How Elusin Masterfully Mixes Ambient Genres In Her Debut Album Synfuels

Norwegian artist Elusin’s debut album Synfuels is anambient dreamscape with a shoegaze-esque spin on thegrowing witch house genre. This genre is typicallycharacterized by heavy basslines, trap drum loops, and anoverall dark and distorted sound. Elusin adds lush synth andstring arrangements to these sounds, creating anatmosphere unlike any other. While there is little to noinformation about Elusin on the internet, this mystique matches the hazy ambiance of Synfuels, enhancing the mood of the album. Elusin’s witch house influences are clear with one glance at the album cover. An over-exposed figure clad in red-white-and-blue places the listener in a rural American cornfield. This Americana aesthetic takes influence from the witch house duo Salem. Elusin makes Salem’s harsh trap sound her own, adding sweeping melodic synth and guitar gives the album deep, yearning emotion that witch house music typically lacks.

The album’s lead-off track, “Synfuels (Prelude)” opens with an airy string and vocal arrangement. The song then transitions into a droning synth and bass line,

introducing the darker elements of the album. While the first four tracks set the atmosphere, the last four songs are what make this masterful genre-mixing album what it is. The 5th song “Highway” is the clear centerpiece of the project.

“Highway” opens with an expansive, screeching synth line that acts as the album's hook. The song marks the turning point of the album where the songwriting begins to incorporate a more indie/dream pop style. The lyrical motif begun in “Highway” continues throughout the album. Elusin conjures the image of a small-town girl in search of her perfect Christian man. This Americana theme of guns and God brings us back to the witch house aesthetic. The song’s melodic synth takes a step back to welcome her simple reverbed vocals that build during a broken-down bridge and release at the crux of the song. The deceptively simple arrangement of the song gives it an easygoing sound, but the dramatic synth will make any listener feel like the center of the universe.

Continuing the album's shift to a more dream pop sound is the next song “Up Up”. This song replaces the driving synth of “Highway” with a more playful guitar loop and adds a heavily reverbed snare. “Up Up” acts as “Highway’s” brighter alter ego. The repetitive nature of the song entrances the listener as they fall with each echoing snare hit, only to be pulled back in by the booming bass.

“Highway” and “Up up” act as the thesis of Elusin’s ambient essay. What starts as a dark, distorted concoction of reverb and bass, ends as a light-hearted love letter. As the album progresses, the sonic fog clears, leaving only a girl and the open road. Elusin does not conjure this imagery by accident. With the darkness of the witch house, the expansiveness of shoegaze, and the siren song melodies of dream pop, Elusin pulls you into a hazy daydream masterpiece that is perfectly fit for a long drive.