Electronic music sometimes comes out as forced, contrived, or insipid. Such is not the case with the works of Bagaski – a Berlin, Germany, based Electronic musician who has a knack for creating music that is full of awe-inspiring ambiance and intriguing atmospheric qualities. Bagaski’s material keeps listeners on ones toes while maintaining undivided attention. After having listened to Final, the newest release by Bagaski, I was thoroughly impressed with the versatile, consistent, and enigmatic nature of the material throughout. Released on See Blue Audio on April 16, 2021, Final is Bagaski’s 15th release since 2016. What caught my attention most is the textures of the synth arrangements, textures, and tonal qualities. “Spring Prayer” begins the release with an ethereal, heavenly quality to it that would appropriately fit a bright, sunny day over a vast pasture. “Daze” is more mysterious and darker in style and variant in tonal quality. Driven by a more low-end, arpeggiated synth with a drum beat that is funky and percussive, I found myself fully embellished in the groove. “AD4”, although short, has a beautiful, dream-like synth passage. Maintaining a major tonal quality, it comes and goes like a passing memory; lovely, yet quickly overshadowed by what’s next to come. “C#” comes in next with an arpeggiated saw patch that builds up with more layers and swirls – tastefully placed and delivered in a majestic manner - as the piece carries on. Clocking in at 7 minutes, I can easily draw parallels to 70’s Electronic musicians such as Kraftwerk and Jean-Michel Jarre. “A Precis III” comes in with an atonal, detuned swirl like a swarm of bees. I enjoy the psychedelic, surreal atmosphere in this one. Although it may be jarring to some listeners, I found the stark contrast to the previous material very much to my enjoyment. The next track, “Bellcat Melt”, maintains fragments of the detuned synths as it begins. However, it eventually kicks into an up-tempo, Chillout inspired beat where the tonality maintains a brighter, more melodic sentiment. “Lydian Sequence and Filtered Noise” is a track that describes itself perfectly. Reminiscent of ocean waves calmly crashing in during sunrise, this is a wonderfully idyllic piece that tugged at my heart strings. The next track, “Came Otherway” is very Chillout, New Age inspired. Breathy, vocal synth patches carry the arrangement over a bed of an echo-drenched synth-beat pattern. Early 90’s inspired material from artists like Enya springs to mind as the arrangement calmly comes and goes. “At Georgetown” is a more cinematic work which conjures up imagery and transitional scenes from 70’s and 80’s Sci-Fi/Fantasy films such as Legend. “Heartful VI” closes the album in a similarly cinematic, yet no less heartfelt manner, than its predecessor. Swelling in and out with a series of higher end synths that swell in and out over a faint synth beat that moves like a fast-pumping heart, it had a mournful quality to it, as if it were telling the listener that all good things must come to an end. If you enjoy material of the vintage Electronic music variety that is mostly melodic with a dash of the avant-garde that doesn’t venture too far down the rabbit hole of experimentation, then I strongly recommend Bagaski’s newest release, Final. It moves a bit like a film or a TV score, but each individual track holds up perfectly well on its own. This would be a suitable release for a day out in the park reading, meditating, taking a relaxing trip along the shore on an early morning, or simply when wanting an ethereal aural escape from every day, mundane existence.