Oratorios

Sideloader - WIPs

Underwater

Instrumental Era marks a turning point for Obscyron — a cinematic transition from lyrical synthpop to a world where melodies and textures carry the emotion.

Across four interconnected tracks, the EP explores the evolution of transmission and silence: the awakening pulse of Instrumental Era, the haunting glow of Dark Radiance, the reflective drift of Slow Transmission, and the conclusive farewell of The Final Signal.

Fusing synthwave, chillwave, and ambient electronic elements, Obscyron captures nostalgia and introspection through analog warmth and evolving soundscapes. While this era focuses on instrumental storytelling, songs with lyrics will still appear occasionally — especially through collaborations that bridge voice and atmosphere within Obscyron’s evolving sonic universe.


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Dark Radiance

Immersed in melancholy

I think this sounds kinda Devil May Cry/Shadow Hearts-ish.

All composed, arranged, and produced by me.

D e F i N i T e L y ａ ＭＵＲＤＥＲＥＲ

Original song by Avril & Monthaye, from the show ''Lastman''.
Watch the show: https://www.youtube.com/watch?v=Cnk--w6fz4M
Watch the music video: https://www.youtube.com/watch?v=fIg2L3g4-xY

Lyrics:
Power, hit as hard as you can.
We can't be lovers, that's why it's got to end.

A monster, is that what I am?...
Oh my anger, I bring with everywhere.

Fire, burns inside your eyes.
Are you the last man, who will be in my arms?

Fire, burns inside your heart.
Am I the last man, who will die in your arms?

Fire.
Hell of a fist.
come closer.
hell of a fist.
come closer.
hell of a fist.
come closer.
hell of a fist.

hell of a fist, come closer now.
hell of a fist, come closer now.
hell of a fist, come closer now.
hell of a fist, closer now

Fire (Jakk's Chipmix)

https://power46.bandcamp.com/album/new-pripyat

Made in roughly 26 hours, but over the course of more than half a year. The person who started this track isn't the person who finished it. Thus far, this is without exaggeration, the most ambitious, most impressive piece of music I've ever created.

This is a track from an upcoming album which I've teased before. Realising that the album is a long way off, I decided to show off a single for it to ease the wait. Maybe I'll show off more singles as time progresses! We'll have to wait and see.

The album revolves around two concepts:
1. Different environments from around the world. In the case of New Pripyat, this refers to towns, cities and rural areas abandoned after nuclear disasters.
2. Variable mixing. Quickly becoming a staple of interactive media, variable mixing involves loops of music being mixed according to interaction from the audience. When arranged linearly, say, for an album, typically variably mixed music will be structured according to how one loop of music fades into another. This is kind of the opposite: This entire track was written as a linear piece of music, sorted into loops like an imitation of how variable mixing would work.

The original arpeggiator motifs occurred to me after listening to a bunch of Fort Romeau's music, and I knew I had to write it down right away. This section starts at 2:33, and combined with the distant-sounding guitar section which precedes it, contrasts the solemn, desolate loneliness of the area, and the mysterious, electronic side. 

3:48 is the first sign of hostility the irradiated landscape shows, and it's aggressive, powerful, and ever-so-slightly sad. It's a mourning of the destruction caused by this power, as much as it is a display of reverence.

5:32 is what I consider the beginning of Part 2. It's not a very long part, but it's important. It's a moment of majesty and of revelation. I consider this the theme of the reactor core, the epicentre of the disaster, which had the sheer power to provide plentifully for the people it eventually drove away. It is the point where this force originated, and it is the point at which the journey must end.

6:30 marks the beginning of Part 3. This is the piece's climax and its ending. The theme of this part begins with just a string ensemble, to give it that scale, depth and emotional edge, but to leave it timbrally somewhat empty too. The rest of the instrumentation doesn't come in and take the spotlight until the drums kick in, and from there, the piece ascends to its climax.

8:12 was always how this track was going to end. No matter what direction the piece traveled in, I somehow knew that this was going to be its ending. It's supposed to be a point where New Pripyat seems to have reached its peak, only to be pushed just a bit further by that last chord.

9:03 is an obvious homage to Kraftwerk's 1975 version of their track, Radioactivity. I liked the idea of this being quietly played off to one side by an old, worn down record player while something climactic happens off in another room, or perhaps it's just a feeling of winding down after resolving a high-stakes crisis.

New Pripyat (OUT NOW)

Far From Home

my most elaborated future garage song so far, don't know if the best but really high up there definitely.

Spotify

Black Landscape

Artwork is by me.
All composed, arranged, produced, and performed/programmed by me.

Far From Home

taitoki