It repeats the same synth pattern, occasionally pushing the background bass thrum into the foreground to keep things a little more interesting. The two most blatant offenders are “Shores of Oblivion” and “Hope.” The former, given the name, aims to compel a riveting sense of dread. As a result, the track is tepid and dull, which is even more upsetting when you realize it’s one of the more interesting tracks on the record. It just adds layer upon layer without really the dynamics of the track. The opening track “Depths of Power” threatens to have dynamic range but always stops short of developing anything interesting.
What we’re left with is a meandering, far too long album that never settles on a destination worth reaching.īreaking it down track by track, these flaws become even more apparent. Each track is too slow to be a compelling dance track, but also too in your face to drift into ambient like Tycho, or just vibes like TOKiMONSTA. The issue is that it never commits enough to a single one to excel. Magic Sword, if one had to venture a guess, is shooting for some combination of vibe and dance. Though there are exceptions to these three categories, most electronic artists tend to fit into at least one. Most electronic groups either choose to be more dance-focused, drop focused or vibe focused. While one can appreciate when bands and artists subvert typical song structures, that isn’t exactly what Magic Sword is trying to do here. To paint a broad picture of the flaws inherent in Endless, it comes down to dynamics.
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