![]() With this constant and unrestrained jumping of genres and styles, APOK leaves the listener with little more than questions. Further branching out in the genre department, there’s the smooth down-tempo work in “Chasing the Dragon,” glitch heavy, pseudo-experimental work in “Devils” and additional sample abuse in the heavy IDM track “Ghostnote.” The band admirably takes advantage of the skills of Caustic and I:Scintilla in their respective tracks, using Matt Finale’s blistering voice to up the intensity of “Myopic” and Brittany Bindrim adds a wispy and whimsical feel to “Cracked Earth,” but with “Acheron,” the collaboration parade turns sour as the work with God Module results in a bland and uninspired dance track. ![]() Previous albums have shown iVardensphere’s propensity towards tribal world music overtones mixed with IDM and power noise, and with APOK these elements are still present, but unfortunately, as experimentation and collaboration take center stage, the album quickly spirals into a disjointed and segmented collection of seemingly unrelated music.įrom the get go, the style hopping is rather pronounced as the tribal rhythm and epic scale of “Sutekh” leads into the sample abusing, beat heavy power noise track “Here Lies Lily Brant,” which is then followed by a return to more world music inspired work with the smooth and mellow rhythms of “Nazca,” which would have made a much more appropriate follow-up to “Sutekh.” From here, things get even more disjointed as the series of collaborations on APOK swing into full effect and iVardenshpere nonchalantly skips from one sound to another. ![]() The third album from Edmonton, Canada’s iVardensphere, APOK shows the group’s continued efforts at expanding their horizons and exploring new sounds. Blurb: A n album of nicely crafted songs that raises a lot of questions.
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