The dark-wave of Architrave is at once electronic synesthesia and 80’s pent up shadow work, it surrounds the album of “Future Ruins” with an arcane shimmer or flecks of autumn and perilous, almost a Eurythmics refrain, along with a somber Echo and the Bunnymen sound.
The transformative swarm of lightwork, it’s accordance with technology and illusion, dark matter and brooding and alt-electronic sound is a sheltering ritual of meditation. What we find behind the veil, behind the lids of olive skin is a crucifixion of inanimate voices and shadows- “Future Ruins” is edified as though a monolith with markings on its superficial level, a Rosetta Stone for the genre-
One can decipher the habits of god(s) and the passage of time with every listen. As though cosmonauts. Looking somewhat aloofly at the row of teeth in the reflection of rivers, we can somewhat begin to understand humanity in our solemn majesty so still and yet a creature of habit drawn to causation and rewards. The synths somewhat speak of the cybernetic state of Architrave, its incessant search and ponderings. Sometimes we listen and we are blissfully released into an opaque garden of the external.
Drivers and modems collapsing into the palm of our liquid hands. “Future Ruins” has a kinetic quality, we understand the body and spirit more keenly through each listen. Albeit, Architrave have a self-defining sound- “Future Ruins” runs the gamut of genres.
There’s a self controlled, meticulous nature, a quality that is evocative of machine-like dynamics and although “Future Ruins” is emotionally charged we can grasp why they’ve melded so remarkably well with technology, as though they were one person with that same machine. The darting from emotion and desire is a fire of wandering where we find Architrave unearthing obols to place over extinguished longings. One weathers a storm within the blindness of its eye. Architrave has its waves of brilliance and shadow, its day and azure nights, its ephemeral and perennial moments.
Written by Hari Palacio
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