Those who are trusted with the divine Aural Art by Rojinski do know that this project is enormously productive (this review deals with the third [!] release in 2025 by this prolific outfit!), with each single release coming with its very own-faced approach. Throughout the years, Rojinski did slowly evolve, with all recordings having a comparable identity, yet also their specific content and attitude.
Things are not different with Hypnotic Frequencies, of course, at least from sonic point of experience. What strikes me in the first place, however, is the cover artwork. All former visuals did exhale a breath of futuristic, melancholic, (post) apocalyptic or isolationist grandeur (or a combination), created by the mastermind behind this project himself. Okay, it might be AI-generated (Monsieur Rojinski is, from professional point of view, very crafted within this modernistic ‘science’), yet it’s stunning for sure. This time, however, that cover concept is rather an expression of psychedelic, hallucinogen depth. It suits the title, Hypnotic Frequencies, for sure, with its limited ranges of color, its combination of static strength and dynamic expanse, and its center-focused direction.
A second remarkable element is the ‘number’ of songs on this album. Most of the time, a Rojinski release has at least six or seven titles (or more, hence my addition of ‘at least’). This time, there are only three. Of awe and reverence is the particular length: in between twelve and eighteen minutes! All former releases came with mainly protracted compositions as well, very often clocking over ten minutes, yet two out of three creations on this specific release clock over seventeen minutes!
A third interesting idea, although not totally new, is that this album is supposed to make the listener (and its composer) traveling without moving. Each listening session indeed accompanies you floating through vast spaces and unbeknownst dimensions beyond one’s consciousness and knowledge, yet at the same time it feels comfortable and reliable. No socio-critical concept this time, yet rather an experience to philosophize and to reflect your own thoughts…
But don’t let this solid duration daunt you! Even-though these three epics might be quite long-stretched in motion and expansion, it does offer so many levels of underlying finesse (once more). Hypnotic Frequencies starts with the longest track, mysteriously called Talking With The Schrodinger’s Cat (17:50). This theory, developed by the Austrian physicist Erwin Schrödinger, refers to a paradox behind quantum mechanics and a non-deterministic approach of elements (‘quantum superposition’). His experiment included a cat and radioactive material, and happenings that may occur, or that do not occur at all, which have (or have not) any effect by that radioactive influence on the cat’s life. But let’s not go too deep into this matter, for even a smart human being like me does not totally comprehend this theoretical paradox.
Yet then again, it does fit this composition, for Talking With The Schrodinger’s Cat comes with a equivalent antinomy in sound. It is a long-stretched composition, with at first a seemingly monotonous drone that very slowly crawls forward for five minutes. Yet with the necessary attention, one might ‘feel’ the increment behind this sound-manipulation. At almost five minutes, things sort of amplify into generous proportions. Multitudinous digitally manipulated drifting of audible frequencies appear, carefully invading the basic texture with a mysterious warmth. Slowly, very slowly, this semi-progression proceeds, resulting in an interplay of omnifarious harmonies with eminent themes and underlying accents.
The first half of AI Visions Of Reality (17:01) is comparable in structure and compound, with elongated flows of mesmeric nature. Then again, there’s perspicuously more motion and expansion within this work, with vibrant and serpentine constructions, rippling gestures and a dark-tuned, somehow surreal oppression. As from the second half, this composition sort of enfolds itself, adding a Lovecraftian feeling, a fateful, even prophetic murk. The addition of post-industrial-like sampling (like wind blowing in a hollow dimension) adds that insurmountable sense of both claustrophobia and reverence. The confrontation of progress and erudition meets its outer confinement, which does define this track’s title accurately.
The final omnipresent piece on this album, Ubiquity Of Conscience, lasts for ‘only’ 12:04 minutes, reports impregnable knowledge and science. Deeply rumbling drones, mechanical sound-effects and ominous, even dystopian field-recordings are canalized into an asphyxiating collage of noise-dramatism. It’s a somewhat vivid play; with ‘vivid’ not like in ‘alive’ or ‘lively’, yet rather like in ‘spirited’ or ‘lucid’. Ubiquity Of Conscience has a much vigorous approach, going for both a certain strategically calculated complexity, as well as a conspicuous dynamism. Despite its enormously short duration (what do you mean, that I am exaggerating?), this piece exhales the most energetic authority out of three.
Or, in conclusion: Hypnotic Frequencies is another highlight (once again) by Rojinski, exploring auditory territories of ghastly-futuristic emphasis and vigorous comprehension. Once again, a monument, a satisfying caress for the mind and the soul…
https://rojinski.bandcamp.com/album/hypnotic-frequencies
https://www.concreteweb.be/reviews/rojinski
https://www.concreteweb.be/reviews/rojinski-0
https://www.concreteweb.be/reviews/rojinski-1
https://www.concreteweb.be/reviews/rojinski-2
https://www.concreteweb.be/reviews/alphaxone-rojinski
https://www.concreteweb.be/reviews/insectarium-omensworn-rojinski