From Bandcamp, “Gothron Versus Fartark” is an album set in a science fiction world, telling the story of the battles between two robotic enemies, fighting for the Logtarks world's fate. Synthesizers, electric piano, vocoder, trumpet and drums are the instruments that tell the story about how Gothron manages to defeat, after many adventures, his enemy Fartark, avoiding the destruction of the universe. Progressive rock, metal, jazz, disco music, psychedelia, post rock, classical… it is impossible to identify this album with a single genre.”

The album has ten songs, and “Gothron Ars, Gothron Ars Eem (Gothron Rise, Gothron Rise Now!)” is first. The opening tones are electronic, and there is a heavy buzzing underneath some gentle keyboards. From there, it takes a darker turn. Throw in some spacey keys, and you have a strange sound. “Crossing the Wormhole” has tense percussive tones, and you get the feeling that at any moment, the sound could explode. But instead, a funky groove develops. “First Flight in Planet Disco Dance” showcases some of the band’s Progressive leanings and musicianship. There are also psychedelic sounds, and it’s hard to get your bearings so far. But, it’s fun, I will tell you that.

“Mystical Training in Bothron Lamarovna’s Cave” is as strange as the title sounds. After days of hunting for his cave, you find it, and he invites you in. The tones are gentle at first, but always tinged with psychedelica. The sound seeps in slowly, almost unassumingly. In comes the heavy fuzz, and by the end, I am not entirely sure what happened…but I feel energized. “Invocation for Gothron’s Re-Birth” has a weighted bottom underneath more gentle keyboard notes. It’s a strange, but oddly satisfying combination of sounds. “Second Plight in Planet Disco Dance” has livelier electronic elements. They slowly whip into a groove that is catchy and spacey at the same time. They get heavier and more weighted as the song continues. The next two songs are both a “Celebration of Gothron’s Victory,” but I don’t hear a lot of celebratory tones. The strange part about this is that these are two of the most quiet and unassuming songs on the album.

“Re-Crossing the Wormhole Using a Little Quantic Drum” features some steady drum strikes over a bed of old school keyboards and a running bass line. “Gothron Armsten! (Let’s Bow to Gothron’s Power!)” closes the album, and it’s as strange of a way to end an album that you might find. Listening to the album is like wandering into a time machine, but your destination is neither the past nor the future, or maybe it’s both? Their songwriting is peculiar, but their musicianship is excellent. For me, this album is in the same neighborhood as OZRIC TENTACLES, but it still presents a very uncommon listening experience, and one that I believe you should all try once.