#silver rocket

And this is my drawing based on Champions of Krynn (MS DOS). Moon. City of heroes. And moon dust. You are standing before entrance to dungeon. It is find out, that there are  lots of them at the Moon. Mysterious moon has huge labyrinths, that are underground. You see stars above. And you see them for last time. Because of you are going for a long time to the dungeons. You fly with silver rocket.

And you prepared  your spells. Prepared best items, which you can find at the Earth. Bow is full with magic arrow. You think for some reason, that ice here should to be very good with use. Stuffs are charged with magic spells. In case of if magic will get over. You have bought most powerful spells for mage. And cleric.

Beast is armed and ready. And your hero is also equipped with good armor. And good sword with magic spell. Ahead – dungeons of the moon! It is so inspire! All walls are shining with magic. And it is written something. But you cannot read moon language. And moon dust under your feet. This is so magical. Space rocket with silver color fly away. Noise of engines. And that’s all. You and the moon. Labyrinths ahead!

Dima Link is making retro videogames, apps, a little of music, write stories, and some retro more.

WEBSITE: http://www.dimalink.tv-games.ru/home_eng.html ITCHIO: https://dimalink.itch.io/

It all starts in “(Fully) Remote” with its thrusting, heavy industrial cadence that comes down hard at the beginning of every four beat measure, swings back, then hammers home again. And while superlatively heavy, E’s music has a twitchy, paranoiac empty space embedded between assaults. Sanford mutters ominously about how “the information, it comes from inside,” while Zedek picks up the end of a verse in a feral, vibrating howl. A trebly violence of guitar skreetches over the monstrous beat, like napalm fire catching.

E has never had a full-time bass player. Typically Zedek plays a conventional guitar, while Sanford goes at his home-made instruments, some of which look like cubist reimaginings of a guitar, drawn in thick lines with air where the body usually goes. For this album, however, Zedek, too, experimented with her instrument, adjusting it so that it could produce both guitar and bass-like sounds. The low-end girds the band’s customary antic, always-in-motion onslaught, giving the sound more force and resonance. And yet, it’s the drums, always the drums, that shock and roil these songs, their stick-shattering thwacks turning uneasy fever dreams like “Names Upon a List” into firefights.

A couple of these tracks lean way into this assaultive aesthetic, stripping away the poetry and melodic color to reveal the animal beneath. “Deep Swerve” bounces wavering, dopplering sounds off the hardest beat you can imagine, and “Ash” reprises the woozy foundation, adding flares of guitars and voices to its giant footed procession.

But it’s the epic title track that puts the pieces together, its ritual beat, its slow-chiming guitars, its gut-wrenching vocals all conjoining in triumph. Zedek sings, primarily, holding the long notes over a tumult of percussion and guitar sound, as if withstanding, once again, all the difficulties of the last few years. It’s nine minutes plus of persistence and resilience, playing out in a way that will make the hairs on your wrists stand up. E is full of power, now more than ever.