Darren Sullivan
- BuzzSlayers
- Jun 30, 2025
- 2 min read
Darren Sullivan’s Dreams of the Byzantines feels like flipping through a dusty old photo album where the images are smudged just enough to feel like memories instead of moments. On Bandcamp, Sullivan calls it “a collection of songs that reflect mood and vibe of the times,” with melodies meant to lift, even when the lyrics sit with discomfort. That framing makes sense. There’s an intimacy to this album that doesn’t come from pristine production or flashy hooks. It comes from a kind of weathered honesty.
The opener “Bloom” sets the tone right away with a drum and bass groove that’s both relaxed and propulsive. It has this beautiful looseness that makes room for slightly unhinged guitars and a solo that drifts into Eastern modes, pulling the whole track into a mild psych haze. I found it surprisingly expansive for something so grounded.
“No Funny Games” follows with a sound that lands somewhere between classic rock and ‘90s alternative. It doesn’t overreach. The arrangement is minimal, which gives the melodies space to stretch and breathe. There’s a breakdown section here that really worked for me. It felt like everything was collapsing inward just enough to reset the emotional tone.
“Memory Found” stood out as one of the most immediately affecting tracks. There’s something about the vocal melody that grabbed me right away. The mix of reverb-heavy guitar and ambient pads gives it a cloudy, reflective texture, like it’s meant to play in the background of a memory you’re not ready to process.
The title track, “Dreams of the Byzantines,” drifts back into more familiar territory with a light, airy, and reverb-soaked sound. It’s almost jazzy in its restraint. “My Own Direction” leans slightly into Americana, which adds some welcome grit, while “Not a Moment to Waste” picks up the tempo and delivers what might be the most purely fun moment on the record. That one caught me off guard with how easily it moves.
“So It Goes” brings it back to groove. It’s understated, but the guitars shimmer and the vocals land softly. “The Bounty” gave me shades of Yo La Tengo, especially in how it builds without ever really bursting. The final track, “My Sister's Friend,” might be the catchiest cut here. It wraps things up with clarity rather than grandeur.
The whole record feels cohesive without being repetitive. I noticed how Sullivan keeps the arrangements simple, often leaning on just drums, bass, and guitar, but it works. The production has a lo-fi edge that suits the songwriting. Nothing feels overly polished, but nothing feels careless either. For me, that balance is what makes this album resonate.
Comments