On this article, I have analyzed all the records the artist currently has on his Bandcamp page. They are, by order of release, The Engineers, Nostromo, The Space Jockey, The Elders and Paradise. Some records, like The Sevastopol, were deleted, and are not available anywhere, not even on YouTube. The artist has also deleted his Soundcloud, as well as his Facebook page, for reasons unknown.
Aphotic Apathy delivers a peculiar style of dark ambient, that, as the artist himself describes in his profile, is basically influenced by the tense, ambiguous, afflictive and sinister atmospheres of Alien and The Predator movie franchises, that he tries to recreate. For this reason, all his albums addresses a particular story – you can read each one of them in his Bandcamp page –, whose main goal is to drive the listener into a dark fantasy dimension of doom and demise, inspired by the lugubrious, horrifying and dreadful nature of the movies mentioned above. The story behind all the albums are mostly interconnected, each one of them can be seen as a chapter that is part of a larger picture.
This record has twelve tracks. They are: 1) Awaken; 2) Mother; 3) Signal; 4) LV-426; 5) Derelict; 6) Exploration; 7) Space Jockey; 8) Cargo; 9) Eggs; 10) Host; 11) Nostromo; 12) Narcissus; a far more easier, cathartic and soft album, this is probably the most homogeneous, expansive and dilated work on Aphotic Apathy’s discography. Nevertheless, it’s an extravagant and beautiful record, that attests the compromise, the stylish lucidity and the overall professionalism of the artist, that presents to his audience a cold sonorous density, upon which you can really feel yourself transported into a distant, dangerous and hostile faraway place. The story that underlines the album reads: “The crew of The Nostromo consists of seven people from various fields. They include Captain Dallas, Warrant Officer Ripley, Navigator Lambert, Engineering Technician Brett, Executive Officer Kane, Science Officer Ash, and Chief Engineer Parker. All awoken by "Mother" the computer mainframe that served aboard The Nostromo. Mother also operated many of the ship's background systems, and auto-piloted the vessel while the crew were in hypersleep.
Before the crew awoke, Mother partially decoded a unidentified warning signal that started emanating from LV-426, Mother awoke the crew from hypersleep to investigate and hopefully recover a potential parasitoid specimen from a derelict ship located on the moon. Unbeknownst to the crew, except one member Science Officer Ash who was given a classified retrieval order by Weyland-Yutani, Special Order 937: Which ensured the retrieval and survival of a sample specimen of the species located on LV-426, and stipulated that this task superseded all other priorities, even the safety and survival of the crew.”
To give you some insight about how the artist tries to tell a story, and capture precisely the nature and the atmosphere of the situations upon which the underlying sound portrays with its dark tonalities and obscure devices, the ninth track, Eggs, probably – and very discreetly – displays a chapter of the space odyssey where the breed of the parasitoid specimen mentioned above breaks the eggshell, being born to life.
The Space Jockey
Nevertheless, its lugubrious, realistic and dense atmosphere can drive the listener directly to the undying horrors lurking in the darkness of the unknown dangers that hide within this universe of abnormal fear and ferocity. The sixth track, Necronom – which is a possible reference to H. P. Lovecraft’s Necronomicon – certainly is the best, the deadliest and the most macabre of the entire record.
The story behind this work reads: “Long before Prometheus uncovered the origins of the Engineer and his species, the mysterious 'Space Jockey' for many the most mysterious thing of the Alien film was held captive in everyone’s mind. The lonely sentinel first encountered by the doomed crew of the ship Nostromo, the haunting discovery of the enormous lonely star gazer remains one of the most memorable moments in the Alien franchise. Based on the iconic bio-organic industrial designs of Swiss artist H. R. Giger, who designed every detail of the fossilized sentinel.
The Space Jockey, a tragic traveler who fell victim to his own lethal cargo and was forever frozen, trapped in time and space.”
H. R. Giger, mentioned above – and whose ninth track is a homage to – was a notorious Swiss artist, who was part of the special effects team for several movies, including some of the Alien franchise. He was the original creator of the Alien creature, as well as the space jockey, for which this album is named.
With a placid and ostensibly calmer musical layout, and a very patient – though relatively sinister occasionally – style, the melodies prevalent on this album are like graceful symphonies forgotten in the colorless winds of time, whose harmonious dissonances share its sincere, devotional and elegant features with the cordial densities of a tranquil and sentimental honesty. In several ways, this is the most distinct and singular album Alex Alexander (assuming that this is his real name) released under the Aphotic Apathy alias, since its mostly soft, innocent and almost affable nature displays an atmosphere radically different from the other albums.
This subtle change in style certainly was created purposefully, with the aim to transmit to the listener the somewhat friendly nature of The Elders, a race of knowledgeable and transient aliens, that periodically travels to Earth, to assist the human race with their splendorous grace and wisdom. As the story reads, “The Elders are a wise, respected race who are knowledgeable and technologically advanced. The Engineers have been around for at least 35,000 years according to the cave paintings discovered by Holloway and Shaw (Prometheus); The other (Elders) are hundreds of thousands of years older than the Engineer and that is evident from the Elder's wrinkled, thin and almost wood like skin. They have the ability to travel through space. They returned to Earth numerous times to teach various civilizations an unknown number of things. They also partake in sacrifices/ceremonies in which they sacrifice a young Engineer of their own to create a species that resemble them (Humans).
Not much is known about The Elders, but I believe them to be a non-hostile force that seeks only to create life and share knowledge. I guess you can refer to them as Priests.”
The music of this album is severely translucent and omnisciently oblique. The serenity that drives around the delusional matter of its creational harmonies transpose the peaceful diagram of light upon which the universe was conceived. Everything is quiet and useful, and the sensibility that relies on the conscience of humankind will seek an everlasting kingdom of glory, whose splendor will shine for the centuries to come.
With splendorous harmonies that seeks the grandiosity of its expansive, salutary and sincere gestures, definitely, The Elders can be considered the most fantastic, profound and gregarious album of Aphotic Apathy, and its excellent level of creative melodies – merging with colorful densities and textures that highlight the brilliance of an unknown universe that has yet to be fully understood – certainly underlines the audacious originality of the artist’s quintessential pragmatism made of intricate and infinite possibilities.
Like the artist himself complement, “this album will encompass a Space, Ethereal and Dark Ambient atmosphere that showcases the Elders life in the way they conduct themselves as Creators.”
An exceedingly beautiful and captivating album, Paradise is also a serene – though relatively mordacious – gathering of melodies, that will reinstate over the diluted perceptions of your conscience a whole new galaxy of future memories, upon which the music shall elevate the graceful allegories of an infinite and laborious solitude, that is eager to understand the grandiosity of its own genuine and visionary artistry.
Definitely a captivating, lucid and more sober space ambient album, Paradise delivers a conjuncture of renitent, but glorious harmonies, whose serenity expands a molecule of light throughout an empty universe corroded by sorrow and despair, that can liberate all degrading desires that reinforces the deliberative insolence of human existence. Despite its unusual simplicity, this album has an imponderable and effectively urgent integrity, that revolves around the sensibilities of its own impeccable creative standards, closing with discreet and sublime splendor a superb and original space odyssey, that certainly has aggregated with its audacious and horizontal authenticity a whole new paradigm of creational possibilities within the genre. Without any fear of being equivocated, Paradise is probably one of the most fascinating, singular and diffusive albums of Aphotic Apathy’s discography.
Well, this is it. Basically, what is known about Alex Alexander – again, assuming that this is his real name –, the creative force behind Aphotic Apathy, is close to nothing. He is apparently a Florida-based musician, that is involved to a certain degree in another musical projects. His last Aphotic Apathy album was Paradise, that was released almost three years ago. Since then, he hasn’t released anything under this moniker. The first three albums he released in rapid sequence. In March 2015, he released the first two, The Engineers, in March 15, and The Nostromo (retitled Nostromo) in March 30. The Space Jockey was released a few days later, on April 11, and almost two months later, on June 5, The Elders was released. In April of the next year, 2016, Alexander released Paradise, so far the last Aphotic Apathy album.
It’s improbable the artist will ever release again under this alias, since he has deleted his Soundcloud and Facebook pages, and the long hiatus so far indicates that he probably have lost the interest. I may be wrong, and in this case, I really wish to be deadly equivocated. Aphotic Apathy was a very original musical endeavor, that has aggregated an exceedingly genuine, extraordinary and potentially creative outlook into the genre, delving deeply into the surreal, dense and fascinating, but morbid, nefarious and sinister universes of the Alien and Predator movie franchises, designing for its albums a macabre and agonizing conjuncture of realistically dreadful soundscapes, that certainly can be defined as the most perfect background soundtracks ever created for these stories, that – although were never used in the movies – definitely aggregates a whole new level of afflictive darkness for its mythology and folklore.