Sensum - Nocturnal Transmissions

Nocturnal Transmissions is the often overlooked debut from the Sydney-based artist Sensum. He was previously known through a number of decent compilation appearances on this very label, Z.M.A. Let’s Turn On was a solid piece of work from A Day After, and he had a pair of notable tunes on Battle Royale. This CD showcases an uncommon blend of deep chunky progressive with minimal sensibilities, which is sure to be of interest to some listeners. I wrote this review mainly to see if I could get anything out of this experience, as I have had it for a while without forming any kind of opinion on it.

Going Mad begins the album with a sign of things to come. The key melody is heard at the very start, and never does it develop as the track progresses. There are times where it is not present – when tension is being built – but most of the time it is cycling through the same simple pattern. The rhythm is a chunky setup, sounding very Central European to my ears. Alongside the occasional outburst of tribal drumwork, slight pads slice through the soundscape in a hypnotic fashion. Ultimately it is competent yet dull, which turns out to be the case for much of the material found here.

Ghost Logic features a darker drive, with samples from Nosferatu and Blade Runner. The focus is once again on pulsating grooves and slight sound effects. The menacing edge and well-timed sample usage lends this one a bit more character than some of the other pieces here. Decent but not outstanding.

Rollersmoker lightens it up somewhat with the inclusion of female vocals and bright melodic flourishes. Just as with the first song, a single pattern is expressed over and over again without any real development. All of the development seems to take place in the muddy territory right above the steady rhythm, and it’s easy to miss. There are no surprises here.

At 144 BPM, Lunar Activity is the most uptempo piece of Nocturnal Transmissions. It opens with a one minute long intro, in which a sample from Hellraiser III plays through. Wolf sounds and well-integrated guitar adds some distinction to the developing rhythms as they begin. After this, it is easy to lose track of what is going on. There is evidently some thought put into the construction of the rest of the song, but it fails to make a strong impression on my ears.

Afrika begins with a powerful sample some may recognize: “it began in Afrika.” From that point onward the linear rhythms begin to unfold with a sublime array of atmospheric themes. Another reviewer describes the sound as that of the Australian outback, and I agree; it’s a poignant bit of imagery that concisely expresses the specific character of this piece. Mournful mystic tones flare up in the early moments, but the song gives itself over to deeper tribal-organic travelling as it carries on for ten minutes of ritual pounding. In the last couple of minutes an array of old school trance riffs begin to lightly spiral above the constant rhythms, reminding me of classic tunes from Sheyba or Elysium. The spoken samples in the body of the work detract from the entrancing powers of the steady rhythm and casual interplay of atmospheric themes, but the wolf calls fit perfectly. Easily the best of the album!

Tri-Polar is the slowest song of the release, clocking in at 135 BPM. The beats are highly processed once again, sounding very thick and extremely synthetic. This is another resonant groover full of deep tones and drifting atmospheric sounds which is lacking in distinction.

The Visionery throbs along with a pushy bass line and the usual Sensum-style kick drum. Tribal textures invade near the half-way point, but there isn’t much to chew on in the early moments. A short break in the last third begins to change that, however. The return features a fitting vocal sample, and the song begins to loosen up. Simple melodies begin to sparkle in the twilight atmosphere, but they don’t go too far before the track concludes.

I wouldn’t have thought it were possible, but Ear-Drumming is even more sedate and unengaging than any of the previous tracks. I hear more of a tribal touch to the drums in some parts, but aside from that it’s as if nine minutes of my life slipped by without any memory of it. Uninteresting.

After a number of bland tunes, the closing tune Pokerface is nice to hear. Though very deep and sedate, there is greater emotive power present. There is something about these stealthy rhythms and subdued atmospheric passages that reminds me of Noma’s more dreamy material. A good sample can be heard in the heart of the tune: “we’re all shamans using music to acheive ecstasy.” The final minutes rise to the occasion, calmly instituting additional layers of mild-mannered synthwork that capitalizes on the entrancing nature of all that has come before. This completes the album on a positive note.

Sensum’s debut is a dry progressive album in the style of Aerolink, Shaman, and Shadow FX. The production quality and sound design are acceptable, but the arrangements tend to drag, and I’m not convinced by the creative elements. Sensum has a consistent approach, but the result is an album that is very dull to listen to in one sitting. As background material it may work well, but this approach runs the risk of leading to irrelevance. That’s exactly what the problem is here; I simply can’t see a reason why anyone would want to purchase and then listen to this when there are much better progressive psychedelic trance releases out there. I’m sure Sensum has more good music in him, but this collection is only for the rare souls who appreciate a truly minimal style composed with heavy progressive motifs. Even the cover art is tragically bland. This album is missing an essential spark of ingenuity that would make these well-conceived soundscapes come to life. I’d only pitch this towards those who appreciate very static, deep, and sublime styles of minimal psychedelic trance.

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