Drawing us in with astral beeps, and a textured, industrial soundscape with a meditative frequency, Bloomfield Machine opens his album, Left To Our Own Devices with the track Reality Collapse, and a sense of intrigue and dimensionality.
The opening number serves as a subversive introduction before we experience The Imperative which teases us with metallic detailing, generating an out of this world energy, fused with a melodic, minor soundscape which evokes a sense of awe.
We appreciate the cosmic and magnetic energy that the record serves, filled with intricacy and unique sound design which feels progressive. Speaking on the album, composer Brian M Kassan confesses, “With the help of today’s amazing computer tools and the use of vintage analog gear, I’m able to explore new frontiers of composition and sound creation using hypnotic grooves, strong melodies, and short pieces that seem to reflect the nature of our advancing technology.” He adds, “Left To Our Own Devices is hopefully a way to make sense of the quick changing world we live in.”
Next up is Looking for Leverage, which takes us on a more uplifting and playful journey with an enigmatic synthscape and darker, more cyberpunk sound design, in line with the overarching theme of the record. The outro of the track holds a sense of elegant timelessness, and throwback of the earlier part of the 20th century.
Ghost Passenger opens with atmospheric drums and an astral frequency which has us mesmerized. Vocal harmonies draw us in further, before a fuzz bassline further dimensionalizes the piece. The composition taps into a high octane energy, which is not only immersive but evokes a sense of urgency before dying down, leading us through to Greeble – a dynamic piece filled with emotion and luscious organ performances.
Impression Management takes the tempo down again, allowing us to connect with the intention of the composer on a more intimate level. We appreciate the dramatic elements and imagine this perfectly scoring a Hollywood sci-fi blockbuster.
Next is Inventing Hope which showcases a more experimental side to Bloomfield Machine, almost delivering the feeling of being in outer space, whilst Minister of Loneliness showcases a fierce guitar performance, creating a cohesive tapestry of sound, before warped spoken word leads us to a more mysterious universe. We connect with the ebbs and flows, which keep is gripped throughout before Supernormal which is anything but normal. The static nuances are enticing, whilst the bassline keeps our hearts pounding, allows the celestial top line to soar.
No Explanation is next, allowing us a brief melodic respite, before Zep Tepi‘s fuzz-laden, 80s esque vibes have us grooving on a cosmic level. We love the guitar finale of this track, leading us swiftly onto the cleverly titled, Illuminaughty which brings to life the mystery of the concept with Eastern elements. We feel like we are on the set of Aladdin set in a futuristic reality, and the opus really allows us to appreciate the instrumental mastery that Bloomfield Machine generates.
We then experience, When Is It Done Really, which builds with dynamism and a mystical bassline, something that the entire record has in common. The drums performance is enticing, whilst a soaring guitar has us reaching for the astral realm.
Soul Crusher kicks off with textured drums and a moody melody, before the immersive nature of what Bloomfield Machine has to offer comes into play with cerebral, panning synths.
Next is Inner Beauty Pageant which feels like activism and self-realization come full circle, we appreciate the name of the track, and how it applies to the universe that Bloomfield Machine is creating – it almost feels like we are nearing the end of a movie, which brings us to Levels of Infinity, which serves as a full circle moment sonically for the record, and an epic finale, pulling together all of the threads of sound that we have experienced thus far, and inviting us to reach for the repeat button, so that we may have the chance to experience the transcendental and enlightening album once again.
Brian cites 70s progressive rock, classical music, Boards of Canada, My Bloody Valentine, Gary Numan, Casino Vs. Japan, New Order, and Air as some of his inspirations, which we can certainly feel come to life on Left To Our Own Devices, although there is no doubt that Bloomfield Machine is manifesting a universe of his own.