Despite their somewhat modest fan base, Koan is definitely one of my favorite electronic musical acts of all time. Their sound is majestically vibrant, ostensibly original, genuinely proficient, and powerfully exhilarating, with dense and hyperbolic melodies that transcend and redefine all the extraordinary possibilities of its groundbreaking, but consistent expansive essence. With sensible, but complex intuitive cadences that reacts over the waves of harmonies that engulf the soul of its implosive expressive musical features, the sound of Koan makes extensive use of superimposed notes, that creates abrasive sonorous effects over its intricate continuous densities. And you certainly can feel that for yourself, especially if you hear the album I consider their masterpiece, the astounding, fantastic and fabulous The Way of One.
Another album that I think deserves to be highlighted is Argonautica. Not as marvelous as The Way of One – at least in my personal evaluation –, nevertheless, this album deserves its place of honor. Exceedingly extensive as well, being seventy-nine minutes long, this record contains the following tracks: Orpheus and Eurydice, Lost Lyre, Peleus and Thetis, Irida Falls to Morpheus' Pits, Crying Prozerpine (blue mix), Pegasus, In the Garden of the Hesperides (Golden Apples mix), Seven Mirrors of Atlas and Ladon (Serpent mix). The title of the tracks, as well as the mood in every song, displays a mythology-inspired work, a little more serene, soft and balanced than The Way of One. Argonautica gets better and better as reaches the end.
Diving deeply into an infinite ocean of sensitive splendor, colorful sentimentalities, abysmal nights of incurable tenacious placidity, being completely embraced by the gracious waves of its melodious charismatic fortunes, on Ariadne’s Thread, restless universes collide over multiple horizons of impatient indulgence, pretending to be lost in a stream of diligent sonorous flavors. Deliberately, a precise and salutary consistence rearranges the dynamic patterns of its anatomy, in a convergent alliance of splendor that easily understands the logic behind its own impulse. The introductory enchantment prevails over the benevolent compulsory rapture of its unlimited sonorous configuration. All the way through – expanding in the vicinities of its latent infinity –, a regressive set of harmonies rapidly overflows under the skin of its convergent sonorous projection, intelligently tracing and defining the impalpable frontier of its mordacious, but lucid musical gravity.