by Chris Muniz

Perhaps best known as one-half the Washington, D.C.-based duo Corrupt Souls, all of that is about to change as Marcio "Telemetrik" Alvarado steps out in a major way with an album of epic proportions. Aptly titled, "My Lightyear", the 10-track debut is an inspiring and wildly ambitious journey through a cinematic soundscape that is sure to bring on the goosebumps and flashbacks (or flash-forwards) to a retro future worth experiencing.

Having originally hit the big-time with Impulse in 2003 under their Corrupt Souls moniker, the duo earned their stripes with a number of high-profile releases on imprints like Moving Shadow, Renegade Hardware, BSE and Circle, before moving on to other projects.

After the amicable parting of ways, Marcio buried himself in the studio and really began to push the boundaries and test the limits of his studio expertise. Like some wise-beyond-his-years Jedi master, Marcio seems to embody long-forgotten techniques and ancient principles brought to the surface once again. With no fear of hardware or software and a studio that looks like the playground of a mad scientist, Marcio's own demeanor is otherworldly and thoughtful, as befitting a poet or philosopher.

Drawing upon the sci-fi landscape of the golden age of drum & bass when Ed Rush, Optical, Trace, Teebee, and Stakka & Skynet were at the top of their game, Marcio's full-length debut is certain to unleash a groundswell of revisioning the future.

"The idea behind the first drafts of songs was originally to revive the Telemetrik label," says Marcio when asked about the origins of the LP project. "But in the back of my head there was always the thought of doing an album nagging me. I asked the BSE guys for advice on what direction to take and that?s how the project came to have an outlet."

A linking with Black Sun Empire seemed inevitable as the well-known crew is obviously in deep exploration of similar corners of the musical universe. "I remember getting speeding tickets listening to BSE so I guess it was meant to be," Marcio adds with a smile.

Being in the fortunate position of releasing the first non-BSE produced LP on their namesake imprint is an honor not lost on Marcio. "They've been a point of reference and put up with me throughout the whole process. Music is what matters most to them and I've been beyond fortunate to have them in my life. Their label has ended up being a fantastic platform for the album as well because they always act as artists first and owners of a label second."

The LP itself is the product of over eight studios as Marcio was determined to approach each and every song as a unique experience. "There was all kinds of different gear, monitors, ways of working, and there were collaborations as well. I never made a song the same way twice. I experimented with everything from two-inch tape to the Emagic System Bridge, and covered as much as I could. It was distracting at times and it definitely made the album take that much longer but I learned a lot. "

Driving alone one night on a dark and rainy road, in an equally dark and miserable mood, Marcio remembers being struck with inspiration after seeing optical illusion "trails" on the road due to his glasses. "I started imaging what it would be like for a human to actually travel the speed of light. From there I really wanted it to be personal so I took ownership of the idea and made it My Lightyear. It just tied everything together so well that it was instantly the title. I?d found my cornerstone."

Cinematic in nature, it's obvious that Marcio's construct gave the work life and the pieces began to pull themselves together in the way a traditional score would, even the artwork on each of the three EP sleeves building off one another, furthering the storyline. From the floating rings of 'Act One' to the supernova scream of 'Act Two' and the rebirth by cosmic fire image that frames 'Act Three', Marcio is quick to agree that the artwork was indeed an extension of the LP itself.

"From the beginning my thoughts were tethered to the idea of the universe and its extremes. I wanted it to sound as bright as stars but also as dark and as cold as the space that surrounds them," Marcio says when talking about the overall sound and vision of the LP. "It?s possible that if humanity manages not to destroy itself we will see the explosion of artificial intelligence at some point in the future. I can't pretend to know what it will entail but 'My Lightyear' is one possible dimension. It's the story of two intelligences, one based on illumination and the other based entirely upon consumption."

Using the narrative as a foundation, Marcio pulls the listener along at an almost hypnotic pace, shifting between moods and tempos with ease, piling on the beats and energy full force before easing off the pedal and sliding into epic soundtrack mode.

"Cosmos" captures this tension perfectly as it seems liquid-like in its roll out before the beats come crunching in and the bass applies just enough pressure before rolling out and letting the floor grit their teeth. "Space Coke" is another cut that rises to the top, it's funky call-and-response giving way to alien bleeps and techno-driven atmosphere, reminiscent of Dr. Who-era time travel. On the verge of crossing over into electronica territory, there's still enough dirt and hustle to keep bassheads on their toes and completely losing it at the epic bridge at the core.

Looking beyond to the coming year, Marcio is the first to admit he's running on idea overload. Rather cryptically, in addition to the CD release scheduled in Washington, D.C. on July 19th and a fall tour, Marcio is keen to mention a "new website called EMEnetwork.com that will serve a lot of different purposes in the coming months."

Keep your eyes on the night sky:
www.telemetrik.net
myspace.com/mylightyear

BOX-OUT:

10 things you didn't know about "My Lightyear":

Cosmos: blew all the tweeters in a D.C. club during its testing phase.
R.U.R.: lowest sub note of the album.
Exit Civilization: started in the kitchen during studio construction.
The Bane: took the longest to finish of any song on the album
Evil Exists: contains a mistake
Space Coke: made in an office cubicle 
Station Seven: contains a reprise
Rouge City: my first synth solo 
Magnet: made in Holland
My Lightyear: insect agony