An album with a very distinct electronic sound that can’t really be found anywhere else, released by a circle that’s relatively new. Every track has heavy emphasis on electronic elements, so if you don’t like electronic music this isn’t for you.

I don’t really feel comfortable assigning this album a genre, mostly because it’s quite diverse and has many different elements in the tracks. I haven’t actually heard the first album by DFM, which would be NightCOX 1.0, so I’ll be judging this album solely on its own without referencing previous styles.

That said, there are clearly many influences present in this album. Some tracks follow pretty closely to electronic house, while others tend to be more similar to hard trance, and some I would probably classify as experimental. The sheer amount of originality present in this album is quite astounding, and it’s really quite refreshing to hear new takes on the same original tracks.

As was mentioned at the top, every single track on this album uses electronic instruments, distortion and synthesizers in some way, so if you can’t listen to electronic music then Run, and don’t look back.

Circle Name: DFM
Album Name: NightCOX 2.0
Website: http://dfmusique.jugem.jp/?eid=8

  1. OP – No.xxx’NewTrip’
    An introductory track that demonstrates this album’s style perfectly. If you were to listen to only the main melody you would get a fairly ordinary track that most other circles would happily release, but what we get instead is a huge amount of additional synthesizers with some very disruptive sounds and some static in the background as well. The sheer amount of stuff going on in this track can be quite overwhelming if you’re not prepared for it, and it can be quite hard to listen to if you don’t like this style of music. If you tough it out though, the track is actually pretty well composed, with good balance from the different instruments and plenty of different melodies that keep it interesting to the end.
  2. Inconsistent Reprize
    This track is more reminiscent of a typical trance track, with a heavy drum in the background and some accompanying synthesizers and bass. It actually sounds fairly ordinary at the start, before transforming into a fusion style that combines both trance and house elements, with a bunch of synthesizers in the foreground carrying the main melody and the heavy drums providing good support. It actually works pretty well, and is a style I would really like to see more of. Excellent arrangement, sort of reminds me of a Shibayan track.
  3. Where is Mr.U_
    Another fairly unorthodox song, with a very different sound from any other circle I’ve heard before. The first half of the track consists of a fair amount of looping, the first half of the track consists of a fair amount of looping, but the second half develops pretty well and has a pretty interesting melody introduced. It sort of sounds like what would happen if you just sort of hit the play/pause button a bunch of times, and the result is a pretty unique rendition of Invisible Full Moon. I suspect that whether you like this track has less to do with whether you like electronic music in general and more to do with whether or not the unrelenting looping pisses you off before you get to the end.
  4. B Qui
    Starts off much softer than the previous songs, but still keeps up the constant distortion and synthesizers, as well as a fair bit of looping. New elements are constantly added in to the mix, but the two synthesizers at the start stay all the way to the end without ever giving us a break, so the looping is fairly harsh in this one as well. Overall the sound is alot more low-key than the previous tracks, with not nearly as much sound at any one point in time, but what little sound there is tends to feel quite disruptive, which can be somewhat painful to listen to if you’re not used to it.
  5. Flowering Night
    The sheer number of different elements used in this is pretty amazing. There’s a strange bullet ricocheting sound, another sound that seems to be a metal bottle being hit with a stick, and some laser-like sound effects as well. This plus all the regular instruments makes for a rather noisy track, with plenty of stuff going on at any one time. It’s pretty easy for experimental tracks like this to become an unbearable cacophony, but this track doesn’t actually feel very disruptive or noisy, with a good balance between the different sounds. The main melody is carried by a rather trance-like synthesizer, while the drums actually feel like they’re more suited to a rock song, which results in a pretty interesting combination and works pretty well. Pity that there isn’t more of Flowering Night’s melody present though.
  6. Solid Geometry
    Much more traditional than the last three tracks, with only a few looping elements. The looping synthesizer actually seems to be using the same chords as another song, which I found rather amusing. Even though it sounds quite traditional there’s still a fair number of styles incorporated, with a very heavy focus on synthesizers and an extremely distorted bassline. The synthesizers used for the main melody are actually pretty attractive to me, with a constant solid stream of sound that doesn’t feel weak in any way and good sense on the back-up synthesizers that add more depth to the sound without overwhelming the main melody. Quite a splendid arrangement.
  7. Point At Infinity
    Starts off with a more trance-like feel, with a very light synthesizer before introducing a heavier house-style drum. There’s actually a fair amount of more traditional elements in this, with some electronic guitar getting in on the action, but it’s masked fairly well by the main synthesizers and is just there to serve as backup. I like the use of a constant sound(sounds sort of like a horn but I’m not entirely sure) that heralds the introduction of the main melody, it’s a nice way to smoothen the transition between parts that don’t have the main melody and parts that do. I don’t really appreciate the break-down in the middle, but I guess they wanted to include some progressive elements as well. Overall, there’s a fair amount going on at any one time, resulting in a track that is quite overwhelming at times, yet it still feels well done with good composition and balance between the different instruments and melodies. I think the weakest part of this track would be the break-down and the ending, both of which feel like cop-outs.

I actually bounced off this album at first, unable to sit through it at all due to how disruptive it sounds and how strange it is at times, but after listening to it again I found that this album actually has really good composition, which was rather surprising as I’d pretty much written it off as no-good. It’s not usual that I find an album that is more interesting on repeated listens – usually the first time is the best, but this album manages to defy the norm for me. I think it’s because there’s so many elements in these tracks that it’s really impossible to listen to it just once and catch everything there is to it. These tracks don’t follow the usual style of a catchy new melody that holds your attention until you get bored of it and move on, but rather provides a large amount of different sounds that strangely enough work together quite well to form a good song.

There really isn’t any other circle I can think of that can even come close to the style of DFM. Most other circles wouldn’t produce something like this, even if they are intentionally trying to produce experimental music. I don’t have a good knowledge of experimental style music in general, with only one track by Mohican Sandbag coming to mind, so I don’t really have a basis to compare this album to. As a result, I think this album is fairly unique and I don’t really think that you can easily substitute this circle with another, so there’s no way I can recommend any circles if you liked this album.