#lylantz

Lylantz guarantees you will not walk away from "Your God Is My Devil" feeling entirely okay. His self-produced tenth full-length album is an active, confrontational dive into the darkest corners of the human psyche. As the architect of a wildly fluid sound he dubs "Post-Modern Gothic," Lylantz crafts visceral art for his self-described "Black Swans" the outsiders, the iconoclasts, the perpetually misunderstood. https://open.spotify.com/album/4OyTHP0j5kqLgzkrH3Z0lN "Ante Meridiem" kicks open the door with suffocating force, dragging an oppressive dark ambient sludge into an explosive wall of frantic black metal. It rattles the teeth. From there, the descent into his esoteric shadow work becomes remarkably turbulent. "Living Coffin" offers an absolute post-hardcore panic attack, anchored by wailing distortion that somehow captures the exact shape of profound emotional numbness and restless mental anguish. The beauty of the record lies in how unpredictable the delivery mechanism for this trauma becomes. On "Basilisk," Lylantz morphs into an underground trap-metal antagonist, spitting anti-religious occult themes over abrasive frequencies and a rapid-fire rhythm. He shifts again on the defiant alternative trap of "So Precious," breaking free from toxic emotional dependencies with a brooding, heavy bounce. The mood softens abruptly on "Blood Tied." His wife, Cassandra Fowler, appears on this hazy, cloud-rap detour, dropping listeners into a sudden pit of melancholic nostalgia built upon heavy, rumbling bass. That quiet sorrow is immediately shattered by "Devil's Cry," a claustrophobic horrorcore plunge into terrifying mental warfare driven by menacing, eerie loops. Occasionally, Lylantz weaponizes this darkness. "El Amo (Murcielago)" oozes cold, untouchable dominance over a gritty Latin trap pulse, while "Feral" dives deep into industrial midtempo bass to chronicle an animalistic, wildly dangerous romance. He even steers into hard rock for "Bachelor's Grove," channeling supernatural dread and heavy, chugging riffs inspired by haunting graveyard folklore. By replacing literal monsters with creeping psychological shadows, Lylantz explores profound moral hypocrisy and existential panic. The unrelenting self-hatred detailed in the screamo finale, "Where Angels Love Demons," offers no easy answers or uplifting resolutions only rigid, dissonant chords slowly collapsing into a bleak, lingering emptiness. https://youtu.be/URqSdYeDChU?si=hfjvGVB9oLGUHyKi When the final distorted echo cuts out, the quiet is deafening. We spend enormous amounts of energy desperately trying to outrun our personal hellscapes, but what if giving our internal devils a heavy, chaotic rhythm is the only way to survive them? Follow on Instagram.

Dancing With Internal Demons on Lylantz’s "Your God Is My Devil" Lylantz guarantees you will not walk away from "Your God Is My Devil" feeling entirely okay. His self-produced tenth full-length album is an active, confrontational dive into the darkest corners of the human psyche. As the architect of a wildly fluid sound he dubs "Post-Modern Gothic," Lylantz crafts visceral art for his self-described "Black Swans" the outsiders, the iconoclasts, the perpetually misunderstood. https://open.spotify.com/album/4OyTHP0j5kqLgzkrH3Z0lN "Ante Meridiem" kicks open the door with suffocating force, dragging an oppressive dark ambient sludge into an explosive wall of frantic black metal. It rattles the teeth. From there, the descent into his esoteric shadow work becomes remarkably turbulent. "Living Coffin" offers an absolute post-hardcore panic attack, anchored by wailing distortion that somehow captures the exact shape of profound emotional numbness and restless mental anguish. [caption id="attachment_66452" align="alignnone" width="1000"] Dancing With Internal Demons on Lylantz’s "Your God Is My Devil"[/caption] The beauty of the record lies in how unpredictable the delivery mechanism for this trauma becomes. On "Basilisk," Lylantz morphs into an underground trap-metal antagonist, spitting anti-religious occult themes over abrasive frequencies and a rapid-fire rhythm. He shifts again on the defiant alternative trap of "So Precious," breaking free from toxic emotional dependencies with a brooding, heavy bounce. The mood softens abruptly on "Blood Tied." His wife, Cassandra Fowler, appears on this hazy, cloud-rap detour, dropping listeners into a sudden pit of melancholic nostalgia built upon heavy, rumbling bass. That quiet sorrow is immediately shattered by "Devil's Cry," a claustrophobic horrorcore plunge into terrifying mental warfare driven by menacing, eerie loops. [caption id="attachment_66451" align="alignnone" width="1000"] Dancing With Internal Demons on Lylantz’s "Your God Is My Devil"[/caption] Occasionally, Lylantz weaponizes this darkness. "El Amo (Murcielago)" oozes cold, untouchable dominance over a gritty Latin trap pulse, while "Feral" dives deep into industrial midtempo bass to chronicle an animalistic, wildly dangerous romance. He even steers into hard rock for "Bachelor's Grove," channeling supernatural dread and heavy, chugging riffs inspired by haunting graveyard folklore. By replacing literal monsters with creeping psychological shadows, Lylantz explores profound moral hypocrisy and existential panic. The unrelenting self-hatred detailed in the screamo finale, "Where Angels Love Demons," offers no easy answers or uplifting resolutions only rigid, dissonant chords slowly collapsing into a bleak, lingering emptiness. https://youtu.be/URqSdYeDChU?si=hfjvGVB9oLGUHyKi When the final distorted echo cuts out, the quiet is deafening. We spend enormous amounts of energy desperately trying to outrun our personal hellscapes, but what if giving our internal devils a heavy, chaotic rhythm is the only way to survive them? Follow on Instagram.

You can feel the heat radiating off this project from the very first second. Lylantz has dropped an album that acts as a twenty-track inferno, demanding your immediate attention from the jump. The sheer scale of the project is staggering, offering an intense look into the mind of an artist who refuses to play it safe. "Zero" is heavy, unapologetic, and completely unbothered by traditional genre boundaries. It hits the ear like a sudden adrenaline spike, pulling you into a cinematic universe where every track feels like a high-stakes confrontation. If you have been waiting for something that actually pushes the envelope, this is the moment to hit play. Operating out of Chicago, Lylantz, also known as The Midnight Prince, has been building his own lane for over a decade. He calls his sound Post-Modern Gothic, and it is easy to see why. He pulls from everything: the theatricality of Michael Jackson, the raw edge of Lorna Shore, and the poetic darkness of Edgar Allan Poe. For this ninth solo outing, he brings in a tight crew of collaborators. His wife, Cassandra Fowler, features heavily, alongside artists like Saint Sedonia, Blayke Rose, Hyfn Alexzander, THE AMBI, Romer, Chi, and Draco Castelviel. The sound of "Zero" is massive, hitting with the force of a cinematic blockbuster. Lylantz handled all the production, mixing, and mastering himself, and the result is a sonic experience that feels incredibly tactile and immediate. You can hear the grit in the vocals and the weight of the bass lines, making every track feel like a physical presence in the room. "Sailor's Tale" takes the rhythmic bounce of a sea shanty and flips it with aggressive rap verses. https://youtu.be/fSdICZ9sQcU "New Order" is a post-apocalyptic anthem that feels designed for a stadium, while "La Llorona" takes a classic Latin American legend and turns it into a Gothic-Drill banger. The instrumentation swings wildly from delicate piano lines to crushing metal breakdowns, keeping the energy unpredictable and entirely engaging. At its core, this album is about the messy, painful process of starting over. It is about the Phoenix myth: burning everything to the ground so you can rise up stronger. This theme of radical reinvention feels incredibly relevant right now. It mirrors the chaotic energy of the current digital age, where internet culture constantly demands that we tear down old structures to build new ones. Lylantz taps into that collective anxiety and turns it into a source of power. He is not running from the darkness; he is weaponizing it. Listening to "Zero" is a physical experience. The pacing of the album is relentless, structured to keep you off balance. Just when you think you have a grasp on the vibe, Lylantz throws a curveball, shifting from a haunting acoustic moment into a full-blown horrorcore assault. It is the kind of project that requires you to strap in and surrender to the ride. Speaking of rides, the sheer volume of ideas packed into these twenty tracks is staggering, yet it never feels bloated. Every sonic choice serves the larger narrative. This release cements Lylantz as a force to be reckoned with in the underground scene. He is operating on a completely different frequency than his peers, refusing to compromise his vision for the sake of easy consumption. "Zero" is a massive swing, and it connects on every level. It is dark, it is theatrical, and it is undeniably alive. The project proves that true innovation comes from those willing to risk everything, tearing down the old to build something entirely new. The fire has been lit, and the ashes are still hot. Are you ready to step into the flames? https://open.spotify.com/album/0AkWF4SJBRySFqaKT83Eau?si=kYlzFujJQK6fSCKl7I1ywg

Lylantz Delivers A Genre-fluid Meditation On "Zero" There is a profound stillness that precedes total collapse. It is the quiet before the fire, the moment when the old structure gives way to make room for the new. In the space between destruction and creation, art finds its most potent voice. The process of breaking down to the absolute foundation requires a willingness to face the darkest corners of the psyche. This is the exact territory occupied by the latest release from the Chicago-based artist known as The Midnight Prince. The album is a sprawling, twenty-track exploration of what it means to be reduced to nothing, only to rise again with newfound clarity and force. Lylantz, the architect behind this ambitious project, has spent over a decade refining a sound he calls Post-Modern Gothic. His background is as eclectic as his music, drawing heavily from the literary works of Shakespeare and Edgar Allan Poe, while citing influences ranging from Michael Jackson and Prince to Chopin and Lorna Shore. This wide-ranging artistic diet informs his approach to creation, where he acts not only as a vocalist and producer but also as a filmmaker and visual director. For this ninth solo album, he collaborated closely with his wife, Cassandra Fowler, whose visual direction and vocal contributions add a deeply personal layer to the work. The inclusion of these elements creates a profound sense of intimacy that permeates the entire record, grounding the more theatrical moments in genuine human connection. Additional appearances by Saint Sedonia, Blayke Rose, Hyfn Alexzander, THE AMBI, Romer, Chi, and Draco Castelviel create a rich, collaborative environment that spans from Los Angeles to Buenos Aires and back to Chicago. The release of ZERO marks a significant milestone in the artist's trajectory. It is a culmination of five years of conceptual development, waiting for the right life experiences to give the narrative its necessary weight. The album positions itself as a hero's odyssey, rooted in the mythology of the Phoenix. By embracing the philosophy of the Left Hand Path, the project champions the idea that true enlightenment comes from acknowledging and integrating the shadow self. In the broader musical context, it stands as a bold rejection of genre purity, opting instead for a fluid, cinematic approach that feels more like a psychological thriller than a traditional collection of songs. Sonically, the album is a labyrinth of opposing textures and unexpected turns. The sheer ambition of the arrangements demands attention, pulling the listener through a series of meticulously crafted sonic environments. The production, entirely handled by the artist himself using a trusty Aston Origin microphone, is meticulous and dynamic. https://youtu.be/fSdICZ9sQcU Tracks like "Sailor's Tale" take the rhythmic structure of traditional sea shanties and modernize them with sharp, percussive rap deliveries. "New Order," featuring Cassandra Fowler, plays out like a dark, post-apocalyptic sermon delivered at the edge of the abyss. Meanwhile, "Sin's Paradise" injects a provocative, BDSM-inspired energy into Gothic southern folk, and "La Llorona" reimagines the classic Latin American legend through the lens of Gothic-Drill. The instrumentation frequently shifts from haunting, Chopin-esque piano melodies to the crushing, choral-backed heaviness of modern deathcore, creating a listening experience that is constantly shifting underfoot. The thematic core of the album revolves around the necessity of pain as a catalyst for growth. It is an exploration of the trials that break a person down, and the subsequent power that comes from rebuilding. This narrative arc mirrors the structural philosophy of Dante's Inferno, where the protagonist must descend through the absolute depths of hell before they can begin the ascent toward the stars. The music demands that the listener confront their own vulnerabilities, suggesting that the only way to overcome fear is to look directly at it. [caption id="attachment_64787" align="alignnone" width="1600"] Lylantz Delivers A Genre-fluid Meditation On Zero[/caption] The lyrics are unapologetic, weaving dark medieval imagery with modern anxieties, resulting in a work that feels both ancient and immediately relevant. What this release ultimately demonstrates is the enduring power of the album format as a vehicle for complex storytelling. In a time when music is often consumed in fragmented, algorithm-driven bursts, a twenty-track conceptual piece is a defiant statement of artistic intent. It challenges the listener to engage deeply, to follow the narrative thread from the initial descent into darkness all the way to the final, triumphant return. The fusion of so many disparate elements into a cohesive whole speaks to a high level of compositional skill and a clear, uncompromising vision. If the process of becoming everything requires first becoming nothing, what remains when the fire finally burns out? https://open.spotify.com/album/0AkWF4SJBRySFqaKT83Eau?si=3CAU3HazRkutyJa3WuNbqA

(Lylantz)

Posted by At-n Ausara-Lasaru on Friday, September 26, 2014

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