Near the Mexican Border 773 3rd Ave Chula Vista CA USA 
#loveisrelgion

Near the Mexican Border 773 3rd Ave Chula Vista CA USA

loveisrelgion

By the Mexican Border 773 3rd Ave Chula Vista Ca USA 
Show starts 6pm

By the Mexican Border 773 3rd Ave Chula Vista Ca USA Show starts 6pm

Attention DEITY.vip members! October is Art-n-Music Month for DEITY. Join her at her Sound Visual Art gallery for the 28th annual Santa Fe Art Colony 2017 Open Studios. To unlock your DEITY perks, click on the events page here at the site. 
DEITY.vip gallery guests will be treated to a special intimate performance by DEITY.  Her new body of work with Norway's atmospheric composer Ketil Lien is very emotional and beautiful. With song titles such as, "Release the Chains", "You are not Forgotten", "Love (a mysterious beauty)" and more.  

If you are going to invest in an artist this is a rare opportunity to get to know her process, where her creations come from, where she lives and creates.. be the VIP that gets the DEITY experience first hand. Understand being DEITY.vip allows her to get to know her supporters too. Everything is a circle. #loveisreligion

Attention DEITY.vip members! October is Art-n-Music Month for DEITY. Join her at her Sound Visual Art gallery for the 28th annual Santa Fe Art Colony 2017 Open Studios. To unlock your DEITY perks, click on the events page here at the site. DEITY.vip gallery guests will be treated to a special intimate performance by DEITY. Her new body of work with Norway's atmospheric composer Ketil Lien is very emotional and beautiful. With song titles such as, "Release the Chains", "You are not Forgotten", "Love (a mysterious beauty)" and more.

If you are going to invest in an artist this is a rare opportunity to get to know her process, where her creations come from, where she lives and creates.. be the VIP that gets the DEITY experience first hand. Understand being DEITY.vip allows her to get to know her supporters too. Everything is a circle. #loveisreligion

New Single with Norway's atmospheric Composer & Producer Ketil Lien available exclusively to DEITY.vip members. How do you become one? Well, you sign up at DEITY.vip link here on the website to start your exclusive membership.

DEITY
Love Is Religion

New Single with Norway's atmospheric Composer & Producer Ketil Lien available exclusively to DEITY.vip members. How do you become one? Well, you sign up at DEITY.vip link here on the website to start your exclusive membership.

DEITY Love Is Religion

“Dark Star” immediately sounds like an album finale.  With a gradually enveloping sound, yet still an intimate sound…there’s a lot about this last song on 1980 Redux that seems to feel like it is even more personal than the songs before it.  Of course, with the Bowie-threads & influence that run deep throughout this record, this could certainly be a nod to the final album David put out, Blackstar.  It’s hard to say 100% for certain…the lyrics could definitely apply…but us writer-types also have a tendency to change those meanings to suit our own narratives.  I’m reasonably confident that this comparison, the desolate atmosphere and the empty feeling you get here at the end exists for a reason…a musical mourning of sorts, assuming my assumptions are correct.  Regardless of what the true story behind the lyrics may/may-not be – George has done a great job of scaling back the sound but not the intensity; “Dark Star” is one of the heavier tunes on the record in terms of its atmosphere…you can completely feel this final song stick to your bones and cling to your soul…I found it to be an incredibly intense and memorable moment on this album that made for an extraordinary 
lasting impression and ending.


Read entire review at http://sleepingbagstudios.ca/alien-skin-1980-redux/



1980 REDUX is Alien Skin's new album
the title describes the music
and officially out, iTunes etc.
Hear it - all the links you need are at http://alienskinmusic.com/

1980 REDUX
"Besotted with 1970s Berlin-era Bowie, enchanted by pre-Victorian Mary Shelley while contorting & shape shifting into the geometric world of 1980; its arpeggiated synthesizers & melodies as keepsakes ". DEITY's warm but sweet vocals make a guest appearance on the closing song of the Album, "DARK STAR" vale David Bowie. Enjoy Alien Skin's other Albums featuring DEITY- A Blue Sky at the Edge of the world, and Winter on Mars.

“Dark Star” immediately sounds like an album finale. With a gradually enveloping sound, yet still an intimate sound…there’s a lot about this last song on 1980 Redux that seems to feel like it is even more personal than the songs before it. Of course, with the Bowie-threads & influence that run deep throughout this record, this could certainly be a nod to the final album David put out, Blackstar. It’s hard to say 100% for certain…the lyrics could definitely apply…but us writer-types also have a tendency to change those meanings to suit our own narratives. I’m reasonably confident that this comparison, the desolate atmosphere and the empty feeling you get here at the end exists for a reason…a musical mourning of sorts, assuming my assumptions are correct. Regardless of what the true story behind the lyrics may/may-not be – George has done a great job of scaling back the sound but not the intensity; “Dark Star” is one of the heavier tunes on the record in terms of its atmosphere…you can completely feel this final song stick to your bones and cling to your soul…I found it to be an incredibly intense and memorable moment on this album that made for an extraordinary lasting impression and ending.

Read entire review at http://sleepingbagstudios.ca/alien-skin-1980-redux/

1980 REDUX is Alien Skin's new album the title describes the music and officially out, iTunes etc. Hear it - all the links you need are at http://alienskinmusic.com/

1980 REDUX "Besotted with 1970s Berlin-era Bowie, enchanted by pre-Victorian Mary Shelley while contorting & shape shifting into the geometric world of 1980; its arpeggiated synthesizers & melodies as keepsakes ". DEITY's warm but sweet vocals make a guest appearance on the closing song of the Album, "DARK STAR" vale David Bowie. Enjoy Alien Skin's other Albums featuring DEITY- A Blue Sky at the Edge of the world, and Winter on Mars.

Alien Skin's She’s Ephemeral with the assisted soft warm vocals of DEITY brings things back towards the arena of unusual beauty. This song is sublime, a focused piece of storytelling that keeps you captivated. The music is stunning, this array of synth riffs, blossoming and then cascading around you, feels something like summer rain, intertwined with rhythmic dashes of electricity. An incredibly atmospheric and strangely soothing piece of music. 

NEWS

Love Is Religion TM

 
Click poster for LA County Fair Tickets & Information  




Deity will be performing Live at The Basque Village LA County Fair Event
September 16, 17, & 18
 
Listen to DEITY's hits on Londons
KRYSTAL RADIO



 


WEDNESDAY 15th of JUNE 2011
Deity will be Signing T-Shirts, Interviewed & Performing at the Underground Experience 
$10 at the Door, part of the proceeds go to support the Center for the Celebration of Arts 501(c)3 
RSVP VIP/ BOTTLE & TABLE SERVICE  CONTACT undergroundsocial@gmail.com
La Villa Basque
2801 Leonis Blvd 
Vernon Ca, 
6 minutes south of Downtown Los Angeles 
Happy hour is 4-6, show starts at 7p
There will be other entertainment so sit back and enjoy the show!



Click here to Register for DEITY VIP status




 

 

 

 

 

 

 

 

 

News

...A Blue Sky at The Edge Of The World is the 2015 release from Alien Skin, a project which the artist described as his most ambitious yet. The album features LA’s Deity, an artist whom George Pappas, AKA Alien Skin, felt blessed to work with – her voice breathes vibrant colour & warmth into the new songs, songs which I feel are perhaps the most conceptually refined that I have done... 

Read more at http://stereostickman.com/reviews/alien-skin-a-blue-sky-at-the-edge-of-the-world/


'A Blue Sky at the Edge of the World' is a new lease of Alien Skin life. The foggy electronic atmosphere that pours from the machines are supplemented by the warming female voice of Deity.

We think you'll agree, the bi-gender vocal performances and the disarmingly melodic/cinematic songs that inhabit this album, are simply the most refined expression of Alien Skin music to date.
credits
released February 2, 2015 

A Blue Sky at The Edge Of The World is the 2015 release from Alien Skin, a project which the artist described as his most ambitious yet. The album features LA’s Deity, an artist whom George Pappas, AKA Alien Skin, felt blessed to work with – her voice breathes vibrant colour & warmth into the new songs, songs which I feel are perhaps the most conceptually refined that I have done. 

The project opens with the signature sound that is categorically Alien Skin. This ocean of synths supports the pairing of the two artist’s voices beautifully. However, fairly quickly – just a minute and fifteen seconds into The One With The Strangest Of Eyes, to be precise – things take a turn for the far more experimental. This song takes you on an unpredictable journey, during which there are drastic instrumental changes, sudden switches in pace, and varying moments of clear and warped reality that toy with your consciousness. It’s a wild and addictive ride.

Following what is one of the most intense and unique openers for any album, Baltic Sea unfolds as a strikingly delicate piece, still teetering somewhere between the light and the dark, but offering a gentler arena of sound within which listeners can drift away or consciously come to terms with the ideas expressed thus far. There’s a brief moment of music without lyricism towards the end of this song, and the resulting effect is huge. The ambiance soaks you and the absence of a leading vocal really leaves a feeling of uneasiness.

Your Voice arrives as a stylish and rhythmic trip-hop track with a deeply personal string of lyrics relating to what appears to be an intimate and important relationship. What seems to be a fairly reliable or familiar song at first, soon erupts into something much more complex, melodically and in terms of the overall mood – particularly due to the emergence of some stunning imagery.

Sad Lisa Smile pushes the mood even further. This presence of a female counterpart within the lyrics reminds me a little of the links between some songs on the 2012 album Ghost In The Rain. However, emotional connections aside, George’s iconic leading vocal is perhaps the only remaining thread throughout his many releases; this, and the creatively free exploration of synths. Hey Christine holds nothing back and opens as an unapologetic, no-metaphors-needed declaration of past instances of attraction. Once again, the music is impossible to expect, you simply have to surrender yourself to the sound, to the songs, and ride the wave accordingly. This song features a beautiful melody upon which Deity joins Pappas to truly make it shine as brightly as possible. Then you get Strawberry Garden, a piece which surrounds its audience with style and rhythm and soul. There’s a provocative and alluring ambiance to the instrumentation, to the concept, the title, and once again this stunning meeting (and separation) of the two voices. A definite moment of something a little more mainstream or a little more structurally familiar than its peers.

Monday Mornings I Abhor is likely to win fans before it even begins. This song has a huge and manic chorus section sandwiched between some incredibly mellow and minimal verses – the resulting impact is intense. The repetition of Baby, Baby, Baby seems a little out of character for the songwriter, it adds perhaps a brief moment of normalcy, of everyday human life, to this otherwise uncommon and deeply thought provoking collection of otherworldly audio art forms.

She’s Ephemeral brings things back towards the arena of unusual beauty. This song is sublime, a focused piece of storytelling that keeps you captivated. The music is stunning, this array of synth riffs, blossoming and then cascading around you, feels something like summer rain, intertwined with rhythmic dashes of electricity. An incredibly atmospheric and strangely soothing piece of music. Eloise Woods furthers the soothing nature of Alien Skin’s work and in fact brightens those dark corners with a partly uplifting and hopeful collection of chords.

The title track comes as the penultimate offering. Even at this late stage in the project, this track offers perhaps the most complex and experimental of them all. George’s voice stands as separate from the soundscape, and later on, Deity’s performance stands in the same way, perhaps on the opposite side of this particular world. The audio is less musical, more a representation of some section of the story or the concept behind the album. It’s worth listening more than once to really let the ideas in. There’s a haunting mood to the whole thing that will leave you roaming the edges and corners of your own mind, searching for answers to questions you weren’t aware you’d asked. Always this kind of powerful effect comes from listening to Alien Skin’s music, never does it abandon you quite so abruptly as with this particular track though. A fairly memorable experience.

Things take a turn for the slightly brighter again, for the final track of the project, the aptly name Happier Now. The song sounds happy, at first, the lyrics talk of memories, real, physical memories and moments from yesteryear. There is, as is often the case, a stint of darkness and uncertainty within the song; Alien Skin’s arrangement of chords always manages to throw you off course with some calculated change from major to minor, just when you least expect it. A fantastic representation of life itself.

This album makes for an extraordinary listening experience, one that you can return to again and again, still discovering something new or previously unheard mixed in among the blissful chaos.

To date this entire body of work is my proudest Alien Skin moment. – George Pappas. 

Download the album via Bandcamp. Find & follow Alien Skin on Facebook, Twitter & Instagram. Visit his Website for more information about the album.

...A Blue Sky at The Edge Of The World is the 2015 release from Alien Skin, a project which the artist described as his most ambitious yet. The album features LA’s Deity, an artist whom George Pappas, AKA Alien Skin, felt blessed to work with – her voice breathes vibrant colour & warmth into the new songs, songs which I feel are perhaps the most conceptually refined that I have done...

Read more at http://stereostickman.com/reviews/alien-skin-a-blue-sky-at-the-edge-of-the-world/

'A Blue Sky at the Edge of the World' is a new lease of Alien Skin life. The foggy electronic atmosphere that pours from the machines are supplemented by the warming female voice of Deity.

We think you'll agree, the bi-gender vocal performances and the disarmingly melodic/cinematic songs that inhabit this album, are simply the most refined expression of Alien Skin music to date. credits released February 2, 2015

A Blue Sky at The Edge Of The World is the 2015 release from Alien Skin, a project which the artist described as his most ambitious yet. The album features LA’s Deity, an artist whom George Pappas, AKA Alien Skin, felt blessed to work with – her voice breathes vibrant colour & warmth into the new songs, songs which I feel are perhaps the most conceptually refined that I have done.

The project opens with the signature sound that is categorically Alien Skin. This ocean of synths supports the pairing of the two artist’s voices beautifully. However, fairly quickly – just a minute and fifteen seconds into The One With The Strangest Of Eyes, to be precise – things take a turn for the far more experimental. This song takes you on an unpredictable journey, during which there are drastic instrumental changes, sudden switches in pace, and varying moments of clear and warped reality that toy with your consciousness. It’s a wild and addictive ride.

Following what is one of the most intense and unique openers for any album, Baltic Sea unfolds as a strikingly delicate piece, still teetering somewhere between the light and the dark, but offering a gentler arena of sound within which listeners can drift away or consciously come to terms with the ideas expressed thus far. There’s a brief moment of music without lyricism towards the end of this song, and the resulting effect is huge. The ambiance soaks you and the absence of a leading vocal really leaves a feeling of uneasiness.

Your Voice arrives as a stylish and rhythmic trip-hop track with a deeply personal string of lyrics relating to what appears to be an intimate and important relationship. What seems to be a fairly reliable or familiar song at first, soon erupts into something much more complex, melodically and in terms of the overall mood – particularly due to the emergence of some stunning imagery.

Sad Lisa Smile pushes the mood even further. This presence of a female counterpart within the lyrics reminds me a little of the links between some songs on the 2012 album Ghost In The Rain. However, emotional connections aside, George’s iconic leading vocal is perhaps the only remaining thread throughout his many releases; this, and the creatively free exploration of synths. Hey Christine holds nothing back and opens as an unapologetic, no-metaphors-needed declaration of past instances of attraction. Once again, the music is impossible to expect, you simply have to surrender yourself to the sound, to the songs, and ride the wave accordingly. This song features a beautiful melody upon which Deity joins Pappas to truly make it shine as brightly as possible. Then you get Strawberry Garden, a piece which surrounds its audience with style and rhythm and soul. There’s a provocative and alluring ambiance to the instrumentation, to the concept, the title, and once again this stunning meeting (and separation) of the two voices. A definite moment of something a little more mainstream or a little more structurally familiar than its peers.

Monday Mornings I Abhor is likely to win fans before it even begins. This song has a huge and manic chorus section sandwiched between some incredibly mellow and minimal verses – the resulting impact is intense. The repetition of Baby, Baby, Baby seems a little out of character for the songwriter, it adds perhaps a brief moment of normalcy, of everyday human life, to this otherwise uncommon and deeply thought provoking collection of otherworldly audio art forms.

She’s Ephemeral brings things back towards the arena of unusual beauty. This song is sublime, a focused piece of storytelling that keeps you captivated. The music is stunning, this array of synth riffs, blossoming and then cascading around you, feels something like summer rain, intertwined with rhythmic dashes of electricity. An incredibly atmospheric and strangely soothing piece of music. Eloise Woods furthers the soothing nature of Alien Skin’s work and in fact brightens those dark corners with a partly uplifting and hopeful collection of chords.

The title track comes as the penultimate offering. Even at this late stage in the project, this track offers perhaps the most complex and experimental of them all. George’s voice stands as separate from the soundscape, and later on, Deity’s performance stands in the same way, perhaps on the opposite side of this particular world. The audio is less musical, more a representation of some section of the story or the concept behind the album. It’s worth listening more than once to really let the ideas in. There’s a haunting mood to the whole thing that will leave you roaming the edges and corners of your own mind, searching for answers to questions you weren’t aware you’d asked. Always this kind of powerful effect comes from listening to Alien Skin’s music, never does it abandon you quite so abruptly as with this particular track though. A fairly memorable experience.

Things take a turn for the slightly brighter again, for the final track of the project, the aptly name Happier Now. The song sounds happy, at first, the lyrics talk of memories, real, physical memories and moments from yesteryear. There is, as is often the case, a stint of darkness and uncertainty within the song; Alien Skin’s arrangement of chords always manages to throw you off course with some calculated change from major to minor, just when you least expect it. A fantastic representation of life itself.

This album makes for an extraordinary listening experience, one that you can return to again and again, still discovering something new or previously unheard mixed in among the blissful chaos.

To date this entire body of work is my proudest Alien Skin moment. – George Pappas.

Download the album via Bandcamp. Find & follow Alien Skin on Facebook, Twitter & Instagram. Visit his Website for more information about the album.

credits: all songs; vox-instruments G Pappas; bvox Deity. 

Considering the twelve month time frame, Alien Skin’s early 2016 album Winter On Mars is notably different from the year’s later release European Electronic Cinema. As the opening and title track begins, the sound has a lightness, but the synths and the rhythm have a certain energy and drive that is heavier, and somewhat unexpected. If ever people were born to create – destined to make art, to express and clarify for us the profound parts of life we so frequently misinterpret; George Pappas was unquestionably one of them.

The leading voice on this project has the brilliance and familiarity that always works so well. The female harmony adds a lot, but there is still that unusual switch from the joyful to the melancholy that Alien Skin so uniquely manages to master each and every time. The music on the whole strikes as just a little bit more indie in this case.

The songs have a hard sound of reality to them, seemingly an alternate reality, though often heart breakingly real when really paid attention to. The melody of the opening track is instantly addictive, and these lyrics about alienation – addressing a second person, or you, the listener – really draw the mind to focus on the theme. The Empty Wait continues this new and unique sound with awesome relevance, but the song itself is so more cinematic now; the rhythm is not so easily noticed, but the musical build up is as creatively brilliant as ever. Alien Skin creates these songs that seem so much more like short movies or dreams than four minute tracks. It’s a skill that transcends style and shines brightly regardless of the musical setting in question.

Language Of Love follows The Empty Wait perfectly. The rhythm returns, with it’s part organic, part industrial sounding core, and then this huge hook section – followed cleverly by a mood altering bit of saxophone – waves it’s melancholy white flag and fills the room with feeling. Jasmine keeps the jazz element topped up; still leaning towards the electronic world of musical freedom, but with a distinct and effective atmosphere that takes you wherever the music may go. The words themselves sound a little like Jazz Man on occasion, which furthers the feeling of a vintage jazz cellar bar somewhere down town. To listen fully, of course, is to witness the beautiful imagery and storytelling that never fails to captivate within Alien Skin’s songwriting.

Happier Than Blue develops on this further. The concept is classic Alien Skin in that it’s so completely removed from the norm or from what’s expected. The artist’s way with words is stunning, always unpredictable; always the sort of writing that at first confuses, then later makes you realize the point of it, makes you understand the idea, and perhaps wish you had thought of it first. Instrumentally this track has an uncommon, indie hypnotism to it that sounds impossibly real yet dreamlike. Another of the many ways in which the artist breaks down the walls of what’s expected and walks the path much less traveled by. Mother Of Mine is a bass-driven fusion of cinematic style and heart breaking, emotional reality. The songs the artist writes are so consistently original that there’s very little to compare it all to. Each time a song begins, the sound is fresh, familiar, always relative to the creative mind, but always once again brand new. The melodies are wonderfully unique, yet still effective and warm and memorable. The ideas are the sort of thing most of us would love to talk about, but never find the time – or perhaps the bravery. We so often shy away from depth and forever lean in favour of small talk. These songs are a green light for abstract thought and genuine, deep running emotions.

She’s Paper Thin further emphasises this point incredibly well. A beautiful song, a great energy, yet once again – there’s that something, that reality just beneath the surface, always reminding you that things are never quite what they seem. There’s always some level of complexity to each and every situation, and it’s striking to hear it all expressed with such skillful, artistic wonder. The Penny Whistler takes things even further in this respect. Patch Of Grass yet another example, with it’s talk of the urban mess. The Song has a beautifully folk-like centre that could easily convey these ideas via a purely acoustic, intimate live performance – something that’s actually true of many of the songs on this particular album. It would be a pleasure to witness the collection performed in this manner.

An often notable thing, perhaps about all of Alien Skin’s work, is that the songs don’t simply comply with the verse-chorus, verse-chorus structure or industry standard. They do have incredibly effective structures, but the music and the melodies, the notes chosen, continue to build in intensity throughout – right up until the finish point. It’s a rare way to make music, particularly vocally and lyrically weighty music, and this is a shame – it works so well, it creates such a powerful soundscape that has a huge effect on you as you listen. Admittedly, if the balance wasn’t quite right, this sort of experimentation could be disastrous, but that’s never a concern with Alien Skin. Have confidence in the artist’s work and the results are immensely rewarding.

The collection leaves you behind as Mars Epilogue tip-toes past and away, with it’s chamber of reverb and snippets of an alienation themed dream – only a feeling of emptiness or longing remains as reality storms back in. The imaginative nature of these songs is superb, and the atmospheric instrumentation surrounding and underlining the concepts is always appropriate and striking. Winter On Mars is another incredibly creative and compelling project from Alien Skin.

Take home the album, or in fact, take home Alien Skin’s entire discography over on Bandcamp. Find and follow him on Facebook and Twitter. Check out our previous write-ups for the albums Creature With The Human Face and European Electronic Cinema. You can also read our in depth interview with Alien Skin or visit the artist’s Website for more information.

AlienSkinMusic.com

credits: all songs; vox-instruments G Pappas; bvox Deity.

Considering the twelve month time frame, Alien Skin’s early 2016 album Winter On Mars is notably different from the year’s later release European Electronic Cinema. As the opening and title track begins, the sound has a lightness, but the synths and the rhythm have a certain energy and drive that is heavier, and somewhat unexpected. If ever people were born to create – destined to make art, to express and clarify for us the profound parts of life we so frequently misinterpret; George Pappas was unquestionably one of them.

The leading voice on this project has the brilliance and familiarity that always works so well. The female harmony adds a lot, but there is still that unusual switch from the joyful to the melancholy that Alien Skin so uniquely manages to master each and every time. The music on the whole strikes as just a little bit more indie in this case.

The songs have a hard sound of reality to them, seemingly an alternate reality, though often heart breakingly real when really paid attention to. The melody of the opening track is instantly addictive, and these lyrics about alienation – addressing a second person, or you, the listener – really draw the mind to focus on the theme. The Empty Wait continues this new and unique sound with awesome relevance, but the song itself is so more cinematic now; the rhythm is not so easily noticed, but the musical build up is as creatively brilliant as ever. Alien Skin creates these songs that seem so much more like short movies or dreams than four minute tracks. It’s a skill that transcends style and shines brightly regardless of the musical setting in question.

Language Of Love follows The Empty Wait perfectly. The rhythm returns, with it’s part organic, part industrial sounding core, and then this huge hook section – followed cleverly by a mood altering bit of saxophone – waves it’s melancholy white flag and fills the room with feeling. Jasmine keeps the jazz element topped up; still leaning towards the electronic world of musical freedom, but with a distinct and effective atmosphere that takes you wherever the music may go. The words themselves sound a little like Jazz Man on occasion, which furthers the feeling of a vintage jazz cellar bar somewhere down town. To listen fully, of course, is to witness the beautiful imagery and storytelling that never fails to captivate within Alien Skin’s songwriting.

Happier Than Blue develops on this further. The concept is classic Alien Skin in that it’s so completely removed from the norm or from what’s expected. The artist’s way with words is stunning, always unpredictable; always the sort of writing that at first confuses, then later makes you realize the point of it, makes you understand the idea, and perhaps wish you had thought of it first. Instrumentally this track has an uncommon, indie hypnotism to it that sounds impossibly real yet dreamlike. Another of the many ways in which the artist breaks down the walls of what’s expected and walks the path much less traveled by. Mother Of Mine is a bass-driven fusion of cinematic style and heart breaking, emotional reality. The songs the artist writes are so consistently original that there’s very little to compare it all to. Each time a song begins, the sound is fresh, familiar, always relative to the creative mind, but always once again brand new. The melodies are wonderfully unique, yet still effective and warm and memorable. The ideas are the sort of thing most of us would love to talk about, but never find the time – or perhaps the bravery. We so often shy away from depth and forever lean in favour of small talk. These songs are a green light for abstract thought and genuine, deep running emotions.

She’s Paper Thin further emphasises this point incredibly well. A beautiful song, a great energy, yet once again – there’s that something, that reality just beneath the surface, always reminding you that things are never quite what they seem. There’s always some level of complexity to each and every situation, and it’s striking to hear it all expressed with such skillful, artistic wonder. The Penny Whistler takes things even further in this respect. Patch Of Grass yet another example, with it’s talk of the urban mess. The Song has a beautifully folk-like centre that could easily convey these ideas via a purely acoustic, intimate live performance – something that’s actually true of many of the songs on this particular album. It would be a pleasure to witness the collection performed in this manner.

An often notable thing, perhaps about all of Alien Skin’s work, is that the songs don’t simply comply with the verse-chorus, verse-chorus structure or industry standard. They do have incredibly effective structures, but the music and the melodies, the notes chosen, continue to build in intensity throughout – right up until the finish point. It’s a rare way to make music, particularly vocally and lyrically weighty music, and this is a shame – it works so well, it creates such a powerful soundscape that has a huge effect on you as you listen. Admittedly, if the balance wasn’t quite right, this sort of experimentation could be disastrous, but that’s never a concern with Alien Skin. Have confidence in the artist’s work and the results are immensely rewarding.

The collection leaves you behind as Mars Epilogue tip-toes past and away, with it’s chamber of reverb and snippets of an alienation themed dream – only a feeling of emptiness or longing remains as reality storms back in. The imaginative nature of these songs is superb, and the atmospheric instrumentation surrounding and underlining the concepts is always appropriate and striking. Winter On Mars is another incredibly creative and compelling project from Alien Skin.

Take home the album, or in fact, take home Alien Skin’s entire discography over on Bandcamp. Find and follow him on Facebook and Twitter. Check out our previous write-ups for the albums Creature With The Human Face and European Electronic Cinema. You can also read our in depth interview with Alien Skin or visit the artist’s Website for more information.

AlienSkinMusic.com

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