I remember writing about DÆmons last year, and I have to say, it’s one of the most intresting fusion projects I’ve come across. Steven, the mastermind behind DÆmons, consistently produces music that I find just flat out awesome. Today, I’m excited to share some new material from him – a track and video for “Buch IV: Vergangenheit.”
This time around, Steven has teamed up with an impressive array of talented musicians. The collaboration includes a Brazilian horn section featuring Weber Marely on saxophone, Felipe Coelho on trombone, and Bruno Brito on trumpet. But that’s not all, he’s also brought in jazz bassist Mohini Dey, an artist I’m quite familiar with and who has an incredible musical background.
Let’s talk about the track’s title for a moment. The song meaning is German for “past” (as in past, present, future), and it’s the fourth installment in Steven’s instrumental series called “Bücher” (which translates to “books” in English). The first three parts of this series can be found on his album “Streams of Variation.” I’ve been told there’s more to come in this series, as well as a new album or EPs, and hopefully more exciting collaborations in the future.
The track begins with a mesmerizing synth pattern that persists for over a minute. I find it really awesome how this element creates an almost ethereal atmosphere, evoking a sense of lightness and otherworldliness that’s quite peaceful in a way. Accompanying the synths, the string section introduces some inventive clattering sounds. These unconventional textures somehow enhance the overall serenity of the piece rather than disrupt it.
As the composition unfolds, I notice an intricate mix of varied, infrequent repeating patterns in the strings. There’s an impressive equilibrium at play here, the music maintains cohesion while embracing the characteristic unpredictability of jazz, all within a steady, engaging framework.
This section feels like an organic extension of the opening, almost as if it’s revealing new styles of the initial theme. At this section, the percussion enters with a series of clashes, building towards something I consider genuinely new, to my ears that is. Typically, one might expect the drums to lead into a cymbal-heavy climax.
However, he subverts this convention. Instead, we’re treated to a swift drum pattern that seamlessly transitions into the main arrangement. This reversal of the usual percussive progression is executed with skill and effectiveness.
The string melodies display impressive synchronization at this point in the track. I’m particularly struck by the introduction of a chime-like sound that infuses the piece with a more free-spirited quality. It’s a subtle addition, but it really opens up the palette of your ears. Complementing this lighter element, the guitar hits some awesome deep tones. These lower frequencies add a gritty edge to the composition, creating an interesting contrast with the airier elements we’ve heard so far.
What I find to be really cool about this section is how the synchronized string harmonies seem to split apart, almost like they’ve reached a fork in the road. The different melodic lines veer off in their own directions, but they don’t lose cohesion. Instead, each finds its own distinct path while still contributing to the overall texture of the piece. It’s a skillful demonstration of how complex arrangements can maintain unity even as individual elements explore their own territory.
At this point, we’ve entered the heart of the song. The bass work introduces an underlying funk element that I find really engaging. It provides a solid foundation for the rest of the instrumentation to build upon. The guitar work here is particularly noteworthy. It comes in with these more intense, almost brutal sounds that serve as a counterpoint to the funkier elements. I think this contrast is really effective. It prevents the track from leaning too heavily in any one direction, acting as an anchor that grounds the overall sound.
This balance between the bass and the harsher guitar moments creates an interesting tension in the music. It’s a clever compositional choice that will keep you fully engaged, as neither element fully dominates the mix. Instead, they work together to create a dynamic and multifaceted sound that’s constantly evolving.
And again, throughout the track, I’m continuously impressed by the numerous change-ups. It’s nice how the song introduces lines that initially seem like they’ll become the main focus, hooking you in. But then, in true progressive fashion, there’s a sudden and significant shift. This unpredictability can really keep you on your toes.
I really appreciate the level of skill on display here. It’s evident that a lot of thought and expertise has gone into crafting these intricate arrangements and transitions.
While I’ve highlighted several cool sections already, I think the track really hits its stride about halfway through. That’s when the MIDI elements come into play, and there is no holding back. These quirky MIDI features go all out, adding a whole new dimension to the song. I feel like they inject so much character into the piece.
The way these MIDI elements interact with the established instrumentation creates a rich, layered soundscape that’s both complex and engaging. It’s a testament to the artist’s ability to blend different sonic elements in a way that’s cohesive yet constantly surprising.
When the brass horn section enters, it really elevates the track to a new level. The way it blends with the existing elements adds a whole new layer of flavor to the song. It’s like you’re adding so many delicious ingredients, now let’s top it off with some whipped cream. I also love how immersive this piece can be.
If you close your eyes and let yourself get lost in the music, focusing on one section at a time, you can almost convince yourself that you’re listening to a purely metal jazz fusion. But then, you can shift your attention and zero in on individual elements, each telling its own story. The arranging on this track is some of the most creative I’ve ever encountered. It’s rare to find a piece that can seamlessly integrate such a wide range of styles and sounds while maintaining a cohesive overall structure.
Since I discovered Dæmons last year, they’ve become one of my favorite musical finds. I can’t help but continue to praise their work because, frankly, it’s incredible. The way he blend different styles and incorporate unexpected elements is great. It’s experimental without being alienating, complex without being overwrought.
If you haven’t already, I strongly recommend checking out Dæmons’ work. Whether you’re into progressive metal, jazz fusion, or just appreciate skillful musicianship and creative composition, I think you’ll find something to enjoy in Dæmons’ catalog. This latest track is a great entry point.
Social Media & Streaming – https://linktr.ee/daemonstheband
Mohini Dey’s music/channel – https://www.youtube.com/watch?v=QcobPfoWNKQ
Track engineered by Ashton Parsons – https://www.instagram.com/ashtonparsons_sound/
