-industrial rhythm takes over again. “Distilled People” takes us half way through the album, delay-soaked guitar and synth laid over a massive pounding beat.
The second half kicks off with “Evolving Lifes”, organic sounds overlapping a sinuous bassline. A quiet electronic rhythm is steadily built up, before being joined by a solid drum pattern. “Substance Z” starts with a very grand synth riff. A wordless female voice takes up the high end. Drums are pinned, Hillage-like, below. “Cauteria” has a ominous beginning, with eerie distorted voices and edgy chords. Another Berlin-style sequence emerges, completely contrasting with the voices. Synths zip under and over the beats as they become denser, folding and unfolding like DNA.
The album’s penultimate cut, “What Do You See in the Sphere?” has an almost martial rhythm. It’s a slow burner, hypnotic and fascinating. Finally, the closer, “Paroxysmal Love”, is the shortest here by far at just over two-and-a-half minutes long. It begins firmly in ambient territory, until a synth pattern and processed vocals overlay an opening drone. The track fades, leaving the listener relaxed after nearly an hour of alternating tension and groove. It’s quite the trip.