Dada Sandor's psychedelic urban saga, "The City of Earthly Delights," is an exploration of the triumphs and tribulations of metropolitan life. It takes the listener through the highs and lows of city living, expressing a range of emotions from frustration to tranquility.
Sandor's compositions weave a narrative that mirrors the artist's personal struggle with the metropolis, translating the distress of greed and the weight of responsibility into a musical odyssey. The title itself, a nod to Hieronymus Bosch, prompts contemplation on the transient nature of desires I and pleasures, drawing parallels with biblical narratives.
"Who’s Going to Water the Plants" kicks off the album with a raw depiction of the horrors of city life – the delays, the crowds, and the existential dread. The narrative then evolves through tracks like "Eternal Machine," a surreal narrative of escaping the corporate hamster wheel through a transformative psychedelics-induced experience, reflecting the desire to break free from the monotony.
The album's sonic palette ranges from aggressive and chaotic to serene and insightful, mirroring the emotional journey from external turmoil to internal peace. With influences ranging from the late Andrew Weatherall's rave memories in "Christine" to the childlike wonder in "Mini Me," Sandor creates a sonic tapestry that resonates with listeners on a profound level. "Valhalla," the final track, serves as a serene and insightful conclusion to the album, leaving listeners in a state of contemplation.
Recorded in both the heart of London and a remote Hungarian studio, the album's contrasting atmospheres mirror the external chaos and internal calm depicted in the music. Sandor's composition is not just an album; it's a kaleidoscopic journey through the highs and lows of city life.