A Dark Folk/Dungeon Synth solo artist from Ecuador. The band was formed in 2018. November 13th, 2000, saw the release of his self-titled studio album, which includes eight ancestral-spiritual tracks that would gratify fans of Meditation and Ancestral-spiritual Music. The album was released through his label Takiri Productions.
Introduction:
Urku Llanthu, Urku Llanthu: This review will evaluate every aspect of the album, from its intricate musical composition to its production. Our analysis will provide valuable insights to help you determine if this album is worth adding to your collection.
The First Three Sins of Urku Llanthu
Let’s start by discussing the first three sins of Urku Llanthu and his self-titled album, Urku Llanthu.
The First Sin, The Strings/Keys: Comprises an instrumental environment of ambience, atmosphere and traditional Andean wind/string instruments. The Second Sin, The Vocals: Involves omitting the vocals for an instrumental environment. The Third Sin—The Percussions: Delves into the vast world of various drum beats, percussions, and environment soundscapes.
The Fourth Sin: Overall Discussion: Sounds of hypnotizing atmospheres & ancestral-spiritual music
Before heading into the music, don’t expect anything heavy, brutal, or extreme, but a connection with yourself and your mysterious and dark experiences of pure tranquil, meditation, relaxation, and ancestral-spiritual music from start to finish. One begins their ancestral journey with the intro track Urku Llanthu, the sound of relaxing mood and meditation, before heading into the first song following the intro.
Before heading further into Urku Llanthu’s realm, I suggest headphones and switching off all modern devices, setting the light to a limelight setting, sitting back and relaxing (either a candlelight bath).
Bracing the sound and the ambience of this one-person project gives the listener an ear-to-ear experience of very well-thought-through arrangements in the music and songs of bringing the music to life.
Urku Llanthu captures the soundscape of a running stream/river, the sound of the wind, the call of nature, and ancient folklore while incorporating musical instruments. This concludes by adding string instruments, percussion, harmonics such as piano, synths/keyboards, acoustic guitars, and wind instruments of the Andean region such as the Zampoña (Acoustic Wood Lurker) and the Quena (Wood Flute).
While merging dungeon synth, dark ambient, folk metal, and the ancestral Quechua dialect (that works), thus creating this perfect instrumental environment-atmosphere ambient music that captures various sounds and moods within the piece.
Giving the listener different experiences within the music by making music/songs either depressive, dark, bleak and sometimes creepy, horrifying but yet calming and tranquil/meditating at the same time.
Pablo Mesias (Atuk Urku Llanthu – pseudonym) maintains an attachment to the Andean world-view and the rescue of the ancestral language Quechua typical of many Indigenous peoples while creating this creativity and musical deliverance of fantastic devilmanship. Seven beautiful, equally solid, strongly composed instrumental songs and a full-length release that is a fruit of art, from start to finish.
The album comes to an end with the last song, Outro (Aya Puncha). Which closes with an ambient soundscape of ancestral-spiritual music and, a healing/meditation lullaby. We want to give a shoutout to Urku Llanthu for letting us review his Tarpuk Amsa album.
Now, we’re going to wrap it up by talking about the final three sins and concluding the review.
You’re Listening to “Urku Llanthu”
PlayThe last Three Sins
Let’s discuss the last three sins, our thoughts on Urku Llanthu and his self-titled album, Urku Llanthu.
The Fifth Sin, The Memorabilia: Is that for us, how breathtakingly the music is, and composed and well-arranged, with a fruit of art devilmanship. While giving the listener a connection with oneself. At the same time, taking the listener to another world — an authentic experience…
The Sixth Sin, The Artwork:
Truly captures the instrumental environment of the music.
The Seventh Sin, Disrelish:
Nothing to disrelish within the musical spectrum of Urku Llanthu, and his self-titled album, Urku Llanthu.
This concludes the Urku Llanthu, Urku Llanthu review.
Track-Listing:
- Intro (Urku Llanthu)
- Illa Mank’a
- Qhapac Ñan
- Taki Nuna
- Wapsi Sinchi
- Ñawi Sinchi
- Yuyariy
- Yacgakuk
Urku Llanthu is:
- Atuk Urku Llanthu (Pablo Mesias) – songwriting, all instruments
