Damokles - Then When?

Review by Karl Magi

Overall Album Impressions

Damokles' latest album "Then When?” Is a look back at music he made in the ‘80s and ‘90s. The album combines his freewheeling keytar playing with a fascinating plethora of percussion sounds, unique vocals and sense of musical playfulness. I enjoy the dynamism, humour and personality that permeates this album as it unfolds.

The first thing that strikes me about “Then When?" Is the way in which the high production values mix with synth layers that ooze funk, ear-catching sonic combinations and charm. I find Damokles’ keytar playing a real pleasure to hear with its intricacy and jazzy motion. I like the way in which he is interested in using sound to create an atmosphere, and imbues the music with a real sense of play.

Damokles has one of the more unique voices that I've heard in my music reviewing career. He has a fresh sound with a unique timbre and resonance to it. It is unmistakable and I respect that fact a great deal. I also derive a great deal of enjoyment from the old school raps that he does on a few tracks, I do love the feeling it adds to the retrolicious sound already present on the album.

I have always been enamoured of the production values in Damokles’ music. All of his sounds are crisp and clean with sharply defined details and a nicely delineated stereo field. I think that the great production adds to any music’s listenability and Damokles has that to spare. I like the auditory travels on which the sounds take me.

My Favourite Tracks Analyzed

“Pose To The Rhythm” commences as dense synth moves in motivational lines as thundering drums batter and snaky synth twists along with samples of Damokles’ voice. Record scratches and crisp percussion underpin piano notes trickling past.

Now Damokles’ voice pops and bounces while a rubbery synth bends. Lambent notes flare out along with orchestra hits and glowing synth jumps out along with Damokles’ fun samples and giant drums. Damokles’ keytar carries a melody that glides with charming tranquility as it moves with all the madly clustered samples.

A scudding drumbeat supports a bell-like synth that fills the track with light. Piano notes trickle past and the drums and bass drive onwards. The track fades on vocal samples, dense bass and glimmering synth.

Metallic synth bursts in angular, wandering lines to open “I’m Falling In Love.” Wind sweeps, brass hits explode and massive timpani batter while a kick drum pulses. Illuminating synth carries an uplifting melody above driving low end motion and continual synth eruptions that bathe the song in brightness.

Damokles’ unique voice carries a tender vocal melody out above the intense low end. Drums add shape to the track as radiant notes fly into the song. Damokles’ voice has a rich quality as it fills the music with life. Effulgent synth erupts again and the pumping beat moves onward.

The vocal melody is full with feeling as active percussion leaps. Twisting samples cut in and the kick drum pulsates. Damokles’ voice is chopped and twisted while metallic notes writhe. Scintillating synth jumps in and the bass throbs as we end on orchestra hits.

Our narrator is talking to the object of his affection, telling her that he’s given her his soul and he’s “fallin’ into your world.” He points out that he comes running when the other person calls his name. He says that he keeps on running, but he doesn't want to stop because "it is done with the power of love.” He asks the song’s subject if she feels the love to and adds "please say you do!"

He talks about merging their lives into one and says that the other person can "like a surgeon, cut me loose and ease my burden.” He asks the other person to call his name and I'll see him they'll see him and. He says that he's not the same "now that you need me and his once empty life has a meaning he can see.

“It’s Electric” starts as popping synth zaps in bursts that become a pattern over slamming kick drum and clapping percussion. Electricity flows and round, fat synth moves in a minor key twist as impassioned female vocals ring out.

Record scratching cuts in above the intense groove as rising synth adds luminosity. Nasal-sounding synth vibrates and the low end pumps as the record scratches skip through.

I want to boogie on down with the massive, lush bassline. After a flashing orchestra hit, gliding synth and sparkling chimes join the female vocals as they fade.

Rounded, bubbling notes move in a rippling pattern before percussion with metallic qualities taps in as “Axe It!” opens. Colossal drums burst and sharp-edged synth cuts in while clapping percussion moves.

Wriggling, scintillating synth leaps in a dynamically twisting melody above the shaping low end. Percussion explodes and bending synth with a brassy shine dances in rapid motion with a charming, encouraging melody running out while dense bass jumps.

Now a heaving, pulsing percussion solo with massive drums pounds in. Gleaming synth sings an energizing melody and glassy percussion tinkles while the bending, snaky synth twists again. The heavy low end throbs and the main melody sings out in lively motion to end the track.

“DJ” kicks off with huge, funky slap bass moving in a popping line along with a snare drum. A heavily dancing percussion section becomes a groove as drums flourish and equally funky synth jumps in.

Damokles’ inimitable voice comes in and now a classic rap segment about the joys and challenges of DJing is cut by shining trumpeting synth in a catchy, uplifting melody. The rap jumps through with the heavily exploding drums and the radiant lead synth while the bassline flows. The rap is a whole lot of fun and slap bass brings a heavy funk dose.

The keytar solo has the typically intricate and wild sound we can expect from Damokles. The synth in the breakdown has irrepressible energy as it writhes while the keytar keeps twirling in complex, jazzy motion. Battering drums rebound and the samples all move in wild abandon as the trumpeting synth rings out with irresistible life.

Heavily hitting drums move with Damokles’ flitting, chopped up vocals that bounce through the music to start “Dressing Up.” Densely expansive synth moves in broadly floating motion, slowly undulating as the chopped vocals keep moving in rapid lines while the percussion keeps on shaping the song.

Now brilliantly shining synth carries a melody that is full of an exuberant sense of joy that fills it to the brim while the crisp percussion keeps giving the song form. Damokles’ vocals cruise into the song with a laidback feeling while bass bubbles and percussion taps smoothly.

I enjoy the illumination from the lead synth as it fills the track above the percussion and bass motion that imbues the song with a continuous feeling of lively energy. The chorus has flying dynamism pouring out to create propulsion and excitement from the glittering synth while the low end drives forward.

The melody sings out with a feeling of adventure and yearning while the vocal sample trip past in popping motion. The song draws to an end on one of Damokles’ whirling synth solos that dances past in madly wheeling lines before the music ends on sunlit synth and rebounding drums.

Our storyteller talks about dressing up, getting down and going downtown. He talks about hiding one's face behind a mask. He asks what one might see looking at all of the “hidden faces staying out of the light like you and me.”

He wonders why everyone is playing by “the rules of the game” because they are all different but look the same, no matter where one goes. The storyteller wants us all to look around to see who people are at their core. It’d create profound change if people were to “branch out the tree.”

The narrator points out that less conformity would mean that rather than uniform rows of flowers, we could have “fields upon fields of exploding colors.” He asks us to imagine if people would be themselves rather than “posers hanging out by the bar.”

He asks people to let the light in and stop the rain, opening the doors and letting their chains drop away. He also comments on the irony, that even people who claim not to conform “you still need to have the look and accessories to show that you belong.”

“Look At The World” starts off with fat, funky synth that swings through after Damokles counts it in. Radiant notes flare in before steel drum like synth and metallic percussion are joined by shimmering synth that flickers while the bass throbs.

Damokles’ vocals have their usual compelling feeling while the reggae influence is clear. Shiny synth adds sunlight while the low end has a strong groove drive by varied percussion and colossal drums.

The keytar solo jams in with intricately intertwined notes becoming a richly dancing whole. I enjoy the way in which all of the parts here contribute to the powerful groove that locks all the parts of the song into a whole while Damokles’ unmistakable voice carries the song to an end.

Our narrator asks the audience to "take a look at the world now, it's the only one we got." He says that we have lots of people with knowledge "but the temperature is getting hot.” He elaborates by pointing out that it won't cost very much to be friendly and lend a helping hand, but "then I could help someone else.”

The storyteller is emphatic in telling people to "shape up!" and not just stand around waiting but make change while trying to "go without leaving a trace." He says that if there's something you can do, you should do it because then "the uncharted founding of a new world is done with room for everyone.”

Conclusion

“Then When?” is an album that is full of exuberant energy, a powerful groove-based low end and Damokles’ inevitable sense of fun and excitement along with his unforgettable keytar solos and unending playfulness within each track. I enjoy hearing the fact that all of the elements that define his music have been there all along.