Music Review: Empires in Orbit Release "Audiodrome"
- Randy Calica
- 7 hours ago
- 4 min read
I sat down to review Empires in Orbit's new release, Audiodrome, and I honestly wasn't sure what to expect. This is an artist I had zero background on, and within seconds of the first track, I realized this was something totally outside my normal wheelhouse. While that might turn some people off, it actually excited me. It was something new, something fresh, and something I could approach with zero expectations.
When reviewing an artist you're unfamiliar with, I think most of us try to find a comparable artist as a sort of home base, so to speak. With Empires in Orbit, I really struggled to find someone to compare them to. In this case, I can honestly say that "artist" is the truest way to describe Audiodrome. This album doesn't try to follow a formula or an algorithm. It doesn't pretend to guess what you want to hear. It simply does its own thing.
To be completely transparent, the first track, "The New Flesh," slightly scared me. I wasn't really a fan at first, and I thought I was completely in over my head. It has a cool, trance-like effect. I kept expecting it to take off, almost like a long introduction, but it never really did. However, I love the way the song ends and, even more, the way it transitions into the second track.
"Cat Eyes" brought me back and made me feel like I could find something to connect with. It reminded me of a band I discovered last year called Night Club. Not because they sound the same or were inspired by the same artists, but because if these two bands played the same show, I don't think the crowd would be confused. One of the beautiful things about Empires in Orbit is the way vocalist Fe Malefiz effortlessly switches between English and what I believe is German, at least according to Google. The German sections gave the music a haunting beauty.
"A Siren's Beauty" had a very cinematic feel to it. It starts with a gothic, almost chant-like vocal delivery, as if Fe Malefiz is trying to summon something from the afterlife. Then a dark, gothic guitar riff enters. This is actually where I finally found the album's home base. It reminded me of the movie Queen of the Damned. Not so much the soundtrack, although I do think some of these songs could have fit there, but more the overall atmosphere. I could easily imagine this music serving as the score for a similar film. It's haunting and trance-like, and even when I don't understand every lyric, it's easy to create vivid cinematic images of what might be happening.
"Déjà Vu" is not a song I would blast in the car, nor is it something I would normally search for on Spotify. However, it's already earned a place on one of my relaxation playlists. It has a cool, spooky quietness that sets a mood without taking over the room, if that makes sense.
The first half of "Smoke Screen" made me think it would continue the same vibe as "Déjà Vu," but it almost feels like two songs in one. For about two and a half minutes, it's soothing mood music. Then, during the final minute, it breaks into something that feels like a European black metal track. It's chaotic and jarring, but I think it would be a lot of fun live. The song lulls you into a false sense of security before punching you in the face.
"Before I Wake" is another track that feels cinematic and transports me somewhere specific. Fans of the atmosphere found in Stranger Things should appreciate this one. It has a haunting beauty to it. It feels like being in a dark place where evil has home-court advantage, but good is slowly mounting a comeback. Again, it's probably not something I'd throw on during a cross-country road trip, but it's perfect when you want mood music. It provides enough quiet space for reflection while still creating an emotional impact.
This is also one of the places where the transition between tracks is exceptionally well done. The vocals from "Before I Wake" trail off beautifully, and then "Mother" enters in such a seamless way that it almost feels like the next verse of the same song. I actually had to look at my computer to confirm that the album had moved on to a new track.
For me and my personal taste, "Mother" is the standout track on the album. This is the song I would play for friends if I were trying to convince them to attend an Empires in Orbit show. It retains much of the electronic, trance-like atmosphere found throughout the album while adding crunchy gothic guitar work that gives it even more personality.
"The Hardest Part" closes the album, and it feels exactly like a closing track should. It has a mellow sense of peace to it. Once again, it's the kind of song I could add to a playlist for deep relaxation, meditation, or simply unwinding after a long day.
So, what are my final thoughts on Audiodrome?
First, this is not an album I would recommend putting on shuffle or listening to casually. I genuinely feel there was a great deal of thought and vision behind the sequencing of the tracks. If you jump around, you're likely to miss some of what makes this album special.
Is this an album for everyone or every occasion? Probably not, but I think that's part of the point. I get the feeling this wasn't a musician simply making an album as much as it was an artist painting with music. It's unique. It's not paint-by-numbers.
To me, Audiodrome feels like the score to a movie that hasn't been written yet. Most of these songs made me feel something and transported me to a specific place, which I think is incredibly impressive. Personally, I can see myself adding about half of this album to playlists for those moments when I need music to fill a room while still allowing me to focus and think.
It sparks creativity, and to me that's one of the highest compliments I can give an artist. It's not a 10-out-of-10, must-recommend album for every person, but if you're the kind of listener who enjoys exploring new musical territory and being taken somewhere that most modern music simply doesn't go, then I absolutely recommend giving Empires in Orbit's Audiodrome a chance.
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