SYNTH MUSIC:
ASHLEY + STORY: Standing + Falling CD
A highly unusual, wholly original, indeed possibly innovative, album of electronic music. First off, it's mostly cosmic and space music with rhythms, where present, more as textural additions rather than driving foundations. It's too "busy" to put on as background music, in fact as background music, you are aware that it's simply not got the "warmth" or flow that something like Roach, Obmana and friend possess. So, you listen to it - you stop everything and you listen to it - you listen to its layers, its depths and plunge yourself right into the heart and soul of this music. But what you "see" when you get there, isn't always palatable. On a track like the eight minute 'Poppies (for Irene)' what you hear is deceptively tranquil but the more you are immersed, the more you are transfixed on sounds that fundamentally shouldn't caress your emotions the way that they do, but it flows along neatly enough, shimmers away and yet there's a strangeness lurking at the very center of it all - while the seven minute 'Wax Staircase' drops the unusual in favour of the more cosmic and eerie, so relaxed and yet there's a darkside to it all, but both tracks make for riveting listening. Other space music tracks of the four to five minute variety also embody these feelings, but the two more rhythmic tracks, 'Chicken Pot Pie " and 'Standing And Falling' reveal the more avant-garde nature of the two musicians, something you feel was trying to get out on the cosmic tracks but was somehow staying buried, as the decidedly unusually sounding and constructed electronic rhythms, can be treated as either adventurous or maddening, depending on your point of view - either way, it's pretty innovative stuff. The album ends with a near twenty-one minute track called 'Dysnipsia' and this really is the real deal in terms of cosmic space music - but even this is a paradox - the content is sparse, extremely slowly unfolding, texturally varied and never stands in one place long enough to be boring - but it still goes through drone-like qualities and at times is relaxed to the point of comatose, but somehow it all gels in your consciousness and you find it absolutely spellbinding. I'm sure other reviewers who know more about the mechanics of music and things like timbres, harmonies, and all the other technical gubbins, will probably be far more lucid than I am, but for me it's always about emotion, and this one, against the odds, does indeed strike most of the right chords.
SERGE BLENNER: Virtualis CD
You might be surprised to learn that this is actually an album of great strength, vast beauty, deep textures, flowing melodies and symphonic grandeur - an album that even Vangelis would not be ashamed to have put his name to - well, most of it anyway. Across 12 tracks, you'll hear music that flows, often into one another, to provide this rich yet substantial sounding canvas of string synths, orchestral textures, delicate piano and synth melody lines, solid but light rhythmic foundations, and a full sound throughout thanks to a superb combination of arrangement and production. It surprised me as to its quality overall, and I think it will surprise you too, especially if you are aware of his previous and earlier works.
IAN BODDY & FRIENDS: Index 02 CD
If there's one UK musician whose musical activities could be said to be consistent yet unpredictable, it's Ian Boddy. This now extends to his very own guide to the second phase of his acclaimed Din label, a label that should be up there with Fax and Time as CD's that you can trust merely by virtue of them being on the Din label. Thus, here is a low-priced, seventy-seven minute, 18 track sampler featuring two tracks from each of the 9 albums released on the label since the last sampler, and where Boddy himself features on 12 of the 18 tracks, either solo or in collaboration. What actually makes this album so worth while is that the tracks have been assembled both as a continuous mix and as tracks that have anatural flow into each other, so that, across the album, you get the feeling of listening to one giant, organic, seventy seven minute epic work that outshines a lot of single pieces from the hands of single musicians or bands. The album starts with the totally addictive rhythms and synth power of Subsonic Experience, one of THE best tracks on the label, before channeling into a, still powerful, rhythmic and melodic flow courtesy of the Reuter/Boddy collaboration that is 'History' only then to segue into the atmospheric space synths of dbKaos' 'Hydrosphere' which leads effeortlessly and seamlessly into the rhythmic ambience, throbbing bass and melodic bliss of Boddy's own 'Ecliptic', and even now you're realizing that you are indeed, listening to what is shaping up to be one fantastic synth music album, scarcely able to believe that it is a compilation - yes, it really is that good! From this still atmospheric but fluid and slowly rhythmic track, it fades from space drift to space drift and then we're into the phased, gliding synths of 'The Mystic' as Boddy creates a whole universe of cosmic synths, with a deep resonance and a panoramic expanse that will have you jaw-dropped for the whole of its all-too-short two minutes running time as you ownder where the music will head next. The answer is seamlessly into the boinging synth bass and throbbing rhythmic flow of Boddy & Rich's 'Edge Of Nowhere', a near five minute piece that builds from stark foundations into the gorgeously melodic, expansive slice of synth music heaven that drifts and flows overhead while the synth and electro-percussive rhythmic foundations, change both shape and pace underneath as the whole track marches almost organically onwards to breathtaking effect. The fade runs into a solid drum beat and echoed electro-percussive rhythm as the rolling synths and chunky beats introduce the more ambient electronics of dbKaos' (rubbish name - great music) 'After The Migration' as this sea of rhythmic layers strides out only to be joined by assorted electronic backdrops and rhythmic melodies to produce a track that is 90% rhythm but highly melodic, totally individual and a treat to hear. A space synth finale ushers in the booming cosmic introduction to Arc's "Arcturus-Part 2' as seventies sounding organ-like tones ring out over vast space synths and distant sampled voices, a huge bass building from the depths as the track proceeds into the sequencer magic of another excerpt from the same piece, a huge rolling mass of sequencers and electro-percussive beats providing a seriously addictive mix of three decades of "Berlin School" synth in one six minute track, a Tangerine Dream fan's delight. This ends in a haze of phased synths that segue directly into the fogbank of synths and swirling electronics that sounds like distant thunder before a mass of space synths swoop and soar as, springing into life like a spring flower display, comes the beautifully deep, almost symphonic, multi-textured cosmic bliss that is Boddy's own 'Aurura', one of the most spellbinding tracks on an album choc full of the things.
In a hail of synth comets that closes the track we are propelled into the huge-sounding mass of slowly booming rhythms and thunderous bass depths allied to high-flying string synths and drifting electronics, lead melodies and sparkling tunes that combine to form the huge-sounding magic of 'Chiasmata'. OK - you get the picture - there are 7 more tracks after this, all of them excellent, all of them continuing the awesomely high standard of the first 11, and all of them resulting in an album that is actually greater than the sum of its parts, and the parts are pretty nigh on perfect to start with!!
Forget the terms "sampler" or "compilation" - this is way more than that - this is a brilliant set of music with no fillers, lovingly and carefully assembled by a musician who feels every note, and, especially at this price, deserves to be in practically every electronic music collection in the country and beyond. Stunning!!
SUZANNE CIANI: Pianissimo III CD
Now you'd think that there wouldn't be a whole lot that you could say about an album of solo piano music - and you'd be right!! While I'm not the greatest fan of piano music in the world, if I'm going to listen to it, I want it to be warm sounding, with melodies that seem to fill the room, the sort of thing that makes me think back to my younger days when the school was clear of everyone and you'd be the last out, and coming along the corridor you'd hear this lovely sound of someone tinkling the ivories with tunes that seemed to draw you, siren-like, towards them, music that made you stop in your tracks and realize just how wonderful a place your world actually was. This is full of that sort of music - fifteen tracks performed with love and care, all original compositions that blossom in spring-like fashion into things of great beauty. I have to say that I did enjoy this album - but still have to say that solo piano is not something I'd play right now at home - maybe I'm just not old enough for this yet. That said, a gem, nevertheless, from one of the finest pianists in the world today.
IRIS CAMM; Straight From The Shoulder CD
This is a song album - nothing but songs. But it's in a synth section because it's also an Edgar Froese performed and produced album, a collaboration with a guy with the unlikely sounding name of Thorsten Quaeschning. Most of the music is done on synths, rather melodic electric piano and sampled or electronic drums. The songs themselves are, shall we say, somewhat varied. Stars OK with a cover of a U2 track, and then veers between acceptable, enjoyable and downright horrific. A track such as the AOR-flavoured 'Fallen Star' revealing quite a powerful vocal and a song that doe command your attention, while the crooning quality of the more sedate 'Djambaeo' is still powerful vocally albeit in a more reflective manner. But it's very much an album for someone into strong AOR-laced ballads or rock-meets-Enya flavoured songs, with a backing that's painfully short of guitars. To use one of my favourite phrases, "for the committed fan - and if you're not, after this - you will be - committed that is!!!"
COSMIC HOFFMAN: Electric Trick CD
Just when you thought you could predict what this guy was all about, he only goes and forms a duo that is the most exciting prospect in synth music in a while, the other musician being synth wizard Stephen Parsick, and then he shows that he's way ahead of you by producing this incredible eight and a half minute opening track that powers along on waves of sequencers, deep resonant bass sequencers, soaring synth melodies, lush mellotron textures, early Tangerine Dream organ backdrops and ending in a gorgeous atmospheric space synth cosmos, a track that practically sums up the '72-'74-era Kraut synth movement in one fell swoop. If you think this might be a one-off, let me have you drooling at the prospect when I say that this is very much the era of music in which a lot of this inhabits, and even more enticing prospect being that, somewhat incredibly, Hoffman's only gone and produced a six minute mellotron-dominated track that is the closest anyone's ever got to sounding identical to the legendary Tangerine Dream's 'Mysterious Semblance At The Strand Of Nightmares' and is a composition that will have the most hardened Tangerine Dream fan, foaming at the mouth in delight. The near six minute 'Sehr Mystich' again rides along on, this time a more sedate but no less resonant, sequencer pattern, while phased synth leads soar overhead and a lead flutey-synth line weaves the main melody, all set to an expansive backdrop that is right out of the classic Ash Ra 'New Age Of Earth' territory - musical heaven on a plate.
The near twelve minute 'Indian Bliss' is nothing to do with Indians and plenty to do with bliss, as this gloriously full-sounding mix of cosmic synths and seventies sounding sequencers blaze a spacey trail through the opening six minutes only for a soaring electric guitar to join the fray, disappear and then leave THE most beautiful slice of cosmic synths and guitars music that is pure classic seventies sounding synth and just to die for, in fact when the mellotrons come in, you might just think you have, indeed, died and gone to heaven. The near seven minute 'Space Pioneers' once again provides a strong bass sequencer rhythm, huge-sounding synth expanses, deep resonant synths and all manner of overlays as the swirling, phased and soaring lead and background synths all drive ahead as that classic seventies analogue warmth refuses to go away. The five and a half minute 'Floating In Time' is yet another piece that wouldn't have sounded out of place on something like 'Phaedra' although here the huge-sounding drift that is the synth backdrop has way more intensity as the lead melodies weave their spells. Of the final three tracks, the eight minute Nebelwald' is a classic slice of cosmic music, the nine minute 'Further Beyond The Galaxy' is a massive sequencer-driven slice of pure seventie sounding "Berlin School" electronic music complete with lead melodies, searing electric guitar, expansive backdrops and beyond, while the final seven minute Carina Cygnus' ends things on a glorious sea of cosmic synths, mellotrons and string synths complete with deep bass textures and expansive synth panoramas, to bring the album to the most exquisite of cosmic closures that you'll hear. Overall, a triumph - a faultless album that takes the seventies "Berlin" movement into positive perfection.
EMERALD WEB: Dreamspun CD
The duo of Bob Stohl & Kat Epple playing a variety of synths, keyboards, flutes and percussion, and the gorgeously relaxed, expansive and floating melodic music is made even more poignant when you know that, only a few short years later, Stohl passed away. The tracks here are just exquisite, the sort of thing that gave "New Age" a good name - and there weren't many - as melodies and layers flow and soar on the subtlest winds to come back to earth gently and move on to the next. The arrangements are quite gorgeous, as the tranquil and yet purposeful body of compositions flow easily from track to track as you close your yes and let it all pass by.
JEROME FROESE: Neptunes CD
Bearing in mind we live in an age where you can make a guitar sound like a synthesizer, and the fact that this musician is a guitarist, you'll forgive me if I tell you that, to my uninitiated ears, I'll swear I'm listening to a synths-dominated album - and a gem of an album, at that. Those who know will be predicting the musical nature of this album and scaring themselves silly - fear not, ladies and gentlemen - as bona fide fans of the Tangerine Dream and quality electronic music sides of the fence, you will be most pleasantly surprised by this album.
Take a track like the ten minute 'Friendship 7' - starts with a gorgeous guitar expanse for a few seconds before the synth (whether synth or not -but I'm telling you what I hear) - enters and then this cascading, echoed electronic rhythm starts, rippled guitar chords are layered on top, drums come crashing in and just as you expect a guitar lead to soar in, instead this warm-sounding sea of synths flows gracefully in as the whole expanse gathers strength and moves into this gloriously symphonic movement of strings, before the lead melody line surfaces above the, now rolling, drum rhythms, and a magical Tangerine Dream-esque lead synth flies above all this as the whole track drives forward - and here you're less than four minutes into it. Throughout the rest, you'll hear everything from sequencers to guitars, symphonic and "Berlin" to strong and streaming - a truly awesome track. The other co-longest track at ten minutes, is 'Decoding With Celine', starting with electronic swooshes before a familiar sounding resonant sequencer rhythm begins, as the electronic and sampled drum rhythms join alongside the sequencer, strings now covering the background, the lead limelight shared by synths and spiraling electric guitar, the whole thing melodic and huge-sounding, with the necessary bite to make it another fantastic track - in fact it sounds more like modern Tangerine Dream than Tangerine Dream if you get my drift. Elsewhere you'll hear 9 tracks between four and a half and seven minutes long, some of which are slow and emotive, full of strong rhythmic bases and flowing leads from a variety of electronics and guitars, here something sounding like a piano, there tasty acoustic guitar backdrops and over there, high-flying lead guitar work of a genuinely warm, melodic and highly emotive nature. The whole album is produced superbly and the arrangements are all multi-layered so that you hear a real sense of depth as the magnificently melodic approach to the compositions is paramount. There's nothing abstract here - nothing experimental, nothing rock-based, nothing hard on the ears - instead this is magical, partly symphonic, atmospheric, warm-hearted electronic and guitar music of a quality that will surprise and delight.
HEJU: Lost Ways CD
In many ways it's a mix of symphonic, cosmic, melodic and gently rhythmic synths music with an added touch of bite from electric guitar on several tracks to give an extra edge to the proceedings. But, by and large, the music here inhabits sound-worlds that are all about slow building, often starting atmospheric, rising up into symphonic mode then either driving along on a sea of electronic and electro-percussive rhythms or simply allowing the layers to spiral ever upwards and expand. There are hints of Vangelis, although it's mainly from the early Euro-mainland synth school, spending much of its time in a haze of atmosphere and melody but richly textured all the same.
KLAUS HOFFMANN-HOOCK/HANS-WERNER FASBENDER: Heartbeat CD
Essentially a fifty two minute track in two parts, of which the first is a thirty minute cosmic space music epic featuring multi-layered synths flowing all over the place above and inside which melodies from tranquil lead synths, occasional rippling piano, string synths and mellotrons, all combine to create this celestial sea of space music bliss. The second part is by turns, spacier in parts and yet actually features a slowly flowing electro-percussive rhythmic foundation for several minutes in the first half of the piece, before the die away to reveal mellotrons and strings, as another gloriously cosmic synth music drift begins to take over with more rippling distant piano chords adding the icing on the cake. Overall, a soaring, satisfying, sea of synth soundscapes that relaxes, hypnotizes and takes you to the stars.
IN THE NURSERY: Praha 1 CD
A live ITN album that gives these kings of majestic, symphonic, electronic, goth-classical music more of
an edge and raw dynamics not previously witnessed on the studio albums. Excellently produced and recorded, this showcases the wide variety of the band's facets from the snare drum backings through flowing electronic layers and orchestral textures, to sultry female vocals, miles of string synths and solidly percussive rhythmic backings, as well as a sense of urgency that brings it all out.
LIQUID MIND: IV-Unity CD / V- Serenity CD
On 'IV', the opening track lasts nearly ten minutes, has no rhythms and is a full-bodied, warm-analogue, flowing, drifting, expansive and richly textured slice of symphonic cosmic music, almost orchestral in places, with string synths dominant and a human heart beating away at its core (not literally, you understand) - quite beautiful. The following track, 'From The Silence' features more of the same only this time even spacier and more atmospheric but still with that layered full-sounding drift that take you "out there". At eight and a half minutes, 'Gold In The Shadows' does…..errrrrr….well, exactly the same as the first two actually, and by now, you're beginning to get the drift (sic!!) of this album - and you're not wrong - for the rest of the album it's cosmic symphonic space bliss from start to finish, all exceedingly romantic and yet quite strong too - the Heathcliff of space music!!
As to 'V', well, just read the review for 'IV' - OK, so it's not the same music, but it's the same sounds and construction, and quite safe to say that if you like one and can't get enough of it, then you'll automatically like the other.
O-HEAD: STEPS ACROSS THE CORTEX
Centaur's first release in a couple of years and they are off to a flyer with this, the second album from Dave Hendry's electronic trance project O-Head, and it's a seventy-eight minute space trip that takes you right into the rhythmic regions of…..
The album opens in positive fashion with nearly nine minutes of: 'Twilight Pilot' where an echoed booming deep bass rhythm rumbles under assorted synth melodies, effects, extended guitar-like sounds and choral synth phrases, and the effect is akin to something off Edgar Froese's 'Pinnacles' or 'Ages' albums. Next a real sequencer rhythm arrives on the scene, accompanied by underlying percussive beats and overlaid with all manner of melodic space synths, effects and soaring electronic comets of sound. From there the track really takes off and flies all round the skies, going this way and that, before the sequencers eventually subside to leave the booming bass beats with assorted synth cascades on top, before the main refrain returns and the track travels to its end point in a hail of sequencers, gentle but beefy beats, heavenly choral voices strings and melody. This is one of these tracks that gets the body rhythms going in a gentle flowing way as opposed to making to want to get up and dance around the room.
A short linking sequence takes us straight into: 'Otherworldly Journeys' where we enter a world of rippling and swooshing electronic sounds, mellow Mellotron phrases, deep bass backdrops and echoed synth rhythms that swirl all around the mix. The deep, full sound reveals strings that rise up before another teeth-rattling bass line appears down below with electro-percussive splashes and almost dubby bass to take the piece into ambient space realms. A sequencer line then appears and slides all around the heart of the track as the space effects now coalesce into one swirling sea of electronics as the scenery changes subtly under the heart of the upfront core rhythms. Next a multi-layered set of melodies emerges, then stretched-out cosmic synths come to the fore as the piece rolls along to a close at over the eight minute mark where Mellotron flutes, strings and choirs guide the piece to a beautifully cosmic conclusion.
Another atmospheric linking segment leads into the thirteen minute: 'Loneliness Of The Deep Space Traveller, where space textures, distant samples and lone synth melodies cascade and gives a real sense of space, as the music slowly builds and fills out. Lightly phased string synths appear and give some added depth to the track, ten a Vangelis-like synth melody chimes like a clock as the track moves slowly on its way, drifting off like a distant cloud on a warm summers day. The effect is just as satisfying as more languid synth layers unfold, then, just as the five-minute mark comes up, this massive bass sequencer line emerges from the bottom of the mix with waves of Mellotron strings and choirs and space synth effects surrounding it, and this new unnerving scenery darkens the skies quite superbly. Around eight minutes in the sequencers change sound and become more multi-layered, as electronic swooshes and string synth phrases are layered on top, with high-register melodies chirping at the heart of the mix. The whole thing is propelled by a driving layer of electronic drum beats, and the effect becomes totally spellbinding as Dyson/Wavestar like synth melodies flow in to join the Mellotrons, pulsating sequencers, bass rhythms and percussive beats and combining into a vibrant and exciting spectacle - again it's also still very much Froese-like, only more contemporary.
The eleven minute 'Oracle Eye' starts with a couple of minutes of assorted swirling space synths before turning the heat up with a driving slice of multi-layered, polyrhythmic "Berlin School" sequencers over which string backdrops and soaring space synths are heard as the melody line swirls on top and the whole soundscape has a really full sound with so much happening in the mix as it strides along in magnificent fashion, full of depth and everything you'd want from such a track, flutey layers, mellotron-esque passages and even a solid electro-percussive drive that enters around the four minute point. All of this cruises faithfully forward, the intensity opening out around seven minutes as a wholly new more expansive melody line opens up to make you smile, as your feet are still tapping away to the polyrhythmic foundations going on below. All of this stops just short of ten minutes to see the track out on more of the swirling space synths that began it - a superbly constructed track.
Without a break, the ten and a half minute 'Delta Ceiphi' starts with strings and solid bass synth rhythms, space synth effects, as used throughout the album so far for extra depth and textures, and this booming slowly cyclical bass sequencer line. Gradually more textures and melodies from synth and guitar are added to the vast synth layers that are unfolding, the atmosphere just amazing as the slowly rhythmic, track climbs ever higher, complete with guitar section to top off the "Berlin" comparisons to a tee.At five minutes, the track suddenly changes as a slowly moving bass sequencer line emerges, string synths are spread all around the mix, phased space synths are layered on top and the piece continues to drive, the distant guitar-like layers adding to the awesome effect, the composition ending in a sea of guitars and synths with a deep bass undercurrent running down below the mix.
The final track, 'Colours Become Shapes', is an epic - just short of twenty-six minutes, and as fine, deep, and brilliant sounding "Berlin School" music goes, this is absolutely exceptional. Like the rest of the album, this is his take on things and it's so refreshing and original, as the musician takes the sequencers, space synths, strings, percussive beats, samples and melodies, and proceeds to twist them all ways, driving the piece home with rhythms that are so addictive and dynamic, while all around there are acres of effects, space atmospherics, thematic leads and a sound so deep as to be virtually bottomless. Around the eleven minute point, the multi-textured soundscaping gives way to a typically classic T Dream-style sequencer rhythm as the tracks changes shape once more with huge oceans of synth melodies and choirs all adding to the vast-sounding mix as this massive slice of "Berlin School' music sails unstoppably to the twenty-four minute point, where things subside and the album draws to a more atmospheric close, just short of twenty-six minutes.
Overall, it's a much, much fuller sounding album than the debut, if anything more vibrant, with the deepest mix and busiest soundscapes that you'll hear, a world where atmospheric "Berlin School" comes into a league of its own, and, despite the comparisons, a refreshingly original take on things.
MARCUS REUTER: The Longest In Terms Of Being CD
Solo album following collaborations with Ian Boddy, and this is a purely cosmic space synths album. Tracks last from three to nearly twelve minutes, there are seventy four minutes of music and 10 cosmic soundscapes for you to sink into. It's drifting yet substantial space synth music that slowly flows and although there are a number of tracks, the feel and, to a degree, sound remains on a similar level throughout, giving the impression of one vast cosmic symphony. Dark in the main, it retains an eerie quality, yet still manages to be completely enjoyable as a space synths album.
KLAUS SCHULZE: Moonlake CD
The first track of this new studio album lasts thirty minutes and takes just two minutes before you are aware that he's rediscovered his rhythmic potential - yes, we're talking drums. Whether, real, sampled, acoustic or electronic, I've no idea, all I know is that this track really motors on a wave of stunning rhythmic drive. It's a bit like the classic Wahnfried rhythmic excellence only more electronic sounding and with a deep resonant bass line booming away underneath. Initially, a lone synth takes the lead as the solo soars out, although the subtle synth waves that fly all around the mix add to the effect. Right to the fourteen minute mark this rhythmic drive continues above which a combination of lead synth, what sounds like an oboe and wordless chanting voices all provide assorted lead roles as the piece continues. Then, around the fourteen minute mark, the rhythms cease to give way to a maelstrom of swirling space synths and high register wordless chanting vocal to the sixteen minute point where the bass synths rise from the depths as this vast industrial space music cloud and distant voice, all build to a point where it all starts to dissipate as bell like tones introduce the next segment of echoed synths and tinkling synth rhythms, the intensity rising as the chanting voice returns above the ensuing multi-synth layers, before a brand new percussive rhythm is set up and the track once more takes off on a bed of drums and deep bass, throbbing swirling synth surrounds and the chanting flowing vocals. Shortly what sounds like a guitar lead but is probably a synth, enters the proceedings and a restrained, sustained solo begins above the striding rhythmic foundations. The chanting returns once this ceases and then a violin-like lead joins the vocal a this section rides towards the finale, whereupon the rhythms end once again, the synths and voices and industrial effects remain and the track slowly disappears into the cosmos. Track 2 lasts seventeen minutes, is rhythmic right from the start and this time sounds more like a classic Namlook or Banco De Gaia track with percussive rhythms, deep bass, fairly fast pace and distant synth backdrops giving rise to emerging lead synth melody layers, all inhabiting a territory that is way more ambient and anyone into the likes of the aforementioned or Global Communications and similar will get off on this, for sure. Added to the rhythmic foundations comes orchestral slabs that hearken back to the days of 'X' and the combination of the two styles works just superbly, ambient in a new guise, and, like any of the classic long tracks on that album, this flowing multi-layered scenario continues right to the end of the track - surely one of his finest compositions in ages. Track three is more sedate with crispy rather than crunching electro-percussive rhythms above which a warm analogue cloud of lead and background synths, takes over as this huge mass of synth music heaven rises up in classic sounding Schulze vein as the rhythms gather strength and become more percussive. Then, once more, the rhythmic drive takes hold as the synths soar and float above the purposeful direction in which the track is being pushed, once more heading towards a slow, fading end. The final track lasts fifteen minutes and starts with cyclical sequencer rhythms, in fact it spends a good four minutes with practically just the sequencers, before more percussive rhythms arise then chunky drums, then deep bass and once more, a solid, strong and crunching sea of rhythms take the track forward. Above this a combination of swirling synths, flowing string synths and clipped synth melodies also emerge as the whole solid mass is propelled by the mighty rhythmic push. A soaring lead synth melody emerges around the nine minute point and this sea of rhythms aligned to the synth backdrops all combine to flow effortlessly forward to the end of the track.
VANGELIS: La Fete Sauvage CD
Just 2 tracks in thirty eight minutes, of which part one is a mix of synths/keyboards music and ethnic drumming, while the near twenty minute second part is a gorgeous single piece of classic melodic, cosmic Vangelis beauty with laid-back, tranquil synths and keyboards, delicious tunes that are spaced-out to perfection and an atmosphere that is warm and friendly. Overall, although a tad eclectic with the drumming bits, it's worth the price of admission for that gorgeous second part.
CYRILLE VERDEAUX: Inner Peace Concerto CD
A sixty-two minute concerto in 4 parts, and right from the start you hear the familiar strains of one of the main themes and melodies from the classic first part of the immortal seventies album, 'Clear Light Symphony' and Verdeaux, on piano and synths, spends the entirety of this first segment re-interpreting the themes and melodies that feature in that legendary album - and the best bit is, despite what I would have thought, it's brilliant - works and sounds a treat on every level - classical, symphonic, melodic, atmospheric - there's no part of this that doesn't grab you warmly by the heart and head and invite itself in for tea. The album is a complete solo effort from the musician on piano, synths and orchestrations, on which he creates a quite breathtaking array of melodies, tunes and flowing arrangements that echo a lot of what went on in the 'Clearlight Symphony' album but in a wholly different, almost entirely electronic (save for the piano) context. The fact that he carries it off to perfection over such a length of tracks, is a mark of the compositional talent and playing expertise of a seriously underestimated musician. Thi I an orchestral sounding, electronic work of absolute class, and anyone into the slightest inkling of classical music and electronics, should rush out and get this, for you won't be disappointed.
DAVID WRIGHT: Deeper CD
I spent a good deal of this album thinking "if he had a guitar, he'd be Mike Oldfield". It's chilled out but it certainly isn't "ambient". It's melodic - boy, is it melodic! - but there's a decided atmosphere going on that gives it a depth many would describe as symphonic, but in actual fact, it's a lot more spiritual than that term implies. Above all, it's hypnotic - you stare it in the eye only to be taken on a journey that, in keeping with all the best albums from this musician, has you hooked for the duration - no dipping in and out of tracks with this guy! Towards the end of the 4-part suite 'Sea Of Dreams' things take a definite turn into a mix of relaxed Klaus Schulze styled rhythms and sweeping symphonic strings but mostly it's a case of setting up a variety of languid but solid electro-percussive rhythms and creating a soaring set of solos over the top while filling the background with warm, almost analogue-sounding, synth backdrops. Take a track such as the opener, 'Nomad', as a perfect example - starts with space synths and deep rumbling bass, then settles out into a beautiful mix of swooping space synths and strings, before the most delicate of sequencer rhythms begins as the main percussive rhythmic foundations appear, sounding for all the world like something of an Oldfield album, only then for Wright to create a set of melodies that ebb and flow throughout the track, which is now rolling along in train-like fashion, as the background synths fill the mix and the melodies ring out on top. It's all extremely palatable, easily digestible and perfect for anyone that likes flowing tune-laden synth music, but music with depth and character at its heart. Elsewhere, across tracks long and less long, a similar pattern continues as the musical scenery changes shape and pace, assorted rhythms providing the addictive heart, while a combination of strings, choral synths and warm analogue backdrops provide the soul, as finally the head is satisfied with an exquisite set of melodies that is both relaxing and yet quite uplifting at the same time. Overall, it's Wright as you'd expect but now maturing like a quality wine, making every sip of this musical vintage, so satisfying.
