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Electroambient Space |
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CD Reviews |
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July 2008
11 new CD reviews this month, including some amazing ones both in the Berlin school and
ambient genres. Read at your pocketbook's peril!
AmbientPortal “Interraflow” (www.atmoworks.com, 2008) 1 track, 63.59 mins Starting with crisp, pinging, percolating bubbles and a variety of cool space noises, Interraflow eventually settles down into deep pulsing with just a bit of scratchiness and grit, which then fades into dreamy soundscapes. The pulse returns with distant echoing unintelligible voices, like space chatter, with lots of reverb. The effect is somewhat psychedelic - trippy stuff. It all fades back into cool drones once more, floating on the night air. The mist hangs thicker, getting darker as it goes, though warmth permeates the sounds as well. For quite a while the music turns formless, all texture and atmosphere. As nearly 20 minutes go by it seems the music has settled in for the duration, but just past the 34:00 mark it shifts again as the music swells and slacks. Bright shimmering sounds are folded gently into the mix, and a soft drum beat appears in the background. A few more touches of percussion, and then beautiful female vocals, mostly wordless although I can almost make out something here and there, indistinct. The music seems to roll in waves, somewhat like Steve Roach’s The Magnificent Void. Next come tribal beats and water dripping. The shift from one theme to the next is seamless, deftly executed. At the end of the hour-plus journey, I find myself like a kid who just experienced a great carnival ride, ready to get back in line and do it all over again. Ron Boots "See Beyond Times, Look Beyond Words" Create “Lost on an Island Adventure” (www.groove.nl, 2008) 7 tracks, 70.42 mins Watching the TV show “Lost” while at home recuperating from an injury, Steven Humphries aka Create was inspired and Lost on an Island Adventure is the happy result. The disc begins the 17-minute epic “Just Above the Surface.” Humphries has made no secret of his admiration for the AirSculpture style and sound, and he once again bottles it perfectly here, from the moody, meandering atmospheric opening to the brisk but quiet sequencing and back again. Lots of pure electronic fun here, loaded with cosmic twitters and other cool sound effects. Mellotron strings are put to good use in “Out of Bounds,” again following the familiar Berlin school formula but doing so effectively. Mellotron-like flutes introduce “Follow the Shoreline” as vintage synths round out the sound. And so it goes from one Teutonic track to another, all deftly executed. In a sweetly sentimental nod to his recently deceased grandfather, “Heaven Waits” is a beautiful light touch to end the album quite nicely. M. Griffin “Fabrications” (www.hypnos.com, 2008) 6 tracks, 60.02 mins Over a decade in the making, M. Griffin’s Fabrications CD is inventive ambience that challenges preconceptions of what constitutes “music.” Only processed field recordings are used, culled from a variety of unique settings, ranging from a Hawaiian beach to a steel sheet cutter. The end result reminds me of other experimental ambient recordings, such as harmonic vocals in a cistern or underwater ambience. Tones are deeply resonant, more like white noise than music, but strangely soothing. Although vocals are not mentioned as source material, I think I can hear some briefly, albeit unintelligibly, in “Water is Silver.” Mechanical churning and pulsing characterizes “Gravity,” and it sounds like being pulled into a vortex. If I had to guess, “Behind” would be the track that uses the steel sheet cutter, although most tracks have a sort of industrial feel at times, none more so than the hard, cold, darkness of the 23-minute closer, “Sky is Glass Lit.” This is a particularly deep dive into all things dark ambient, culminating in a narrative of some sort, though processing renders it alien in nature, which is perhaps the best way to describe this inventive adventurous album. Hashtronaut “Through A Year, Darkly” (www.hashtronaut.net, 2007) 1 track, 70.52 mins Hashtronaut continues to be one of my favorite new artists to join the Berlin school, and with his latest two releases he remains at the top of the class. Through A Year, Darkly is fairly self-explanatory if you read his blog or the EAS interview from August 2007. Having nearly lost his wife to a severe illness, this music is presumably his cathartic expression of the experience, though ironically the liner notes say it is simply an attempt to capture an hour, not a year, of his life. I love the opening section, dark and moody but with some really cool synth solos that beg comparisons to Klaus Schulze classics such as Timewind, Moondawn, and Mirage, but without copying them outright. The mood is quite similar but it is Hashtronaut’s own. Although a single track, there are several distinguishable movements, the second of which is heralded by a low chugging sequence just past the 11:00 mark. This is every bit as good as Redshift, quite similar in fact, particularly the combination of sequencing, dark atmospheres, and soft synth solos as we approach 20:00 in. Though the pace remains steady for the duration, Hashtronaut keeps things varied just enough to both mesmerize and entertain. It isn’t until there are about four or five minutes left that he gradually starts pulling back for the obligatory soft change-up at the end. Knowing this was created in the moment, with minimal overdubs, only heightens my amazement and appreciation of this fantastic album. Hashtronaut “Magnetic Shadows” (www.hashtronaut.net, 2007) 1 track, 70.17 mins Like Through A Year, Darkly, Magnetic Shadows presents just over 70 minutes in the musical life of Hashtronaut. It takes a fascinating turn a couple minutes in, like the electronic equivalent of a music box running down. The effect is somewhat eerie and cool, gradually evolving into a unique sequencer loop joined in short order by sad synth strings. At this point the music sounds like a quirky melancholy soundtrack to a small indie film. The usual Teutonic tendencies are there, though muted and somewhat twisted. But fear not Berlin school purists, by 9:00 a more traditional sequencer pattern has arrived, followed by a chugging rhythm and full-on squelchy synth solo. Then forceful electric guitars take over, probably synth-based though my ear can’t tell the difference. Approaching 23:00 it all fades away until a single synth hangs in the night air, ebbing and flowing, falling completely silent for a second or two here and there. A steady pulsing bass sequence takes us off and running after a few minutes, building the wall of sound just right before it dissipates again. A darker section of space music follows, banging and clanging about rather abstractly. Just when it seems content to stay in deep space mode, the sequencing takes another turn for a bit before dropping back for a restrained finale. It all adds up to another winner for Hashtronaut. Stephen Philips “Into the Dark” (www.hypnos.com, 2008) 1 track, 74.29 mins Sometimes even reviewers judge a book by its cover. Hypnos release, check. Stephen Philips, check. Abstract cover art, check. A single track over an hour long, check. It’s obviously going to be deep dark ambient drones for the duration, right? Well, that impression goes out the window on the first note. The pinging noises sound more like the Barron brothers’ “Forbidden Planet” soundtrack or modern classical, than say, the latest Steve Roach hour-plus ambient epic. Bells, gongs and chimes are the predominant sounds, used rather sparsely, with synths and other sounds and effects for good measure. Wood blocks appear now and then, just briefly. Bass notes ring out from time to time and give just a hint of jazz flavor. This is thinking man’s ambient, like Brian Eno’s recordings from 30 years ago. While quiet, it isn’t exactly background music, as it doesn’t exactly flow. Notes are discrete and intermittent. It is subtle yet assertive in a way. The basic overriding theme and sound palette changes little over its course, just the placement of the notes and sounds. It’s like taking a thin slice of something and studying it intently, deliberately, ignoring everything above and below. Engage, listen intently, and see what you find. Rainbow Serpent “Live@Liphook 2007” (www.manikin.de, 2008) 7 tracks, 71.06 mins Gerd Wienekamp and Frank Specht team up once again in this strong live performance at Liphook from last year. “Le vent dans la plaine” gets the disc going in fits and starts, with assorted odd random noises, rather cool nonetheless. And it gets even better once the beat and sequencing arrives, the typical blend of modern and retro electronic music that this duo is known for. “Twelve Celli” drops it down a notch with strings and wordless female vocals lending a cinematic feel, courtesy of Thomas and Eva-Maria Kagermann respectively. The title “Tangram” immediately brings Tangerine Dream to mind, but the soft bell tones are more reminiscent of Klaus Schulze’s classic “Crystal Lake” from Mirage. Cool synths and sequencing follow. The disc is full of subtle electronic textures and atmospheres, particularly for a live set. The brief interlude “Calais” is an excellent example, with its gentle rhythms, electronics, and just the right touch of vocals from Ms. Kagermann. Of course, it is always a treat on Berlin school albums to hear epic tracks done right, and “En Passant is a 19-minute gem. Its gently percolating sequencing is vaguely analogous to another Schulze classic, “Totem,” but that is only a reference point. This is one cool, original take on retro. The last two tracks are just as good, one melodic and mellow, the other another retro affair with a thumping beat that will get your toes tapping. This is first rate, one of Rainbow Serpent’s best. Steve Roach “A Deeper Silence” (www.steveroach.com, 2008) 1 track, 73.41 mins By now Steve Roach fans should know what to expect when an album is comprised of a single long-form work. A Deeper Silence could just as easily have been named Immersion Four, but whatever you want to call it, it adds up to another sublime piece of minimal atmospheric ambience. If you enjoy The Dream Circle, Piece of Infinity, and Darkest Before Dawn, you are virtually assured of liking this as well. A Deeper Silence, like its predecessors, does nothing special to command attention. There are no dizzying heights, no stark depths, no one thing to attract one to it. And yet, it is these same characteristics that pull one into its sonic world, drawn in by virtue of its subtlety and softness. It is a static and yet ever-shifting piece, evoking images of clouds, mist, darkness, and the like. It plays like an infinite loop, one that I have gladly listened to from start to finish on several occasions. Equally enjoyable for deep listening with headphones or passive listening in the background, A Deeper Silence is classic Steve Roach. Steve Roach “Landmass” (www.steveroach.com, 2008) 6 tracks, 67.53 mins Steve Roach excels at continually evolving and reinventing himself. Steve has seemingly explored every nook and cranny of space music, and yet new releases like Landmass continue to show how much undiscovered country remains. Of course there are reference points, familiar sounds, and the usual Steve Roach je ne sais quoi, but the boundaries continue to be stretched and redefined. There is a gently chugging rhythm to “Transmigration” with deep pulsing bass and expansive synth textures washing over the top of it all. Though the pace is active the mood is calm, gentle. After cool drifting for 15 minutes, it flows into “Cerulean Blue Sky…” for another 15 minutes, with spacey electronics and a restrained tribal beat. Each of these tracks locks into a thoroughly cool groove and rides it for all its worth, making the first half hour of the disc pass dreamily by in nothing flat. Going deeper is “Monuments of Memory”, which seems to breathe slowly in and out. Continuing into the depths is “Alluvial Plain” as we descend into echoing dark ambient caverns. “Trancemigration” is my personal favorite, as gentle sequencing is expertly weaved into atmospheric synths in a condensed sequel of sorts to Arc of Passion. The dreamy and cleverly titled “Stars Begin” - Landmass was recorded live at Star’s End - brings the disc to a soft close. W.A.dePHUL “When Aliens Meet a Drop of Water” (www.manikin.de, 2008) 13 tracks, 70 mins Ralf Wadephul was a member of Tangerine Dream in 1988 on the album Optical Race and on their tour of that same year. Comparisons from that album to this one, despite the 20-year time lag, are unavoidable. Your appreciation for When Aliens Meet a Drop of Water will depend almost entirely on your opinion of Optical Race. If you like it, you should buy without hesitation. Being a fan of old school TD, I have always been rather ambivalent about this EM style. I found some songs on Optical Race excellent, such as “Mothers of Rain” and “Turning Off the Wheel,” but I found others completely disposable and forgettable. The bright harpsichord-like patch, so prevalent from this TD era, appears early and often on Wadephul’s album. Guitars add just the right sizzle on “Cosmic Cruiser,” jump starting the album rather well. Make no mistake, this is a synthesizer album, but the focus is on melodic tunes rather than improvisation or experimentation. The resemblance to TD on tracks like “1st Sunlight” is truly uncanny, and shows how much influence Wadephul must have had during his brief stint with the band. The interplay between the guitar and synths really shines here. Saxophone adds a mellow feel to “Endless Blue,” and again the TD reference is unmistakable. Tracks alternate between rocking and mellow throughout. When I’m in the mood for something upbeat and light that goes down easy, this album will fill the bill quite nicely. All reviews © 2008 Phil Derby / Electroambient Space. Any reprint in whole or in part must be appropriately credited.
June 2008 10 new CD reviews this month, enjoy. Deepspace “The Barometric Sun” (www.deepspacehome.com, 2007) 11 tracks, 70.58 mins Here again is an excellent collection of ambient
music by Deepspace. “Hymn 1” starts with beautiful atmospheric textures and sparse piano, comparing favorably
with Harold Budd and Cocteau Twins’ collaboration The Moon and the Melodies.
Bright shimmers and ethereal female choirs make “The First Glimpse of The…” a religious-sounding experience.
Bright timbres continue to permeate the sound on “Silent Revolving World,” alternating highs and lows in an almost
circular musical pattern, not unlike Steve Roach’s Structures From Silence
in terms of its structure. Space music doesn’t get much purer than “In the Outer Reaches,” suitable for
your next living room planetarium show. “Sungliders” is equally smooth albeit with just a bit of a growl in it.
“Endless Glass Metropolis” shimmers and floats, adding soft pulses briefly in the middle. On The Barometric Sun, Deepspace explores a comfortable middle ground between light and dark, with an ethereal dreamy
quality throughout. Steve Jolliffe “Poland” (www.ricochetdream.com, 2006) 3 tracks, 64.40 mins Most Tangerine Dream fans know that Steve Jolliffe
was a member of Tangerine Dream briefly in 1978 when Cyclone was released. What
they may not know is that he was also a member during the earliest days of TD, touring with them in 1967. In what is sure
to be a real treat and surprise for diehard fans, Jolliffe’s disc Poland
includes a nearly 29-minute piece of music from this time period. The recording quality is relatively good, and the music
is as bold and daring as one might expect from such an early manifestation of the band. Jolliffe plays flute, piano and electronics,
with Edgar Froese on guitar. The resulting cacophony of krautrock that ensues is at turns breathtaking, rough, and edgy. Once
the sequencing starts in the latter third it is especially powerful, a glimpse into the lofty heights the band would later
attain. Fast forward 37 years to the Ricochet Gathering in Poland, as “Meadow Run” starts with a middle eastern
flavor. Guitars, synths, piano and a string section play with vigor. The guitar sound is predominant, almost flamenco style,
though in the middle some aggressive flute playing takes over. Jolliffe blends rock, orchestra, new age and electronic music
in a singular fashion. At times it sounds like Klaus Schulze in modern classical mode. “Komarno” sounds like Zanzi at times, or Phillip Glass perhaps. But for the most part Poland just sounds like, well, like Steve Jolliffe. And that’s a good thing. Jeffrey Koepper “Sequentaria” 9 tracks, 70.56 mins Jeffrey Koepper’s third release Sequentaria finds him fully in retro mode, with catchy melodic EM in the style of Tangerine Dream from the early
1980s, perhaps my favorite era of theirs, with the trio of Froese, Franke and Schmoelling. For example, “Blue Sector”
sounds like it could have fit comfortably on Exit. The simple pulsing rhythm, the
cool vintage sounds from the PPG Wave, the stutter-step sequencing, it all plays out perfectly for a warm and inviting beginning.
“Astral Projection” starts out all bubbly and spacey, taking its sweet time before hypnotic sequencing again envelops
you. The pacing on “Timeline” is particularly effective, chugging along just so. Classic synth lead lines will
have Teutonic enthusiasts in heaven. “Near Machinery” is one of my favorites, a perfect blend of soft, rapid sequencing,
adept synth solos, and warm pads. “Interphase” gives a nod to Jean-Michel Jarre with its tinkling crisp percussion
that harkens back to the days of Oxygene. Each selection is allowed just the right
amount of time to develop and set the mood before moving on to the next juncture. And to the delight of gearheads, Koepper
gives the complete run-down of the synths and sequencers used on each and every track. Required listening for Berlin school
fans. K-Shan “Memory and Dust” (www.k-shan.com, 2007) 8 tracks, 40.20 mins Stark, simple black-and-white artwork of a man walking
down a road toward some mountains adorns the cover of Memory and Dust by the artist
known as K-Shan. Gently plucked guitar strings, a low drone, and majestic drums create a simple but dramatic effect. The music
occupies a unique niche somewhere between tribal ambient and new age. Occasionally other sounds are added, such as the breathy
synth that runs through “In the Shadow of Mountains.” The guitar is almost flamenco style, though at a leisurely
pace, which slows down further still on “Trailing on the Wind.” Sometimes the drums are more insistent, as on
“Seventh Gate,” sometimes the mood is calmer and more reflective as on “Tears of the Moon,” but always
the guitars are there, keeping things light and relaxed throughout. The album is very cohesive, perhaps a bit too similar
throughout, but K-Shan has a unique take on ambient and acoustic that is refreshing to hear. Byron Metcalf “A Warning from the Elders” (www.byronmetcalf.com, 2007) 5 tracks, 63.55 mins Byron Metcalf is known for his penchant for percussion,
both in his solo recordings and on collaborations with contemporaries such as Steve Roach. He also keeps an ear toward music’s
healing properties. A Warning from the Elders takes these two musical passions
and fuses them into a highly organic work. During quieter passages the drones
and vocals remind me of drone master Mathias Grassow; during the more active passages the feeling is much more visceral. “Facing
the Truth” is an excellent way to start. It builds perfectly, from near nothingness to a single relentless pounding
drumbeat to a full array of drums, drones, and various tribal tones. No synthesizers or samplers are mentioned in the liner
notes, only drums and percussion, wordless vocals, and didgeridoo. The title
track forms a big mesmerizing wall of pounding sound. Ditto “Heart Warriors,” which lays on the drums even a little
harder. Though very similar, it still captivates, perhaps even more so than its predecessor. “Fire Passage” starts
with a cool panning effect that makes the tribal percussion sound almost like modern electronica, as if running through a
sequencer. It’s a perfectly placed unexpected change-up that totally works. Once the didgeridoo and vocals are layered
in, another cool vibe has been laid. The drums evolve quite nicely as well, active without being overly busy or frenetic.
The only misfire is “Earth Om – Sacred Resonance,” which is a large chorus of “om”s over and
over; it simply did not do it for me. Ignore it and you still have 50 minutes of first-rate tribal ambience. The Nature of Light “Shores of Jupiter” (Webbed Hand Records, 2008) 8 tracks, 42.32 mins The internet is a wonderful place, increasingly
so for fans of ambient and electronic space music. Case in point is this FREE download from The Nature of Light. The webpage
describes Shores of Jupiter as “orchestral ambient soundscapes,” which
is fairly accurate if not fully indicative of just how good it is. Often with free albums you get what you pay for, but in
this case it is well worth seeking out. Sparse piano, brushed percussion and a few synth textures give an organic feel much
like Patrick O’Hearn on “Reacquainted with an Old Soul.” This strong atmospheric number draws me in quickly,
and I want to hear more. “Time Stands Still” drops the piano and percussion at first, leaving just velvety smooth
synths. Rhythm returns, along with a few whooshing wind-like synth sounds. The smooth atmospheric tones of “Ocean Deep
Eyes” satisfy as well. A Vangelis-like synth lead appears toward the end, adding just the right extra touch. Piano moves
to the forefront in “Swimming with the Stars Part III,” which oddly enough is followed by “Part VIII”,
the only two such parts on the album, the latter of which is distinguished by soft electronics sans piano. Certain sounds
and themes emerge, making brief reappearances here and there. All in all, the journey to the Shores of Jupiter is quite pleasant, and well
worth the minor effort to download. Picture Palace Music “Symphony for Vampires” (www.manikin.de, 2008) 15 tracks, 66.51 mins Known for his recent participation with Tangerine
Dream, Thorsten Quaeschning is carving out his own unique niche in EM with his music inspired by silent films, this being
his second such outing, this time based on “Nosferatu”. Quaeschning presents a fully developed thematic work with
an ensemble cast, including players on guitars, synths, drums, bass, clarinet, voice, and something called an Irish Bouzouki.
The end result provides a compelling story in music and words, though I can’t make heads or tails out of most of the
vocals. It plays very much like a soundtrack, part symphony, part synthesizers and rock music. Some tracks are upbeat, some
are uplifting, and some are low-key, even sad, such as “Waving Goodbye, Waving Waving.” Titles seems to describe
scenes and dialogue, adding to the story line. Often the music has powerful emotional impact, as on the majestic, sweeping
“Knock Knock” and “Demeter-morph,” both aided by a strong rhythmic component that really drives the
music home. More relaxed moods are explored equally effectively on gentler numbers such as “Sleep well, Elisabeth.”
Both the quieter and louder tracks have strong guitar solos, and the one here is particularly nice, adding depth without overpowering
the softer elements. On the other hand, “Scholmance Trance” totally rocks! This is as varied a release as I’ve
heard on the Manikin Records label, and while it may surprise EM purists I hope they will give it a chance, as it is excellent. Conrad Schnitzler “Conviction” (www.ricochetdream.com, 2006) 18 tracks, 60.18 mins Conrad Schnitzler was a member of Tangerine Dream
during arguably one of its most adventurous periods, and he continues to make electronic music of an experimental nature to
this day. Conviction begins with “Stealth Passage,” a quirky dichotomy
with both light chirps and dark choirs, with both hints of melody and sections that seem atonal. Playful crisp sequencing
reminds me of old Kraftwerk. It’s a rather clever, engaging piece to start things off. Though most tracks are short,
the album plays like a single overall piece of music. For example, “Moving By Standing” seems a very natural continuation
of the opener. Though somewhat more atmospheric and stripped down, it is no less idiosyncratic. Likewise, “City Blur”
adds back in another layer or two, but seems to occupy similar sonic ground. The first comparison that comes to mind is Otso
Pakarinen, who records as Ozone Player, although Schnitzler’s music is somewhat more accessible and considerably more
cohesive despite its adventurous nature. In fact, I rather like this CD, which I didn’t quite expect given my limited
past exposure to his work. There is a pulsating quality that runs through the whole album that I find enjoyable. Besides,
it is refreshingly different, and although I do tend to keep coming back to my favorites, it is nice to try something new
now and again. Spyra “Gasoline 91 Octane” (www.manikin.de, 2008) 6 tracks, 66.41 mins If pressed to choose my favorite EM artist, I tend
to favor the more overtly Berlin school acts like Radio Massacre International or Free System Projekt, but I might actually
have to give the nod to Wolfram der Spyra. When I’m driving down the road in the sunshine, playing the track “Shirogane”
that opens this CD, life seems just about perfect. His music just feels so right, so true, so on the mark, hitting the sweet
spot for this listener’s ear every time. Spyra’s playing always seems confident and cool, and this disc catches
him in stride, doing what he does best. These six tracks form a perfect blend of Berlin school, modern electronica, and a
dash of smooth jazz for good measure. Melodies are spot on, percussion is crisp and clean. Each track evolves just as it should,
or in the case of some, like “Treskow Bridge”, they find a laid back groove and just keep it going, unhurried.
Unlike others who emulate Klaus Schulze or Tangerine Dream, Spyra uses them as a starting point, not the be all and end all.
The hypnotic sequencing that begins “Rantum Random”, along with the warm pads, are fully retro, but the shuffling
percussion and walking bass line that join in give it that unique Spyra take on the Teutonic style. And while “Operation
PPG” sounds like a title worthy of vintage gear, it has a decidedly contemporary thumping rhythm at times. “Below
20” is a 19-minute stunner, one of Spyra’s strongest tracks to date, on one of his best albums, and that’s
saying something. And check out the fun, funky short take on a Spyra classic, “Future of the Past EleKtrik,” to
close things out. Fantastic. Robert Scott Thompson “Poesis Athesis” (www.lensrecords.com, 2008) 13 tracks, 78 mins Robert Scott Thompson’s music transcends genres,
which is not so subtly pointed out in “Paradigm as Supergenre,” the opening track on Poesis Athesis, Robert’s debut on the Lens Records label. The music is a soundtrack for a chi kung (qigong)
instructional video, which Robert has apparently done before for Chi Kung Master Terrence Dunn. This is a thoroughly enjoyable,
slightly different take on ambient, both for Thompson and in general. New age, ambient, electronic, and ethnic elements weave
seamlessly together. The music soft, organic, and melodic, fully formed concise compositions that reward the listener whether
using this for meditation, background music, or attentive listening. “Noema” has sweetly sad strings, soothing
percussion and sparse but rich-sounding piano. More firmly rooted in the new age sound is “Nine Flowers,” predominantly
a piano piece but with just the right ambient touches. On the other hand, pieces like “Evening Star (“Daybreak”
Mix) have layered tribal ambient sounds like much of Patrick O’Hearn’s work. “Shen” is a delicate
atmospheric number which almost ends too soon. Shorter pieces are the order of the day, although a couple are allowed a little
more time to breathe and expand. “Mystic Pearl” is one such gem, as reverberant bell tones play over the top of
percussion, piano, and various subtle synth sounds. The music is inventive and refreshing yet accessible and eminently listenable
throughout. All reviews © 2008 Phil Derby /
Electroambient Space. Any reprint in whole or in part must be appropriately credited. April 2008 10 new CD reviews this month, with a focus on the
works of Italian artist Mac and his group BIOnighT. Also reviewed is the latest release from Vir Unis, this month’s
interview. Evan Bartholomew “Secret Entries into Darkness” (Somnia Sound, 2008) 7 tracks, 55.39 mins Evan Bartholomew’s current release is as good as his last one, Caverns of Time. Like Caverns, this
is a fresh take on dark ambient and experimental electronic music. The title track leads off, a smooth yet bold excursion
into ringing metallic drones, white noise, and minimal electronics that approach silence at times. Evan really does a great
job with serene, meditative opening tracks. It isn’t uncommon for me to fall asleep before the conclusion of the wonderful
17-minute opener to his first album, and this 10-minute introduction presents a similar dreamy challenge. “Cracks in
the Fabric of the Known” sounds like a unique hybrid of modern classical and ambient electronica as lightly percolating
rhythm and bleeps meld with somber strings. Dub and electronica influences continue as we flow into the next track with somewhat
warmer tones. Bartholomew continues to impress with his ability to make wholly unique compositions. A darker more expansive
sound returns on “Where Forgotten Days Slumber,” though gently thumping beats remain. “And Ancient Hurts
Dwell” has a faster, off-kilter foundation that seems a little spastic, though it is offset somewhat by lighter, smoother
synth elements. The last two tracks go back into more ambient realms for a soft finish. Secret
Entries into Darkness is first rate. BIOnighT “Back to Orion” (www.bionight.net, 2007) 7 tracks, 51.56 mins After a hiatus of a couple of years, Mac has teamed
up again with BIOnighT bandmate Sbrizzi Fabio, with the usual positive outcome. “Return to Earth” is a light bubbly
melodic piece that serves to ease the listener gently into the album. “Sinus Iridum” starts with dreamy soft sequencing.
A melancholy oboe-like synth plays the melody. A punchy playful bass line brightens things up nicely. Halfway through the
mood changes considerably as a more ambient experimental section ensues, quite surprising but no less enjoyable than the rest.
“Floating Thoughts” is a cool drifter, darker than the BIOnighT norm but again very good, a nice change of pace.
“Moon Rocks” shows the duo’s playful side, with unusual fun sound effects at the beginning followed by a
soothing pleasant melody and bouncy moderate sequencing; a wonderfully light touch on this one. Equally pleasurable is “Little
Gravity,” with the flavor of mid-1980s Tangerine Dream but with a style all their own. “Falling” is like
good 80s synth pop without the words. “Ride on the Moon” is a great 15-minute sci-fi trip across the lunar surface
to bring the disc to a close. John Christian “Bohunt Sabotage” (Self-released, 2006) 2 tracks, 58.25 mins This CDR is John Christian’s solo set from
Hampshire Jam in 2006. Barebones with no packaging, it was initially a very limited release of 50 copies, then another 50
copies. I meant to review it contemporaneously to its release, as a copy now will no doubt be very hard to come by. However,
if you see a used copy on Synth Music Direct or eBay or wherever, I would definitely recommend it, esp. if you are an AirSculpture
fan. The disc is comprised mostly of the title track, which runs nearly 55 minutes and is a lively excursion into the improvisational
Berlin school style that Christian and his two band mates are known for. As a solo act, Christian seems to jump into the sequencing
earlier and more often, keeping things moving along nicely. Though I enjoy AirSculpture very much, on occasion their tracks
do require patience during the sometimes long atmospheric intros. Bohunt Sabotage
reminds me of the band’s debut Impossible Geometries, which had a bit more
structure to it and remains my sentimental favorite. As such, I would consider this to be among the stronger releases in the
AirSculpture-related catalog. Deepspace “Subantarctic Sessions” (www.deepspacehome.com, 2008) 7 tracks, 53.48 mins I continue to marvel at the high quality of Mirko
Ruckel’s floating ambience as Deepspace. Subantarctic Sessions is in a very
similar vein to The Barometric Sea and The
Barometric Sun, dark and formless much of the time, but with a deeply calming influence. Beautiful simple piano, heavy
on the reverb, adds loads of atmosphere to “Arctic Sun and Weather Experiment,” a fantastic lead-off track that
sets the mood. “Subantarctic Phenomena” is even quieter, bringing even fuller relaxation. Minimal drones, whooshing
wind, and soft synth pads create a soothing ambiance. It doesn’t develop much, but it doesn’t need to. “Voyaging
Iceberg” sounds as cold and towering as you might imagine, though it is unexpectedly soothing as well. Even more calming
is “Chrysanthenum Planet”, which skirts the fringes of new age without fully going there. From here the disc just
seems to get even smoother and dreamier, if that’s possible. “Mirror Sea” and “Deserted” are
wonderfully evocative of deep space and pure floating. Perhaps coalescing into a bit more substance sonically speaking, though
still quite gelatinous, is the equally relaxing “Crustacea Parklands,” which makes a fine finish if you haven’t
already drifted off into dreamland by then. Mac “A Deceitful Hand” (www.macvibes.com , 2005) 13 tracks, 54.45 mins From Mac’s “Just Music” series,
this album is mostly short bouncy tunes. Though melancholy themes are implied in track titles like “Tears behind the
sun” and “Not as it should be,” Mac seems unable to make music that is anything but pure fun and enjoyment,
and this may be his most optimistic sounding album yet. There is very much a pop sensibility to it, and it is best enjoyed
in that light. Rhythm is key throughout, steady and upbeat. Bright piano and warm synths plink along to the beats in “The
right place.” The music has a very similar style and pace throughout, and indeed some later tracks seem like minor variations
on earlier offerings. While not particularly diverse, it is quite pleasant from start to finish. Fans of Tangerine Dream’s
prolific soundtrack work from the 1980s should particularly like this. Mac “Grey Light” (www.macvibes.com , 2007) 6 tracks, 60.06 mins Retro fans should love Mac’s “Classic
EM” series, including this one. “Left Unheard” is a great beginning, with a little bit of everything, from
synth organ to sequencing to solid drumming and rocking guitar sounds. “Doubts About It All” starts with cool
deep space transmissions. Squelchy synths and a slowly repeating bass line come next, followed by warm pads and bright synths
and sequencing to round things out. “The Knot” is a brisk number that reminds me a lot of Dom F. Scab. Here again
the guitar gives added kick. The track seems to stop midway through, but merely takes the time to breathe a bit before taking
off once more. “Another Door” is very spacey, like entering another dimension. The hypnotic “Like Falling”
is followed by the 25-minute title track. It alternates between dark atmospheric space passages and vintage synths and sequencing,
though once it gets going the emphasis is on the latter. Another great Mac album. Mac “The Last City” (www.macvibes.com , 2007) 9 tracks, 43.04 mins This sci-fi apocalyptic tale begins, appropriately
enough, at “The Beginning,” a swirling moody piece that sets the tone for the story. The title track is bright
and majestic befitting the theme. Despite the dark subject matter, this mellow track has Mac’s characteristic bouncy
upbeat rhythm and melody. “Endless Rain” features a funky little bass line and a nice vintage synth lead. Bright
piano complements the mood as well. “Transition” has a similar vibe for a while, but then gets really rocking
at the end. Nicely contrasting this is “Null,” with ominous male choirs, dark airy synths, and drums playing in
the background like a processional. A nice little sequence picks up the pace midway through although the tone remains subdued.
“Street of Survivors” begins as a quirky experimental piece with samples that form the most unusual percussion,
though it eventually moves back into familiar melodious Mac territory. “Crumbling Buildings” is the longest and
best track, a fantastic retro outing with a steady backbeat, warm synth pads, and perfectly restrained sequencing. “Zareth”
sounds like Vangelis, ending the disc with a regal flourish. Brian Parnham “Mantle” (www.steveroach.com, 2007) 12 tracks, 73.54 mins Brian Parnham’s Mantle is the debut release on Steve Roach’s label, simply called steveroach.com. If Mantle is a harbinger of things to come from Steve’s label, that is good news indeed for ambient music fans.
Swirling brooding atmospherics permeate the album, from the bright shimmers of “Skim the Surface” to the darker
timbres of “Altar of the Underground.” The cover art is more reminiscent of magma than mantle, and the music is
likewise steamy and viscous. Names like “Meandering” aptly describe the general feel. The barest hints of percussion,
distant rumbles and softly brushing sounds, add vague semblances of texture here and there. “Rising Temperatures”
and “Strata Peel” have the same primitive vibe one gets while listening to Steve Roach’s Early Man. There is a slight gritty edge, yet it has a calming effect as well. “Liquid Aggregate”
has a little more going on, as the sound seems to circle around you. The glurpy sound effects remind me of another Roach album,
Possible Planet. “Scorpion Den” fills a similar sonic void, with textures
deftly placed over one another, gently scraping not unlike tectonic plates or other geologic phenomena. “Minotaur’s
Lair” is a bit more sinister perhaps, with an expansive cavernous quality. As one might surmise from the name, “Molten”
flows more smoothly, as does “Altar of the Underworld,” though both have subtle undercurrents running through
them. And so it goes, varying shades of light and dark, smooth and rough, future and past, coalescing into a gorgeous slab
of ambience. Vir Unis “Return of the Locust Queen” (www.atmoworks.com, 2008) 1 track, 31.52 mins John Strate-Hootman, aka Vir Unis, has demonstrated
a breadth and a compositional assuredness over the past few releases that really impress me. From Not Even The Rain to Henry Hud to this half-hour selection, each has
a singular focus. That said, there are discrete movements in Return of the Locust Queen,
with audible cross fades at approximately 9:35 and 24:12, and perhaps others that I missed on first listen. Despite title
and cover art, the music itself is not as dark as one might expect, though the latter third is several shades darker than
the first two. The music flows effortlessly, smooth as velvet and utterly relaxing. The AtmoWorks.com website notes that this
music parallels earlier flowing works of Vir Unis such as The Drift Inside, Aeonian Glow and Lumen. If you like the
pure floating ambient style of these titles, then you must add this to your Vir Unis collection. Nathan Youngblood “Asunder” (www.steveroach.com, 2007) 6 tracks, 64.03 mins Ambient music rarely goes deeper and darker than
Nathan Youngblood’s Asunder. This is murky stuff, wading through dark waters
of sound in subterranean caverns. The entire disc sounds as though one is exploring the depths, churning up the sludge at
the bottom and watching it slowly morph into unique shapes and patterns in the water. That is exactly what “Kanashibari”
sounds like, the epitome of darkness. It is bold, heady stuff, not for the faint of heart. The opening track “Vesper
Nest” is easy listening by comparison, but it too is mostly cavernous echoes, with little if any light to be had. “Umbrasphere”
lets up a little, mainly because it is quieter, softer. “Shearwave” is an epic mood piece comprised of wind, rumbling
thunder and drones. It really isn’t music in the conventional sense, but it is way cool nonetheless. Juxtaposed against
the others, “Flume” is light and airy, a nice serene floater. We dive down deep again with “Underland”
to bring the disk to a close. Asunder is minimal dark ambient at its best. All reviews © 2008 Phil Derby / Electroambient Space. Any reprint in whole or in part must be appropriately credited. ARC “Fracture” (www.DIN.org.uk, 2007) 5 tracks, 53.33 mins Mark Shreeve and Ian Boddy return with Fracture, five new tracks that continue to push the boundaries of instrumental rock and ambient electronica. The
title track is a perfect example of accessible melodic EM that defies easy categorization. Scorching guitar-like synths, punchy
clipped snarls of bass, soaring pads, and assorted samples and odd noises are fused together into something greater than the
sum of the seemingly disparate parts. A slowly grooving bass line and moody atmospherics on “Departed” bring the
classic ARC sound to bear, shuffling along just so, courtesy of Nigel Mullaney’s percussion loops. It takes a melodramatic
turn in the middle that is classic Shreeve with that big sound of his. Crystalline tones add warmth and depth near the end,
with beautiful shadings of color and light. “Slipstream,” on the other hand, finds a comfortable zone from the
get-go and just runs with it, or rather jogs, not too fast or too slow. “Friction” is a cool little funky number,
lollygagging at first, but then an offbeat sequence jumps into the mix. This brings us to the 22-minute epic “Rapture.”
Otherworldly haunting synths start things off for several minutes, before classic retro sequencing arrives. Eventually it
all fades into ethereal dark tones at the end. Good stuff. Darshan Ambient “Re:Karma” (www.lotuspike.com, 2005) 13 tracks, 72.38 mins For those unfamiliar with Michael Allison
aka Darshan Ambient, Re:Karma would be an excellent place to start. A collection
of rare and unreleased tracks from the past decade-plus provide good insight into his musical style, which skillfully blends
ambient and new age sounds into his own sound, full of the textures and sounds of ambient, but with the structure, rhythm
and melody of new age. He does so in a thoroughly unpretentious manner, making music that simply sounds good. “The Cool
River” sounds like the prettier side of Brian Eno. “Boundless” is almost too smooth and listenable for its
own good. “Tiger in the Grass” melds world and new age elements together like a Windham Hill veteran. Tunes range
from melancholy (“The Ocean Whispers”) to dub-influenced upbeat numbers (“Soul Chameleon”) to easygoing
midtempo pieces (“Box of Sky”) to dreamy reverie (“A Walk Along The Ganges”). Regardless of the style
and pace, Allison maintains a sure hand throughout. If you like pretty melodies and soft sounds with your electronic music
you should thoroughly enjoy Re:Karma. Cosmic Hoffmann “Space Gems” (www.mindala.de, 2007) 11 tracks, 62 mins Klaus Hoffmann-Hoock often mixes new material with
archival recordings, but on Space Gems he has gone truly retro, with all the recordings
originating from 1975-1979. As such, there is an authenticity to the vintage sounds that is apparent. The slight rough edges,
both in composition and sound quality, add to the listening experience in a way. “Rooftop High” makes the most
of a propulsive, panning synth, adorning it simply but effectively with mellotron flutes and strings. “Mystic Winds”
whooshes in low, wind being the predominant sound, joined by just a light smattering of atmospheric synths, a wonderful example
of the less-is-more approach. Titles don’t get much more self-explanatory than “Sequencer,” and what you
see/hear is what you get. The loops are simple but hypnotic. Again we hear just a bit of other electronics to give it more
substance, but not too much. I really like the ending, with a long slow fade on the sequencer as a more atmospheric passage
wraps things up. Bubbly electronic percussion gives a lighter feel to “Far Away,” a very pleasant arrangement
with just a bit more complexity. “Wüstenschiff” has a steady beat and builds into a wall of sound. The name “Opera
Mellontronique” aptly describes this beautiful piece. “Spaceneighbours” chugs in quite coolly with some
great space rock. “Passing Jupiter By” is a great floater, surprisingly soft and minimal. The disc continues alternating
space music with psychedelic rock, all of it worth listening to. Can Space Gems 2
be far behind? Chad Kettering “Into the Infinite” (www.chadkettering.com, 2008) 8 tracks, 49.35 mins Any new talent with Steve Roach doing the mastering
gets my attention, and it is easy to see why Steve agreed to be involved in Chad Kettering’s Into the Infinite. Kettering has a solid grasp on what it takes to make good music in the genre, ranging from
dark ambient to floating space music. He is also not afraid to take chances, as evidenced on the opening track, “Breaking
the Surface.” While most of the disc is fairly accessible and readily likable, he gambles by placing the most adventurous
sounds at the beginning. After some cool bells and female whispers, something like an out-of-tune trombone is followed by
wailing male chanting. Frankly, my initial impression was not a good one, but he quickly overcomes this apparent misstep with
some spacious warm synths, and from that point on there is scarcely a note out of place for the duration. “Mystic Mountains”
is soaring and majestic without being overly sweet or melodramatic. There is an almost total fade out in the middle, after
which it changes to minimal ambience. It really sounds like two tracks, but no matter; both halves are quite good. “Humidity”
is perfectly named, as it sounds like a warm, damp atmosphere put to music. Bird-like sounds chirp in the background. A metallic
clang rings out to start “Into the Gate,” a moodier darker piece that moves across a varied sonic landscape. The
music seems familiar, with hints of everything from Giles Reaves to Vangelis to Steve Roach; but these influences and more
are spun into Kettering’s own musical vision. Chad Kettering is a welcome new sound in electronic ambient music. Nemesis “Live Archive Vol. 3: Trajectory of
Sound” (http://www.nettilinja.fi/~ahassine/, 2007) 8 tracks, 68.24 mins Finland’s best EM band is here again with
another set of archival live recordings. Like the first two, this is a blend of material from the last decade. “Pauanne
D minor” features punchy sequencing and cool retro lead lines. It has a very dream-like quality and yet has that unmistakable
Nemesis groove going on. “Kaiku Pt 3” is a serene floater, at turns both light and dark. “Io-Io” cranks
it up several notches with toe-tapping dance beats. As usual, the sound is completely electronic, with cool synths through
and through. After a filler “Announcement” and the didgeridoo misstep “Hiivala”, the characteristic
Nemesis sound and energy returns on “Raggaeniac”, a cool restrained piece with a steady infectious beat. “Shaman
Drum” is similar to “Hiivala” but much more successful in its tribal ambient approach. The 17-minute “Pauanne
F minor” paints sonic pictures in muted, moody tones, and makes a fitting finish. Patrick O’Hearn “Glaciation” (www.patrickohearn.com, 2007) 13 tracks, 43.15 mins With Glaciation,
O’Hearn continues to create seemingly effortless compositions that transcend convenient ambient and new age labels.
Tracks are brief and numerous, each a delicate slice of beautiful music with a concise thematic unity. Specific instrumentation
is not listed, but I believe I detect fretless bass on “Under Weigh,” one of several elements that cause the music
to rise above the norm in the genre, adding that little extra something here and there despite the relatively benign nature
of the soft music. A lot of the music sounds to my ears like delicate guitar playing, though I suppose it could be synth-based.
But then O’Hearn has always struck me as someone who regards the instruments merely as a tool, the means to the end.
His focus is where it should be, on the overall sound and artistry. He pays attention to the details, from the sound palette
to the sonic clarity. The beautiful digipak with photos of glaciers shows the same care and skill he O’Hearn puts into
his craft. Tracks run the gamut from ambient to new age to touches of jazz here and there, for example the brushed percussion
and sparse piano of “Our Temperable Host.” Glaciation is another gem
in Patrick O’Hearn’s exceptional body of work. Remanence “A Strange Constellation of Events” (www.MpathRecords.com, 2005) 10 tracks, 63.16 mins The first time I listened to “Signal Hill”
I thought I was hearing things – which is probably because I was. In addition to the soft ambient tones, the beeping
of a signal beacon is heard. I’m still not 100% certain whether I like the beeping or not, but the meaning behind it
is explained in the beautiful packaging. Regardless,l the track is excellent, the sort of music that definitely conjures up
images of standing on a grassy hillside at night and looking up at a sky full of stars. The music is minimal and subtle yet
richly detailed, as field recordings meld with such varied instrumentation as rattles, rainstick, metal plates, and my personal
favorite, “objects.” “Lamkhyer (remix)” has a low rumble and tribal beats that remind me of Steve
Roach’s classic title track from On This Planet. There is a light touch but
a dark tone that permeates the disc. “Nocturne” swirls about in a way that is hard to describe, simple but striking.
More complex and experimental is “Stress,” clearly a product of the unusual sound sources used throughout. Often
the disc is more about sound than music, but it manages to relax and sooth in its own unique way. Sometimes disturbing, sometimes
uplifting, always interesting, I highly recommend A Strange Constellation of Events. Klaus Schulze “Ballett 4” (www.spv.de, 2007) 4 tracks, 78.02 mins One of Klaus’ strongest discs from the 10-CD
Contemporary Works I collection, Ballett
4 showcases some fine melancholy mellotron solos, beginning appropriately enough with “Mellowtrone.” Lush
synth pads and mellotron strings intertwine in perfect harmony. The music is intentionally kept simple; no other layers are
added, the intensity stays low, and the subdued mood is maintained throughout. Drums ‘n’ bass fade in as “Soft
‘n’ Groovy” begins. One would not normally associate cello with “groovy,” but then Schulze was
never one for convention. Crisp percussion is added as this one moves leisurely evolves over the course of a half hour. Cool
synths and occasional male vocals add a vaguely eastern feel to the music midway through. “To B Flat” seems like
a natural continuation, stripping down to the cello and sad atmospheric synths. Just when it seems to be getting a bit too
depressing, the drums and bass return and get the groove going again, although at the halfway point it drops back again into
more somber realms. Whereas the original recording ended here, the reissue adds a slightly fuller version of “Eleven
2 Eleven” with a proper distinct beginning and ending unlike its original version on the Adds & Edits disc of Contemporary Works I. It was perhaps the strongest
track of that disc and is a welcome addition here. SPV has the KS reissue gig down pat, and this is another good one. Klaus Schulze “Body Love Vol. 2” (www.spv.de, 2007) 4 tracks, 79.42 mins The first electronic music album I ever heard was
Jean Michel Jarre’s Equinoxe; the second was Oxygene; the third was Klaus Schulze’s Body Love Vol. 2. It would
be several years before I even realized there were two volumes, as my vinyl copy simply said Body Love. It was playing in the record store, and I asked what it was. When I was shown the cover, being the
red-blooded 16 year-old boy I was, I liked it even better – although I wasn’t sure what my parents would think.
This album, more than any other, sparked my passion for this music that continues to this day. I still have not heard a single
piece of electronic music that I love more than “Nowhere – Now Here”, the perfect 29-minute track that was,
back then, side one of the album. I would lie back on my bed, close my eyes, and just listen intently. When I went to college
a couple years later and lived in a noisy dorm, that song helped drown out the late-night carousing outside my door and helped
me sleep. Since then I have enjoyed many EM songs slowly evolve over 20 or 30 minutes, or even longer – but to me, none
has captured the formula so magically done here. Each measure, each new sound added, seems absolutely pristine to me, exactly
as it should be. Not one note wasted, not one out of place. Even the sudden, intense ending, which I have to admit did startle
me the first few times, is just right. And yet, as perfect as this track was and still is today, “Stardancer II”
and “Moogetique” are just as good, and quite distinct. “Stardancer II” is far superior to the original
on the first Body Love; whereas that one faded abruptly as if Klaus’ time
in the studio had just run out, this one continued on for several seconds more, and gradually faded away before moving into
another pinnacle of Klaus’ storied career, one of the best EM mood pieces ever composed. By the time the last strains
of pure space music spiral upward and outward, “Moogetique” takes the listener to the far reaches of unknown galaxies
and back again. The beautiful cover art, still bold by today’s standards, is as it was, both front and back. The bonus
is a 23-minute alternate version of “Nowhere – Now Here,” heavier on the drums and with a significantly
different mix and ending. My only regret is upon reading in the liner notes that this is one of four recently discovered outtakes
from those recording sessions. I hope that we will get to hear them on a future release. For now, I will treasure this new
version as I have the original for so many years. Body Love Vol. 2 is a true classic. Sensitive Chaos “Leak” (www.sensitivechaos.com, 2006) 6 tracks, 52.55 mins The title track of Leak begins simply, cleanly. Very slowly the sound evolves, first one layer for a couple of minutes, and then
another; those two tones explore and dance around each other before soft drums arrive. Then a saxophone plays over the top
as the rhythm becomes more prominent. Somewhere along the line, it becomes a unique blend of jazz and electronics. It is relaxed
and comfortable. “Android Cat Dreams of Mice” starts with wood xylophone and bright bell-like sounds. Percussion
is again restrained and highly effective in helping to set the mood. I play most of my electronic music at night, but Leak seems better suited for a lazy Saturday morning as you ease into the day. The playful bass line is overly
cute, but is reflective of the cat-and-mouse theme. “Starry Night” goes back to the EM-meets-jazz mode of the
title track, though it seems to delve further into smooth jazz realms. “Painting Earthtones In Orbit” is more
electronic but continues along a bouncy path, as do the last two tracks. If you like both EM and jazz and like your music
on the bright side, Leak may just fill the bill. Various Artists “Analogy Volume 3” (www.groove.nl, 2007) 17 tracks, 79.31 mins First up on Analogy
Volume 3 is “Vintage Contempories”, a cute oxymoronic title from Gert Emmens and James Clent. Emmens’
synth solos are readily identifiable from the outset, and strong sequencing and choirs complete the package. Create’s
“Red Alert” is next, a short piece with a metallic tincture. Stephen Parsick brings “A Molecular Surge”,
low rumbling darkness in keeping with his doombient themes of late. Newcomer Gert Blokzijl presents “Monopology”,
with familiar but nonetheless cool retro styling with sequences galore. I’d love to hear a whole album of this! Of course,
each Analogy album has to have Russell Storey’s continuing “Cosmic
Kiwi” series, and both parts here are good, although the first is over almost before it begins. Synth.NL’s playful
but low-key “Syntholology” is next, which I like a lot, really nice synth sounds throughout. “Sea Click”
is a bubbly little number by Francois-Pol Cornec that has me wanting to hear more of him also. Sweeping majestic synths take
over midway through, a cross between Vangelis and Jean-Michel Jarre, a good combination indeed. Speaking of Jarre, I’d
swear I’m listening to a rare outtake from Oxygene or Equinoxe on Erwin Hofstede’s “Solina,” a beautifully understated piece. James Clent goes solo
on “Ambiology”, which has a fantastic rhythmic foundation on which to build. The disc seems to just keep getting
better as it goes. Terje Winther’s “Familiar Surprises” has a bouncy, punchy little sequence, nicely mixed
with a gentle synth solo and warm string sounds. Studio35D’s “Probe One” has a raw edge to the main synth
sound that propels it along, good bite there. Mario Schönwälder has done a variety of solo and collaborative works, and this
time under the name Schönwälder’s Filterkaffee he records “Analogum” with Frank Rothe. It’s classic
Berlin school all the way, very TD-like, fantastic sequencing especially. Eric G dedicates “In the Moog” to Jean-Michel
Jarre, and it’s easy to see why, originally recorded in 1978 and inspired by Oxygene.
I didn’t really intend to describe all 17 songs in the review, but they are all so good and I’ve only got three
to go. Rene van der Wouden’s tune features a playful bright sequence and mellotron-like strings, though it is interesting
to hear the mellotron played legato. Mono-Poly’s “SemDrone” sounds like a cool old sci-fi movie snippet,
and perhaps it is, though the background dialogue is difficult to make out. Finally, we come to “Analowho” by
Ron Boots, a man who knows a thing or two about synthesizers, analog and otherwise. It is the longest and perhaps best piece,
great melody, rhythm and of course sequencing. Volume 4, anyone? Various Artists “Sounds of a Universe Overheard” (www.hypnos.com, 2007) 10 tracks, 70.10 mins Hypnos had two excellent compilations in its early
days, so a new one is welcome and long overdue. Sounds of a Universe Overheard
is a worthy addition to The Other World and Weightless,
Effortless. Ten tracks weave together into a varied yet cohesive look at all things ambient. Jonathan Block’s “The
Language of Rocks” starts us off, a cool synthetic electronic piece that seems just to get going and then fades teasingly
into M. Peck’s “Somna” with bubbly water sounds and minimal ambience. This one is allowed more time to breathe
and grow before it fades. Next up is Freq. Magnet’s “Nitrous,” very similar in its stark ambient approach
but with a different set of sounds. Kirk Watson’s “Scarecrow” begins with a unique collage of various noises
that, while not exactly musical, is pretty cool nonetheless. It soon develops into more traditional sounding floating ambient
music; Watson is definitely someone to add to my list of names to watch. Always good is dreamSTATE, and their contribution
“Ghost Nebula” is soothing dark shifting and drifting, which gets more intense as it goes. One of the more interesting
new talents I’ve enjoyed is Seren Ffordd, and his “Strange Attractor” is another good one, a low rumbling
number with an eerie cast to it. Dwight Ashley’s “Behold the Trampled Wheat” is typical of his dark experimental
musical wanderings, taking things further down into the crevices. Justin Vanderberg follows with “Infection”,
lighter by comparison to the prior two tracks but only by degrees. There is a softness and smoothness on this one that turns
the blackness into charcoal perhaps. Igneous Flame aka Pete Kelly is a personal favorite of mine, and I’m glad to see
him included here with “Pandora,” with his trademark dreamy electric guitar and treatments. The disc closes with
Tau Ceti’s “Float,” which does as it says, in a lighter way that brings us back full circle. Light or dark,
Hypnos does ambient right, and this collection is proof of that. For
the complete 4-CD release of vidnaObmana’s An Opera for Four Fusion Works, I am reviewing discs 3 and 4 for the first
time, and revisiting my earlier reviews of discs 1 and 2. For the adventurous EM listener, this is first-rate serious listening. vidnaObmana “An Opera for Four Fusion Works” Act One: Echoes of Steel (featuring Dreams
in Exile) (www.hypnos.com, 2002) 5 tracks, 52.36 mins This is the first of an anticipated 4-CD series.
In an unusual twist, it is being released by itself, but with a 4-CD case in the expectation that fans will clamor for the
remaining 3 CDs to fill it. And indeed they may, as there is much to appreciate and recommend on this first disc. Often dark
and complex, Obmana’s music this time is cheery by comparison, full of light acoustic guitar courtesy of the artist
known as Dreams In Exile, whose work Obmana has recycled for this release, blended with his own synthetic touches. As if the
4-CD staggered release concept weren’t unusual enough, the track titles are called, in order, IV, V, III, II and I.
“IV” is a very nice beginning, with a soft pleasant guitar phrase that repeats itself through most of the piece,
surrounded by various electronic treatments and textures. Twice the length of the other selections, it is a very soothing
sonic space. “V” is even lighter, with a somewhat brisker pace on the acoustic guitar, though the mood is still
very relaxed. The bright character of this CD may put off some fans who’ve grown accustomed to both vidnaObmana and
the Hypnos label having a darker side, but I’d recommend venturing into this new territory as they’ve chosen to.
“III” features wordless vocals, something I’m always a bit leery of in my ambient music. Even though it
is fairly unobtrusive my bias remains. On the other hand, “II” is a great moody piece, probably more along the
lines of what fans would typically expect. Relatively simple musical phrasing is employed and repeated, but the layering is
very nicely done, creating a hypnotic effect. Finally, “I” brings light guitar acoustics juxtaposed against a
darker wall of sound, the contrast working quite well indeed. It all adds up to my favorite vidnaObmana release in recent
memory, and one of the better ambient releases of 2002. © 2003 Phil Derby / Electroambient Space |