On March 4th, 2009 GPKISM finally released their first full length album, "Atheos." While the album consists of a good number of old songs, they never really get old. The new songs also present themselves with a lot of positive energy and thoughts.


Picture yourself sitting in the pitch black with your eyes wide open, but seeing nothing. Looking ahead, a dark wave sets the stage, and harpsichords add light that peek through the holes in the walls. "Immaculatus" brings the same kind of beautiful anticipation to a quick-witted song. The beginning chords are bright, like the light in the dark and lead up to a dim roll like thunder that intensifies and drops right before the vocals, which are very clear. There is a calm of violins before the storm of electricity begins again. There is a steady flow of harpsichords throughout the song that the song also ends on.

"Thanatosis" has a more morose feel to it. The guitar strings collaborate with the harpsichords in a captivating kind of way. GPK's voice sounds muffled, as if singing through the white static, which adds a really nice touch. But it clears out as the song develops. Kiwamu's scratchy guitars enter and set a horrifying scene right before a contrast that underlies the brighter chords. This is perhaps something only they could pull off so well. When I say scratchy, I mean that in a horror/thriller kind of way. It's totally gore. The instrumental aspects of this song can really set the mood of a nice horror film.

A light of hope shines as the moon rises. "Metempsykhosis" even starts on a lighter note, with more upbeat synths and a generally happier feel, especially when it comes directly after "Thanatosis." GPK's vocals enter on a much more defined level, and his voice really stretches through the music. The guitars are not the strong point as of yet, but more of a nice hint in the back. This song is slightly slower, though I wouldn't call any of GPKISM's music "slow, with ballad type natures," or anything. They manage to let the song build up through seven whole minutes. There are ups and downs, more or less electronic, really. At the very last verse, the vocals become a little more nurturing. Guitars become soothing and the song reaches a close.

"Metempsykhosis -Omega-" also has the same sort of slower tempo, yet upbeat feel to it. But don't get me wrong, all of GPKISM's music has a twisted and melancholic approach. However, this is a very nice instrumental interlude before moving along.

"Ultimatus" most assuredly has a very dramatic approach as in enters with it's fast-tempo synths and rough guitars. This is really the song to play when you feel like the crowd isn't getting wild enough. The music develops and comes to a crash right before the entrancing vocals enter. The instrumentals stay consistent through the vocals, which are actually seemingly more operatic and romantic in a sense that they wouldn't match the music. But like I said before, throwing together those kinds of contrasts are something this band is able to pull off without leaving disappointment. Stars twinkle through the song, as the vocals grow faster to meet the speed of the music. I will say that the end is slightly weird because it seems as though GPK screams his last words and the fast music carries on for a few more measure right before fading out, but never really ending.

I think that violins are the most beautiful classical instrument to incorporate into electronic music. When I first heard "Illumination," I was more than pleased to hear the song begin with violins. Harpsichords tie in well with the violins for a few measures before they all just end. Kiwamu picks it back up with intermediate, but beautiful guitar lines. The vocals are actually kind of breathy. However, I think if you listen to the words themselves, the song is a little desperate sounding, so breathlessness helps deliver the message. I can't get enough of the guitar and violin duet after that first verse. It's supposed to be a more tranquil piece in the song, but instead it had me on the edge of my seat wanting more. The next verse has backing vocals and echos, that really captivate that sense of desperation I was speaking of. If the guitar and violin duet wasn't enough, the last verse carries out a duet of vocals that lead into another string of guitars and violins. But oh, wait. It just amplifies because this time there's also really astounding synths that just magnify how beautiful it is to it's fullest extent. Then the vocals enter over it and they are much more compelling and well put together through this verse. As far as the close goes, the guitars are definitely the strong point.

"Infernum" begins in a very trance music kind of way, but Kiwamu's guitars, along with a rough bass, manages to create a more raw and realistic sound before it gets into too much of an ecstatic trance. The vocals are very distorted, adding the edge of trepidation and uneasiness. Ths song is generally very fast paced and more thrashy than it is beautiful or romantic, which GPK is so well known for. But this is an experimental band and the song is amazing. It's harder, and heavier. At first, I thought it would just be too much of a trance like techno stuff, but it ended up being very stompy and firm.

"Synthesis" is sort of the same way with the synthesizers and electronics. However, the drum beat do not take it down from the trance. As with some previous songs, the vocals tend to be drawn out and slower in comparison to the music itself. But that actually remains pretty invariable this time, where they don't catch up and match tempo as in former songs. There are two points in the song, one at the beginning, and one at the very end, where it sounds like glass is being shattered. I don't know why, but it adds some flavor.

"Abaddon" is a new song on the album and it starts off completely different. The synthesizers read a brighter, mystifying, magical letter instead of something dark and brooding! Kiwamu's guitars are rather astonishing as they carry on the dark, yet hopeful aspects of the music. The crystalline explosions of stars in the back also carry on through the vocals. So you know how GPK stands for "Gothique Prince Ken," right? I think this song is where the whole "Prince" part is accurately portrayed. This song illustrates a beautiful picture of a romantic ballroom, where chivalry is reborn. This is a unique turn for the music, as it is the most brilliant and illuminating song I have ever heard from the band. The harpsichords live on! A few drum beats and the song is bare. Like I said, this song is simply magical and ends on enchanting strings and entrancing electrical beats. The lyrics are so inviting. "Why don't you come and dance with me?"

The second instrumental interlude, "Sublimus -Alpha-" is actually very baroque. The Victorian aspects of the harpsichords meet some mystical synthesizers and carry on a fascinating dark trance.

"Sublimus" also offers an up-tempo sparkle. The entrance is very catchy, like a chase scene in an action movie. Suspense carries on, when the style breaks into heavy dramatics. But the chase carries on. Guitars are strong, yet a little less conspicuous next to the synths. There is an amazing raw guitar spot for the song before the break into quick sped electrifying synths again. Vocals are consistent through the song, but not as captivating here as in others. But the enthralling drum rolls throughout random selections of the music add a nice thunder.

"Atheos" is very thriller. It begins very morbidly, but in fact it ends up showing a very industrial side of the music. The sliding like metal razors is an obvious piece. Vocals are very distorted in this song, like being muffled or trapped behind a web of darkness. They clear up and sound more clean and precise, but it's short lived and ends up being on and off throughout the song. The rumbling of the beats offer a sense of excitement that goes along well with this song. Yet again, it seems like a cliff hanger ending where the music just kind of cuts off. But overall, it's a very well composed industrial song with aspects of clarity that most elegant gothic music has to offer. So it breeds the two and explores the great essence of experimental.

"Sanktus" is encompassed by the beautiful baroque harpsichords and has a rather thrashing electronic beat. This isn't the greatest followup song to "Atheos" since it's not as expressive with it's drama. The vocals are long and drawn out, but I don't mean that in a bad way. The song is just more elegant and seems really dull in comparison. However, what sounds like a cello adding nice touches is very cool.

The closing piece to the track, "Abyssus" is actually pretty alleviating. Harps are just used in angelic ways. Bot don't lose track here, it's still very spooky in the gothic sense of the music. Everything is still very dismal, but in the way that Halloweentown would present a lullaby to a child. Perky, soothing, yet very melancholic.


So all in all, there is a lot of good to be said about the album "Atheos." GPKISM appears to be going in the right direction with their music. The album is very consistent, so much to the point that a lot of the intros sound the same, just on higher or lower notes. But it's still the same desolate chorus sounds. However, those intros are not to reflect poorly on the entirety of the songs. After presenting the new songs, which are worth taking a listen to, I am more than impatient waiting for more.

A special thanks to Tainted Reality for giving us the opportunity to review this music. Please drop by their official store if you are interested!