Levinsky is an electronic music producer from Helsinki, Finland. His full-length debut “Electra Complex” was released mid-2019. On October 2nd, 2020 he unveiled his latest opus entitled “Nocturnes” to the world.

The cover artwork was produced by artist Ninni Kairisalo of Kali Graphics. I quite like what they’ve done for Levinsky here, especially with the midnight wine color scheme. They also did the artwork for “Electra Complex.” I’m not entirely sure what’s going on here, but it kind of looks like a “girls only” orgy configured in the shape of a flowery inverted pentagram. Since the music presented very much embodies a dark psycho-sensual vibe I think that it fits in well with what Levinsky has done here.

Levinsky’s style on “Nocturnes” is self-described as cinematic post-synthwave/darkwave, which feels accurate to me. There are some very retro/modular vibes going on throughout this album that carry that familiar synthwave quality with it, “No Control (Love Theme)” and “Symptom of the Night,” are good examples of this. Generally though, I felt that this album leans very heavily into a romantic gothic influence, which is my fucking wheelhouse. I’ve been aware of Levinsky for quite some time, but I haven’t given his music a listen until now, I regret not jumping in sooner!

If I had to reference “Nocturnes” to what I already know, it sort of reminds me of a mixture of Confrontational meets Collide (especially their more recent albums), meets early 1990s Enigma. When I close my eyes to visualize what I feel when I listen to this album I don’t so much see solid images as I felt a massive aura of appreciation for a darkly erotic feminine force. “Nocturnes” is slow, carnal, and a ecstatic. And while I can try to compare it to other stuff I’ve heard out there, “Nocturnes” is distinctively its own thing without sounding too vampyric, too retro, or too ritualistic.

Five tracks on this LP are completely instrumental and serve as bookends to three gorgeous tracks featuring guest vocals by Enlia (France), Witch of the Vale (Scotland), and Bara Hari (United States). Much like a triptych, “Nocturnes” is configured into a cohesive narrative that isn’t you can appreciate fully until you listen to it a few times. “La Notte Oscura” and “No Control (Love Theme)” serve as the strongest instrumental “openers” leading into the vocal tracks here. Of the three songs with vocals “‘Un Coeur Dérangé” is the most explosive track on the album as a beautiful example of how to properly arrange and produce vocals. The French lyrics here perfectly fit the Marquis De Sade aesthetic of “Nocturnes.” Enlia’s voice reminds me a lot of Anette Olzon of Nightwish fame. It’s silky, well-recorded, and gentle. “The Strangest Flower (feat. Witch of the Vale)” offers up another well-produced vocal track which is the most retro of the three vocal tracks available here. This is primarily because of Levinsky’s choice to use a warm pulsing bass for the song’s low end. Don’t let that confuse you into think this is proper synthwave, however. Because it isn’t, and it’s better for it. There’s plenty of pianos and strings here that add an almost symphonic vibe in the song’s “bridge.” The subtle guitars on this song are a nice little surprise too and only add to Witch’s vocals during the chorus. There’s subtle pitch correction going on in this song that positively augments Witch’s voice to fit easier within the context of what Levinsky is accomplishing. Finally, Bara Hari makes an appearance to carve up some flesh on “Capitale De La Douleur.” Her performance is very Western in an Amy Lee sort of way. To me, it feels like a continuation of what she did on her debut “Pandora’s Box.” I quite like it.

Overall, “Nocturnes” is bad fucking ass. I will always appreciate music that accurately connects well-executed visual aesthetic with well-executed audio production. In my view you can’t have one without the other.

FOR FANS OF: Confrontational, Collide, Enigma, and people who just like darkly erotic vibes.

STAND-OUT TRACKS: “No Control (Love Theme),” “Un Coeur Dérangé,” “The Strangest Flower,” “Capitale De La Douleur”

Album Color Profile: #884EA0

You can find all things Levinsky at https://levinsky.bandcamp.com/

Ah, Bandcamp Fridays—the one light in the deep dark tunnel that is 2020. With the advent of Bandcamp Fridays, a lot of artists have begun centering their release strategies around this special day, and as 2020 has gone on more artists have felt compelled more artists to release albums to coincide with the occasion. Today, Kizunaut has followed suit with the release of his sophmore album entitled “The City by the Sea.” If you don’t know who Kizunaut is, he is an electronic music producer from one of my favorite places in the world, Scandanavia’s very own city by the sea–Helsinki, Finland (vetää perskännit!)

The visual aesthetic for “The City by the Sea” was created by Octopuddle. The image features a very industrial gold and blue color scheme which is somewhat of a departure from what I’m normally used to in the often neon-soaked cyberpunk centric music. Despite being a bit on the nose and a little cartoony, I like it, though I would’ve preferred a much more physical DIY look (like a collage) to accentuate and accompany this release.

Musically, “The City by the Sea” feels like a total step up from Kizunaut’s previous Synthwave-leaden “This Was the Future” from 2019. Generally speaking, there is practically zero Synthwave influence shining through on this album, and you know what? I like it better because of that. I think that the feel of this album is somewhat comparable to a cross between “Front by Front” by Front 242, 90s-era Attrition, and Nine Inch Nails.

“The City by the Sea” is really gothy—in a black eyeliner kind of way. The way the percussion and bass come together on this album instantly reminds me of 1990s style rave culture. “Up in Smoke” is a good example of this, combining an oddly familiar synthetic industrial guitar sound with its pulsing and deliberate high-mid bass. I would’ve jammed it so hard in 1996.

The lyrical content of “The City by the Sea” isn’t exactly poetry, as it covers the overplayed trope of what it means to circumnavigate life and technology. Kizunaut writes the following in the album’s closer “Real Human Being”:

“Bound to the network/We dream of freedom/I want to disconnect and feel more complete/Now what will it take for you to treat me as human being?”

Again, it’s not poetry, but it gets a simple and easy to understand message across. All of the songs here touch on this type of thing.

I want to talk about the vocal performance on “The City by the Sea.” Generally speaking, I much prefer music with vocals, but this is one of those rare cases that I would’ve liked having the instrumental versions of these songs in conjunction with what we got. When I spun this album for the first time, I was instantly taken in by the nice gothic vibe of the music, but that vibe disintegrated when the vocals came in. Kizunaut’s vocals aren’t going to be everyone’s cup of tea. They are slightly grating and pointy in a nasal Billy Corgan sort of way. I think that a colder, more monotone voice, like Front 242’s Jean-Luc De Meyer, would fit Kizunaut’s music perfectly. I can tell that the intention behind implementing singing on this album wasn’t to annoy listeners, but to create catchy and lyrically driven tunes. To that end, I think that Kizunaut was somewhat successful, as there are some real earworms here—see “California Baby” to hear what I mean.

Considering that Kizunaut outsourced mastering duties out to Friendly Timo (from The Fair Attempts), I’m pretty sure that vocal duties could’ve been outsourced as well. Personally speaking, I would’ve leapt at the opportunity to sing on this album if it came up. The music is so incredibly rock solid that it’s somewhat disappointing that the vocal performance here wasn’t a little bit better. That said, after spinning “The City by the Sea” a few times you get more used to Kizunaut’s vocal delivery. I think that the latter half of the album features a lot more content that serves Kizunaut’s voice much better than the first half of the album. Cuts like “Obsession,” “Only for a While,” “Real Human Being,” and “Up in Smoke,” are good examples of songs that I think sound pretty okay with vocals as they are. I really wonder what this album would’ve sounded like with a vocalist like Vandal Moon’s Blake Voss.

When I look at the entire picture of “The City by the Sea,” I think that there is a lot promise here. The songwriting is catchy, and there are some memorable moments to be had. “Real Human Being” might be my favorite song from this album since the vocal performance is much more level and uniform in comparison to the wide majority of the songs on this album. This is perhaps due to a combination of decent compression and microphone position. There’s not many stray high pitched notes on “Real Human Being” that takes me out of the vision Kizunaut had for this song. I also enjoy “Up in Smoke” quite a bit due how minimalistic and slower paced than the rest of the album. Overall, I look forward to seeing how Kizunaut grows as an artist because he has a lot of potential to create a paradigm shifting album in the future. It’s just going to require the right visual style and the right vocalist.

CHECK THIS OUT: If you’re a fan of Front 242, Attrition, Mortiis (era 2), and Nine Inch Nails.

STAND-OUT TRACKS: “Up in Smoke,” “Real Human Being,” and “Obsession.”

Album Color Profile: #1B5E20

You can find all things Kizunaut at https://kizunaut.bandcamp.com/