Serving as a precursor to the sounds thriving from anticipated releases in 2021, THE POOR. THE REIGN was self-released on November 24, 2020, in a limited edition, eco-friendly CD. The collection, created from September to November 2020, utilizes many instruments, compacting abstract or fruitful sounds. One of my favorite releases from him, superseding a little his most EP, ELI CHEN. Both contain heavy curtains of droning power, but this flows better, even if it is just a random assortment of concepts and designs.

She is Your Grandfather and Your Grandmother begins with sounds of children, supervised by parental tonality. Ambient hairs spring from shadows, hovering as flesh, directing the rest. We stretch, slowly, into smoothed surfaces; glossy kingdoms are filled with a textural solemnity, lamenting the music’s mystery. Retro kicks wisp us into an enriched atmosphere, threading briskly, the repetitious vortex of spectral riddles. Break in Fluidity breaks these 4-corners. Earthly designs trickle against an impermanent backdrop. The muffled, distorted tones sling feedback through the currents. The thickened, atomized waves crash over the palette of netherworld echoes, ringing high-pitched sounds in the distance. We float through crystalline stars, breaking into timbers transposing solemn decay. The feeling of bouncing the mind’s eye from object to object, pitch to pitch. 

 Vespers is a carnival ringing noisy washes of rustling distortion, feeding the oddity of low-pitched bells clinging while scraping into the reversed audio effect. Towards the end, we drain the inciting figments back into the caverns of illogical and incomprehensible, thought; as the words are strained and effected, devoid of concrete meaning. The sounds disappear into Talking About Love. White noise, mid-distortion, rise into the sun of fiery fields, a statue for the ambient blanket, shaking the landscape’s hand. We’re stumbled, exempted, but only of anything that grips us. For here, music is prosperous, in the tempo of zero. Synths shine, then pump the spiritual veins, delineating a tree of metals, thinly shining in the background. We belong to an ever-growing, organic infinity, expressed in this as an essence that transcends under a vast collection of hardware configurations. This was the most pleasant song from the album. Dipping, then, into a noisy static, connected through the ambient coatings of synths, continuing to set fire to the mind; feeding our ears. 

 We Do the Work Now (Intensity Mix) thrusts into the mystical enterprises; where we first set foot. Percussions are chopped, succeeding anticipation, effected with resonators and chorus effects, sending an alien vibe slithering through the orchestral temple. Brass instruments are accompanied with woodwinds, painting the mountain king’s soldiers, coming to avenge. Faire Apaiser closes us out nicely; gathering the moods transposed in the previous track while refining the previous picture, rather than adding onto meaning. The dark-ambient movements collected into an emotion feeding into its infancy, continually going back, to move forward. 

 The Poor, The Reign doesn’t advance through wavelength or composition, but the numerous sounds influenced from the same source. Whether that’s crepuscular displays in magical thought or the sonic sun, holding the listener into a multi-faceted explicit of the myriad worlds existing in their mental earth, as in the Talking About LoveWhettman Chelmets has creativity that speaks one, true language, and it flourishes – infinitely – in the auditory of interpretation, as his music reveals, effortlessly, for us.