Indie Music Album Reviews

OPHÅNIM - OPHÅNIM

11/4/2022

OPHÅNIM

OPHÅNIM
Nebulab Records; 2021

4.0 out of 5

By Jay Freeman

Currently based in Texas, the duo known as OPHÅNIM, is comprised of Carolyn and Jason who are both multi-instrumentalists, and have musical backgrounds primarily in folk/Americana music. Recently, they have made the leap into a much more digital sound with the forming of OPHÅNIM in 2021 after meeting on Twitch. Their self-titled debut album OPHÅNIM is described as “an ethereal space opera” which blends organic and electronic instruments, and haunting vocals.

The opener “Prime Star – Creator” opens with the introduction, “…ladies and gentlemen…. (something said), in space” followed by a treasure trove of synth spacey magic. The band has extensive experience making electronic music. “Diosa Fortuna” features more clips of narration and a more techno-pop beat a la EDM of the ‘90s. There’s plenty of “heat-like” sounds (or what I would describe the synths sounding like), as if you were riding out into space towards the pull of the sun. “Transmission (Intérludió)” offers a sultry guitar sound and ear engulfing synths – full and rich.

This tune also features those haunting vocals I mentioned, sung by Carolyn and piano accompaniment, I assume, played by Jason. Next up is “Transmission” and it basically is a repeat of the last number, although the beginning words are different, but still has that sultry appeal. Next up is “Eqûivocadö” and it fades in slowly with a mysterious vibe and an almost deafening, low rumbling beat. There are a few lyrics that are spoken about a person who claims they are “god.” It starts off “The leader of the authorities of darkness is blind” and “there is no other than me.” Part of this tune had an old-Egypt feel to it, like when the Pharaohs ruled that region of Africa. It also features acoustic guitar.

“The Moon” continues the album with more acoustic and it’s also the first song featuring a duet between Carolyn and Jason. In the background, some extra percussion and quiet, sounding synths can be heard. In contrast to the last track’s quiet nature is “Fight the Nothing – Reloaded” – an industrial, synth-pop song, featuring heavy percussion, a spacey distorted guitar sound and pulsing synths. Overall, this song has a theatrical, climatic presence about it. “Interdimensional Rift” opens up with sounds that made me think of shooting stars, or comets out in space. There’s a lot of twists and textures featured here, meaning the band mixed a lot of extra synth effects and percussion. They also added a robotic voice, that reminded me of Stephen Hawkins electronic “voice” he used due to his ALS. At times, it sounded like the voice was being played backwards. I liked how this tune takes the listener on a journey. “Star – Date” is another synth-pop track with a faster tempo and a lot of haunting vocals. This one has a very attractive melody and danceable beat – it was no doubt, my favorite on the album. If you’re not really into digital music sounds, whether they be early EDM stuff from the ‘90s, new age ambient or otherwise – give this one a try, I think you’ll like it.

“My Hell” is the “ballad” number on the album. A tender piano melody, coupled with lyrics of desperation – “somebody help me – save me from myself, somebody help me – save me from my hell.” “Athermancy” offers the listener another industrial-infused, heavy techno style, with lots of deep, deafening bass beats, drum clicks and ticks and other added synth effects. Also featured is some narration about the sun and the stars, and this really cool snare drum sound. I’d say this track was perhaps the band’s most drum heavy song. The next song “Shakti” as I recall, is a name in Hinduism or Hindu philosophy. And judging from some of the band’s space-themed songs, I’m guessing this is the duo’s attempt to musically meld the cosmic energy of Shakti with the physical aspects of space itself.

OPHÅNIM’s last track“Rinkü” continues on with a middle eastern vibe, and a style that feels like the ancient, old world of India. The song fades out after four minutes, then comes back with backward effects playing, echoing, hypnotic vocals and the faint sounds of that one traditional flute that’s played in Indie – what’s it called? – but here, it sounds like it was replicated on a keyboard. Overall, a trippy wrap up to the album’s end. Again, for a Texas duo experienced in playing folk and Americana, you could have fooled me – this was a fantastic journey to listen to.