Lucid Structure's album
Album reviews
Artist:
Lucid Structure
Album:
We Were Never Here
Release year:
2018
Label:
Self-released
20 April 2018 / by Daniel Huegli (author)

From the first moment on We Were Never Here, it is clear this album creates its own world with its own rules of time and space. In an instant you slow down, give into the new tempo of your life commanded by the meditative ambient music. The small universe in your head is your home for the next hour. Lucid Structure is conducting an orchestra of synthesizers and organic instruments and the music is directing your feeling for time and space.

Lucid Structure was influenced by ambient music artists such as Brian Eno, Harold Budd, and Vangelis. It is also noticeable that Lucid Structure is very familiar with classical music due to his father who was, among other things, a conductor. For instance, the track “Like Ships in the Night” begins with a marimbaphone and a soft and simple beat created with drum brushes accompanied by strings in the low-end region. Yet soon the natural sounds shift into the unnatural. Dark, suspenseful and hectic electric sounds emerge. “Like Ships in the Night” uses similar musical themes as the Stranger Things series introduction; with synthesized broken chords in continuously flowing 16th notes causing turmoil. Even the distorted synth-bass is reminiscent of the shows soundtrack.

The subconscious connection to Stranger Things might be why, during my first listen, I thought the album could be the soundtrack to an epic, deeply philosophical, sci-fi movie. This impression is not so far off. Then, outer space is the setting in the music video of “Together We Breath” showing pictures taken from a space probe floating above Earth. The dynamic volume of each sound adds the element of space, not outer space, to Lucid Structure's music. A sound can sneak up from afar, as if it were approaching the listener on an open field, without him/her noticing and so creating a subtle surprise, before fading slowly. Yet sounds also appear immediately, impossible to overhear, ripping you from your chain of thought.

In the second half of the album, with tracks like “Rapid Eyes” you get totally lost in clouds of sound, from this point on, rhythms are used sparsely. The music becomes dreamlike and calm. There is no build up and there is no way to anticipate the ending or changes in the tracks. The sound design becomes the main event of the overlapping and morphing spherical tones. “In the Room” brings disturbance to the peacefulness with unidentifiable rattles and sharp high end, almost tinnitus resembling whistles, combined with unstructured dissonant piano chords. Only at the very end of the album does the music return to using a fast, clear beat and thus returns to the real time of the world.

 

The author

Daniel Huegli

Write a Comment