![]() “Endless” finishes the album with some sedate cello-sounding synths and a slight orchestral build, and again this sounds like something from a soundtrack then the drums come in and we are taken away on our spaceship over alien landscapes as we head towards the sunset, the music swelling all around us. “Hope” has slow-build synth pads over a pulsing bass rhythm, its lead line is simple but moving as it touches on a slightly melancholic mood as you think on the past and look towards a different future. It’s a wonderful closing piece for the second side, with a tune that gets you humming along and wanting to flip the record over. With “Prophecy”, Magic Sword are back to some uplifting disco music with a feelgood walking bassline that sounds like its come off a Jean-Pierre Massiera record. The sequencer slowly builds and bubbles away, drums clatter occasionally and it’s a brooding interlude of a piece that sounds menacing. Deep notes herald in “Shores Of Oblivion”, a piece that hints a Kraftwerk’s “Kometenmelodie” at times thanks to its use of space and drones. Here, the melody reminds me of bands like Milkways from the late seventies and even a little bit of The Droids. “Empress” is a rolling tune with the arpeggiator giving it a lolloping rhythm before the steady drum beat kicks and we head straight into the French space disco category. ![]() “Aftermath” opens with a quiet Vangelis-style reflection mode as bass rhythms pulse and cymbals chime and big Moog Taurus pedal-sounding notes punctuate its meditative feel. “Invincible” has a rolling sequencer very much in the mode of Tangerine Dream, its keyboard line sweeps below as it then suddenly takes off to a furious back beat and the bass blasts out. When the lead guitar steps in its quite breathtaking, as its notes rise above the chord sequence as if stretching out to the universe. The drums keep a steady rolling beat as the guitar picks up the sound and suddenly you are immersed in Magic Sword’s world the melody is understated, talking of future worlds or maybe ancient cities before the rise of Atlantis. Side one begins with “Depths Of Power”, which starts with a melancholy synth sound not unlike what Brian Eno used on David Bowie’s Low album.
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