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Electroambient Space |
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CD Reviews |
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October 2009
Another 15 new albums reviewed this month, many of the year's best to date.
(www.3secondsofair.com, 2009) 4 tracks, 74.25 mins Whether recording as himself, Fear Falls Burning, or now 3 Seconds of Air, Dirk Serries aka vidnaObmana always brings something interesting to the table. This particular collective is a trio, including his wife Martina Verhoeven and Paul Van Den Berg. Recorded over a single weekend in February 2009, made up primarily of guitar and effects, the end result is exceptional atmospheric music. The band took its inspiration from the psychedelic music of the sixties and early seventies, feeling more like space rock than ambience, though the sparse music is loaded with atmosphere and soft textures. Each of the four tracks is allowed plenty of time to germinate, as warm wavering guitar and bass tones hang in the air. And although each piece is similar, the subtle shadings and timbres are different enough to warrant each one’s inclusion as part of the whole. The music seems to go nowhere and yet everywhere, crossing time and space and coming back full circle. Fittingly, the last track is the most spacious and relaxing, though all are exceedingly so. Released at the same time as The Flight of Song CD was a vinyl album of the same name, but with two different pieces of music, including the title track which is a 22-minute reconstruction of one of their rehearsals by Steve Wilson aka Bass Communion. I have not heard the vinyl version, but the CD of The Flight of Song is easily one of my favorite releases of 2009. Collapsar “Beyond the Event Horizon” (http://www.myspace.com/collapsardrones, 2008) 6 tracks, 47.31 mins Collapsar’s influences include Lustmord, Skinny Puppy, and Dead Can Dance; the black hole theme suggests Lustmord’s Where The Black Stars Hang as a reference point. Deep, swirling drones seem to encircle the listener, pulling you in to the vortex. Very dark and intense throughout, this is for serious deep divers. As with most “hard” ambient, this has no melody, no rhythm, only deep resonating echoes and black sonic textures. This is as intense a dark ambient listening experience as you are likely to hear. “Into the Wormhole,” for example, just gets progressively darker, louder, and more intense. “Passing the Gate” is hisses, white noise, and low rumbles that seem to roll into eternity. The title track has a shimmering metallic cast to it, but it remains black. “Reaching Narai” has a bit more edge to it, with buzzing and static for added grit in the dark mix. “The Way to Infinity” provides an appropriately eerie, dramatic finish. After all, pure dark ambient, like a black hole, allows no light within. Steve Dinsdale “New Church” (www.radiomassacreinternational.com, 2009) 9 songs, 46.59 mins New Church is the first solo release by Radio Massacre International’s Steve Dinsdale. It is everything one might hope for in a solo project, retaining the best characteristics of the band while branching out into new and exciting directions. There are times where the RMI sound is hinted at, but Dinsdale does a great job of stepping out into his own here. The focus is on tighter, more structured compositions, none over ten minutes. One of my favorites is “Wright On,” full of warm mellotron strings, strange otherworldly sound effects, chimes, and a propulsive infectious beat. “New Church 2” retains a moody, atmospheric, floating quality vaguely reminiscent of RMI but with its own distinctive sound as male choirs and meandering synths meld smoothly together. “March For Peace” is thoroughly Dinsdale’s own, combining organ music and a marching drum beat. Drums also feature prominently and effectively on “Gone Mission.” Mellotron flutes and strings are used liberally throughout, so retro fans needn’t fear that Dinsdale has gone too far astray. Highly recommended. Paul Ellis “The Last Hiding Place of Beauty” (www.groove.nl, 2009) 4 tracks, 59.58 mins Melancholy flute and gently strummed acoustic guitar play like a sad movie soundtrack for the first 1:08 of this album, which may have people scratching their heads just a bit. But from 1:09 forward, this is some great electronic music, starting with bubbly, percolating synthetic percussion which appears to be inspired by Klaus Schulze’s classic “Totem.” The percussive pattern laid down continues for the next 16 minutes, but varies enough to keep things interesting. Different themes are skillfully interwoven into the greater whole every few minutes. The atmosphere is mellow, cool. Rapid sequencing takes over about 7:00 in, but Paul’s sense of melody and sonic layers keeps this far from being derivative Berlin school. Speaking of brisk sequencing, the 16-minute title track moves rapidly throughout, building layers and intensity as it goes. The bass sequence in the latter part reminds me a lot of O Head’s classic first album Silent Universe. My favorite track is the laid back “The Note, The Walk In The Rain & The Umbrella. Airy flutes and sparse synths have a calming effect, as does the relaxed bass line in the middle. Though a quiet mood piece, there is more going on here than in your typical ambient track. I really like how Paul allows each track a big open space to breathe and grow, and this one may be the best example of that. A very clean guitar sound and piano begin the beautiful closing number, “The Hydroelectric Spinning Heart.” Another mood piece, this is the softest yet, concluding the disc in a wonderfully understated manner. This is easily my favorite Paul Ellis album, and one of the better releases of 2009. Forrest Fang “Phantoms” (www.projekt.com, 2009) 8 tracks, 70.06 mins Forrest Fang is not at all prolific when it comes to his releases, at the rate of one every few years; but one can hardly argue with the quality of the results. Phantoms further solidifies Fang’s status as a master craftsman of ambient music with depth and feeling. He has a particular knack for assembling a collection of pieces, composed over several years, which naturally seem to belong together. Part of what’s so appealing about Phantoms is that while there are common threads and themes running through it, the music is fairly diverse as ambient goes. World, ambient, new age, and avant garde are all weaved seamlessly together, not overly surprising given Fang’s varied musical upbringing, which shows itself throughout. “Distant Fires” is silky smooth and yet with a certain edge to it, complex layers coming together just so. It reminds me of “Why Do You Love Me?”, one of my favorite songs on the Cocteau Twins/Harold Budd compilation The Moon and The Melodies from over two decades ago. “The Great Wheel” combines ambient and world elements with flair, particularly on the gently played strings. At first I found the slightly dissonant tones of “Ittle Angklung” a little off-putting but now I love it. That is perhaps the best recommendation I can give Phantoms; that it holds up so well to repeat listening, with musical appreciation increasing rather than diminishing. Cosmic Hoffmann “Hypernova” (www.mindala.de, 2009) 9 tracks, 61.29 mins Here it is, volume three in the series of archival “Space Gems” recordings released over the past couple of years by Klaus Hoffmann-Hoock, aka Cosmic Hoffmann. All recorded in the 70s and 80s, it is again impressive to hear the quality of Klaus’ music from his vaults. “Longing for the Space” starts with a krautrock feel, combining tribal drumming with mellotron strings and other retro synth sounds. This track has a great pulsating quality that drives it forward. Other vintage sounds like male choirs make obligatory appearances here and there. The retro feel gets even more pronounced in the dreamy space sounds of “Requiem for a Dying Star” and “Cosmic Garden”, the latter of which features some excellent guitar work that fits well into the overall mood without being overpowering at all. “Alienapolis” is the quietest number yet, and it’s cool to see this softer, subtler ambient side of Klaus’ music. “Hypnotic” is aptly named, a moderately paced number that chugs along just so. Dreamy swirling sounds characterize “Floating in Time,” with slight Eastern tinges like Klaus’ Mind Over Matter recordings. This is another excellent collection from Cosmic Hoffmann that no space music fan should be without. Hyios “Consuetudines” (http://www.malignantrecords.com/catalog/, 2009) 7 songs, 49:37 mins
Jeffrey Koepper “Quadranteon” (www.jeffreykoepper.com, 2009) 4 tracks, 72.25 mins The man who goes by “Analog Jeff” has outdone himself on Quadranteon, truly going back to the classic Berlin school sound. On prior albums, Koepper has excelled at the Tangerine Dream sound from the Schmoelling era, tightly crafted tunes with lots of sequencing and vintage synth sounds. This is his first foray into lengthier compositions, and it is equally successful if not more so than its predecessors. “Part I” is classic space music, floating and swirling about, clearly on the edge of developing into something more, teasing the listener until the first sequencing appears just ahead of the 5:00 mark. A couple of minutes later another loop is layered over the top, deftly interwoven for hypnotic effect. A single wavering synth bridges over to “Part II”, followed by bubbly space transmissions. As TD did in their heyday, Koepper knowingly transitions from one theme to the next before any particular passage overstays its welcome. This 20-minute section explores the reaches of space without any rhythm or sequencing, content to float among the stars. Tangram and Pergamon are the reference points that come to mind. Sequencing finally appears again about 4 minutes in the 28-minute excursion of “Part III”. It moves briskly along for several minutes before pulling back briefly, then taking off again. “Part IV” hovers seemingly forever on a single, warm synth tone, with subtle shadings of atmospheric touches around it. It is a beautifully understated way to finish the album, with sweeping whooshes of sound that appear to be paying homage to the end of Jean Michel Jarre’s classic Oxygene album. Quadranteon may very well assume the mantle of classic status as well; only time will tell. Pollard/Daniel/Booth “Pollard/Daniel/Booth” (Available from MusicZeit here, 2009) 3 tracks, 66.46 mins This album will not win points for originality in the band name, album name, or cover art (plain black with just the title in shades of grey); nor will it win converts from those weary of the Berlin school style. But for fans of long retro tracks that start with loads of atmosphere and end in hypnotic sequencer loops, with bits of cool guitar thrown in for good measure, it simply does not get any better than this. About two-thirds of the way through “Envelopes,” the 30-minute epic opening number, I could be convinced that I’m listening to a fantastic outtake from Tangerine Dream’s Encore. The guitar sounds in particular remind me of Edgar’s contributions to that album. And the sequencing is first rate, moderately paced and mesmerizing. Fans of early Redshift and Radio Massacre International should also find plenty to like here. What I especially like is the way the music gradually, patiently unfolds. In today’s world of instant gratification and sound bites, this album requires time, and it is time well spent. “Skaters” is both dreamy and edgy, swirling fuzzed out bliss. “Ladders” again plays the Teutonic card with restraint, finding a cool groove and riding it out, rather than going for a big build up or over-the-top solos. Deep space transmissions float off into the ether to finish things off. This is fine, fine stuff. Radio Massacre International “E-Live 2008” (www.radiomassacreinternational.com, 2009) 3 tracks, 74.49 mins These three lengthy improvisations show the UK trio RMI doing what they do best, creating long adventurous soundscapes that build and expand upon their signature sound. This time, the envelope is pushed by the addition of a fourth player, Martin Archer, who plays keyboards and…saxophone? Fear not, the addition in no way diminishes the excellent RMI space rock sound. Houghton’s guitars and Dinsdale’s and Goddard’s synths and sequencers sound as strong as ever on “Veritable Petit-Beurre”; Archer’s sax playing is restrained and augments rather than detracts from the proceedings. The band loves to stretch here and there, and “Jct 31 Is Vandaag Gesloten” is a good reminder of that. This is a quite mellow affair, beautiful lazy bass line strolling through, with some warm vintage synths sparsely utilized. It is a unique fusion of atmospheric music from different genres, a little space rock, a little blues even. It gets a bit noisy and disjointed in the middle, but only briefly before some more class Berlin school sounds with superb guitar. It has that aggressive edge that I love so much about RMI’s body of work. “U Bevindt Zich Hier” has unusual little bell tones and sounds like rifling through loose change. Like the others, it starts quite relaxed, all nuance and atmosphere, then really uncorks once it gets going. I would love to have been there to see it unfold live, but I’m more than happy to hear the end result here. Resonant Drift “The Call” (www.resonantdrift.com, 2009) 12 tracks, 59.54 mins Resonant Drift is Bill Olien and Gary Johnson, and The Call is my first introduction to their music, although they do have prior releases. The Call was mastered by Steve Roach, who is also credited with “sonic enhancement.” The title track starts slow and subtle, with gently flowing synthesizers and quietly chirping birds. Melody and rhythm are absent on this particular track, emphasizing the formless sonic textures. The bar is set high for the rest of the album, and thankfully it delivers. “Invocation” brings a slow pounding tribal beat to join the flowing atmospheric elements. Softest yet is the ethereal “Understand Now”, which combines brighter shimmering tones with deeply resonant sounds in the lower register. “Recapitulation” is a beautiful, somewhat haunting piece, followed by “Beneath Strange Fire”, which delves fully into dark ambient territory, a rumbling wall of drones. Many tracks are quite minimal, setting and holding a mood or a sound and just going with it, a technique that works well throughout. Changes are subtle yet distinctive. “Breaking Free” features cool percussion in the background that seems simultaneously organic and synthetic, as incongruous as that sounds. Although the band credits Steve Roach, Robert Rich and others for inspiration, Resonant Drift have their own take on floating dark ambient that you should definitely seek out. Markus Reuter & Ian Boddy “Dervish” (www.DiN.org.uk, 2009) 7 tracks 51.49 mins Early on you can tell that Dervish is a little different, even for Ian Boddy’s adventurous DiN label. Teaming up with Markus Reuter, Boddy has created an edgy but fun album with percolating percussion, crisp electronics, and energy to spare. The title track jumps right in with a brisk if quirky beat. It seems a bit scattered, but in a very intentional way. It is freeform jazz infused electronica with bite. The energy drops off abruptly near the end, meandering softly for the last minute and a half. Boddy often likes changing the energy level from track to track, and “Stealth” definitely brings a softer touch, though there is just enough going on to keep it from true ambient realms. Bass and percussion lend a hand, and although it can be dissonant there is a certain accessibility as well. Though electronics figure prominently throughout, Reuter’s guitars are on full display as well. “Tableaux” keeps things mellow with a touch of melancholia. Edgy electric guitars provide just the right edge midway through. Great mood piece. “Joker” is another dose of eccentric pent up energy that moves in fits and starts. The album flows well while demonstrating a diverse array of sounds and styles, moving toward the avant garde in “The Watcher of Loneliness” and “Angst”, the latter a bolder experiment that will likely divide listeners. Saving the best for last, “Spiral Maneuvre” is a serene floater that closes things out. Steve Roach “Destination Beyond” (www.steveroach.com, 2009) 1 track, 71.39 mins One begins to wonder how many albums Steve Roach can create in his lifetime, not to mention how many that are comprised of a single track running an hour or more. Lest you think that might get old, or formulaic, think again. Destination Beyond is yet another feather in Roach’s proverbial cap. While Steve’s longform works are usually quite minimal, this is an active, ever-changing piece, along the lines of Proof Positive although a touch mellower than that. A pulsing bass line forms the foundation as warm pads float over the top and cool grooves complete the package. At times the bass drops out to allow more space to breathe, most notably from about 32:00 to 45:00, as pure space music floats by for several minutes. For the most part, however, the energy is never very far away. But it is a kind of energy that calms and mesmerizes rather than stimulates. Although suggestive of a world always on the move, Destination Beyond is a reminder that we can take time out to relax and contemplate as well. Surface 10 “Surface Tensions” (www.DiN.org.uk, 2006) 11 tracks 65.53 mins Dean De Benedictus records under his own name and others, including Surface 10. The album starts with the irresistibly catchy “B2 Gigacosm”, a bass ‘n beats heavy bit of ambient electronica. Sad strings make me think of Klaus Schulze’s work with Wolfgang Tiepold, an interesting contrast to the mostly very modern musical proceedings. “Dawn/Bleep Dusk” has a bit of glitch and some spoken word bits in the background, before more bass and beats give it a downtempo chillout vibe. Layered vocals are quite effective in “Phantom Jack to Station MT” with cool atmospheric layers adding a haunting touch. The crisp percussion and gltchy elements of “847 Chain Reactors” make me think a lot of Saul Stokes. “Particle Heartbreak” is a thoroughly cool understated piece. Even when thinks shuffle along quickly the feeling remains laid back. “X Tension” has a jazz feel to it, particularly the percussion and the bass line, though it still has plenty for electronic music fans to appreciate. The oddest hands down is “Days of Lovely Statistics”, which begins with an odd recitation of various mathematical equations, but ends with an excellent ambient passage. The disc closes on a somewhat shrill note with the whirring buzzing electronic noises of “Only A Word.” Highly recommended for fans looking for something original to expand their EM universe. Erik Wøllo & Bernhard Wöstheinrich “Arcadia Borealis” (www.DiN.uk.org, 2009) 12 songs, 63.15 mins Erik Wøllo is known for his melodic touch and Bernhard Wöstheinrich is known for his technical wizardry and cutting edge sounds. Put them together, and you get the best of both worlds on Arcadia Borealis. “The Wayfarers” has a catchy beat and melody, with a cool Vangelis-like lead line. “Exploration” blends ethereal shimmering sounds with glitchy percussion and grooving bass. The disc is inspired by 18th century Arctic explorers, though Wøllo’s characteristic warmth perfectly balances the precision of Wöstheinrich’s loops and beats. “Solar Wind” is a typical result, relaxed soothing night music, slightly chilled with Arctic air. “Airship” is equally mellow although it adds quirky percussion that shuffles briskly along. By the time “Terrestrial Magnetism” comes along, the disc has fully established an ultra cool vibe that continues right through to the end. Alternating between delicately intricate electronica and floating space music, Arcadia Borealis is a thoroughly entertaining journey. All reviews © 2009 Phil Derby / Electroambient Space. Any reprint in whole or in part must be appropriately credited.
August 2009
15 CDs reviewed this month, including several from the Hypnos label here in my hometown of Portland
Oregon. Mike and Lena Griffin rock! Er, I mean they ambient! Or whatever... (ok, that was really lame, sorry)
Matt Borghi “December Impressions” (www.hypnos.com, 2008) 11 tracks, 44.12 mins Simply entitled “Sequences” parts I-XI, December Impressions is a 2008 reissue on Hypnos of a 2001 release by Matt Borghi. Though Borghi is little known even in ambient circles, this is a fine minimalist work that really deserves to be heard. Icy cold strains of metallic ambience remind me just a touch of Klaus Schulze’s Irrlicht, one of my favorite recordings. This is more minimal, though, as if, say, Brian Eno did his own version of Schulze’s classic. Each track is brief, allowed to stand on its own, although I think the disc would have worked equally well as a continuous piece of music. A distinctive timbre runs through it, although each has its own unique variant that warrants its presence. Although all have a shimmering quality, there are varying shades of light and dark. “Sequence IV”, for example, has a darker tinge to it, with an eerie sound more mournful than the typical choir effect. As befits the album title, there is a distinct coldness running through it. “Sequence VII” has a certain floating smoothness to take the edge off, but it too remains brisk. December Impressions may cause a shiver to run down your spine, but in a good way. Matt Borghi “Huronic Minor” (www.hypnos.com, 2008) 9 tracks, 72.11 mins Huronic Minor begins in fine form with the serene floating of “Leaving the Gates of the Open Harbor,” soothing and relaxing. “Novermber’s Peculiar Calm” is equally calm and reflective, with a metallic sheen. “Gray Dawn Illumination” strips things down even further on a disc full of minimalist ambient music. Varying degrees of shimmer and shine present themselves throughout, along with echoes and rumbles for added depth and interest. “Point Aux Barques” and “The Longest Night” also score high on the relaxation scale, even as they delve into abstract atmospheric layers seemingly without form. The music is very Eno-esque, but with Borghi’s unique sonic signature. The delicate, subtle details in each piece can be appreciated either as background music or with focused, intent listening. The disc gets stronger as it goes, and by the time “Red Sky Morning” shimmers its way brightly along, expect to be fully immersed in the experience, and to just keep going deeper. My favorite may be “Distant Harbor,” the most serene floater on a disc full of them. Huronic Minor is excellent. Steve Brand “Bridge to Nowhere” (www.hypnos.com, 2008) 4 tracks, 75.22 mins Hypnos loves deep ambient, and Steve Brand’s Bridge to Nowhere is a prime example of it. “Bridge to Nowhere 1” envelops the listener almost immediately with surreal sparse choirs, soaked in reverb, and allowed to breathe with ample stretches of silence in between. “Breathing Light” blurs the lines between ambient, environmental, and classical, as crickets and drones with a symphonic flair are joined together. Sparse piano adds a nice touch as well. Just when it seems the music can’t go any deeper, “Bridge to Nowhere 2” is even more minimal, with even longer stretches of silence between the sounds. Silence is an integral part of the album throughout, perhaps even more so that on Steve Roach’s classic Structures from Silence, although shimmering tones do eventually fill in the gaps here. This builds more than part one, though the expansive resonant quality remains. The brightest shimmers are saved for last on “Through the Lens of Love,” as pretty as ambient can get without being the least bit saccharine. The Hypnos release announcement for Bridge to Nowhere reads, in part, that it is “spacious, slow-breathing exploration of a meditative state.” Amen to that. Darkened Soul “Bathys” (www.hypnos.com, 2008) 6 tracks, 51.03 mins With a name like Darkened Soul (aka Mike Soucy) dark music is anticipated, and that’s exactly what Bathys delivers, a journey into misty subterranean caverns previously explored by Robert Rich, Lustmord, and others. Music in the conventional sense is conspicuously absent, replaced by deep dark layers of dense sound, the kind that give subwoofers a workout and send you diving under the covers at night. There are no musical notes to speak of, no melody, no rhythm, just deep undulating currents of sound. Imagine being in a submersible in the Marianas Trench, and you are right in the middle of this listening experience. People speak of “hard” sci-fi; this is “hard” dark ambient, as pure as it gets. This is all about the blackness, the absolute absence of light. A journey this intense is not for the faint of heart. For those ready for it, this is the real deal. Seren Ffordd “Veils, Shadows” (www.hypnos.com, 2007) 4 tracks, 64.02 mins On Veils, Shadows, Seren Ffordd’s instrument list includes things you might expect like voice and electric guitar, and things you might not, like gourds and antelope horn. The end result has an authentic organic sound, similar and yet distinct from artists like Klaus Wiese and Mathias Grassow. “Slow Passing” has a circular feel to the swirling sounds, drones that breathe in and exhale slowly. Toward the end of the opening track, new sounds form the seeds of what will become “River Of Souls.” Seren Fford makes great picture music, and I can envision myself deep in a rain forest. Trying to describe the exact sounds and instrumentation is difficult for these atmospheric mood pieces, but I can state unequivocally that they succeed on many levels, from the way they sound to the effect they have on the listener. “Distant Paths” adds a tribal touch to the organic ambience. Percussion is crisp yet light, a very effective enhancement. The title track is darker and more dissonant in the early going. It smoothes out after a while with gentle washes of sound and steadily humming drones, coming to a long slow fade at the end. Recommended. Ben Fleury-Steiner “Drifts” (www.hypnos.com, 2005) 11 tracks, 59.50 mins Ben Fleury-Steiner is founder of the niche label Gears of Sand, but this release finds him on Hypnos Secret Sounds CDR series. The disc begins with “Sundial,” featuring bright metallic shimmering loops of sound, intricately structured like Robert Rich’s Geometry with perhaps a touch of Phillip Glass influence as well, moving along at a fast clip. “Flicker” chugs along vaguely train-like at first before it slows down. Synthesizers play a key role throughout, creating a futuristic sound. “Descriptives” shuffles along at a moderate clip with cool electronic sounds serving as percussion. The centerpiece of the disc is a four-part suite called “Dreams,” starting with “Somnium Scipionis.” Again I like the way the percussion pulses and shuffles along just so. The electronics themselves seem to meander quite a bit. It’s all pleasant enough, fairly cheerful, although no particular track stands out. Ruben Garcia “Through the Looking Glass” (From CDBaby here, 2009) 7 tracks, 62.33 mins I tend to think of Ruben Garcia as a piano player first and an electronic musician second, but Through the Looking Glass dispels that notion from the opening notes of “Pantoun” as very synthesized sounds sweep in, followed by gently bubbling percussion and delicate electric keys. These elements weave skillfully together to create a very pleasant space to open the album. Percussion and piano combine effectively on “La Mesa Terminada”. Rhythm plays an important role throughout, courtesy of Richard Bone on the first two tracks and Garcia on the rest. Marimba or the synth equivalent adds a playful tone to the title track. Several tracks have a strong melodic component, but then the disc takes a couple of surprising turns in the middle with two vastly different pieces. “My Minimalist Life” is an epic piano piece, with Garcia pounding the keys in a simple repeating phrase with dramatic import for nearly 20 minutes. In complete contrast, “Pulse” is a rapid-fire electronic juggernaut that never lets up over its 12-minute course. “Italian Café” is a light, bouncy gem to finish off this diverse offering. Lena “Extended Gestures for Cello” (www.hypnos.com, 2007) 10 tracks, 70.30 mins Lena is co-owner of the Hypnos label with husband Mike Griffin. Extended Gestures for Cello blurs the lines between classical, ambient and new age, much as Tom Heasley has done for the tuba. The disc eases the listener in with the straightforward but beautiful “Sweet Sixteen.” The more experimental side is soon brought to bear as “Alchemy of Fingers and Dark” begins (see my January 2008 review of the album of the same name), an edgy, bold, dissonant piece. Somewhere in between is “Crowdmurmurs, Peopletalk,” featuring restless drones which are probably sourced from Lena’s cello, and some white noise for a slightly industrial edge. More accessible than the preceding track, it is still deep stuff, but should be appealing to fans of darker experimental ambience. “Workings of Silver Fortunetelling Machines” is the longest track, just under 15 minutes, and is very subdued and subtle. Like Heasley’s tuba, you learn to identify when Lena’s cello is the primary sound source, but it is well disguised most of the time. Short bits of experimentation like the aptly named “Analysis of Tapes from a Haunting” are interwoven with longer ambient works that fully explore the unique ambient qualities from the source instrumentation. Recommended for both ambient and modern classical aficionados. Nverxion “A Look Within” (www.hypnos.com, 2007) 5 tracks, 73.56 mins Nverxion (pronounced Inversion) is David Brancato from Florida, and A Look Within is his debut album. He lists many ambient musicians as influences, among them Steve Roach, Robert Rich, Jonn Serrie, and Jeff Pearce. On the opening track “Emergence” I particularly hear the Serrie references, as this sounds like perfect floating space music for your next planetarium show. Brancato goes even deeper into sonic drifting on “In This Place I Wander,” which sounds a lot like Roach’s more expansive pieces; I can almost see the mist hanging in the air. After a luxuriously long slow fade with little extra tinkling bits of sound, it segues into “From Where I Stand,” a straightforward piece of space music that takes us to the two epic closing tracks totaling nearly 43 minutes between them. Low rumbles start “Fortune of the Sky,” which is like a hybrid Roach/Rich floater, with a slightly primordial edge, though it retains a dreamy quality as well. It fades and very naturally flows into “In This Place I Rest.” Again comparisons to Steve Roach are unavoidable, but the music is plenty good to stand on its own merit. A Look Within is a most promising debut for Nverxion, hopefully to be followed by more, and soon. Darren Rogers “The Alternate Realms” (www.hypnos.com, 2007) 6 tracks, 67.32 mins Hypnos continues to excel at finding talented unknown musicians in the ambient world, the latest case in point being Darren Rogers. The Alternate Realms begins with a gorgeous piece of space music in the form of “Still of the Night,” a brief but very promising opening number. “Slow Realization” starts with a ticking clock, which soon gives way to dark waves of ambience, followed by brighter washes of sound. A smattering of quirky electronics joins in, slightly incongruous but not wholly out of place. “Shimmering” is surprisingly haunting; I mean, it really gets under my skin, although eventually it brightens. Within these first three tracks, Rogers demonstrates remarkable range and originality. The trend continues on “Ancient” as dark ambience, floating space music, and assorted electronic noises are melded in a singular way. Bright electronic pulses start the 18-minute epic title track. It soon settles down, slowly breathing in and out as it progresses, taking a number of gentle twists and turns along the way. The disc closes with the quietest number, “Stranger in a Strange World,” as strange gurgles and night noises wander about. At times the music is almost imperceptible, but in a moment’s notice it becomes intense, and then it all fades away again. The best part about The Alternate Realms is that Darren Rogers has truly created something new to add to the ambient genre, something that will keep you guessing all the way through. How refreshing. Sans Serif “Tones for LaMonte” (www.hypnos.com, 2008) 6 tracks, 48.18 mins Sans Serif is a pseudonym for ambient musician Forrest Fang, and Tones for LaMonte finds him in a minimal mood. Fans of the drone will surely want to seek this out, based on just the opening moments of “Alpha” as washes of sound slowly pour over the listener. Though it has a very synthetic sound it has organic warmth as well. Like works by Klaus Wiese and Mathias Grassow, this evolves very slowly and subtly, albeit distinctively. One has to listen for the changes; alternatively, one can just chill and immerse oneself in it without trying to discern the gradual shifts in sound. Seemingly to emphasize each piece as a unique element, there are relatively long sections of silence between tracks. “Omega” is subtler still, growing almost imperceptibly and yet undeniably, as by the end it forms a wall of sound with an industrial edge to it. This is the kind of sound that drone purists absolutely love while the rest of the world shrugs and wonders what the big deal is. “Gamma” jumps right in without so much as a fade in, with a rawer edge to it at first, though it softens nicely in short order. Something vaguely like choirs takes over, but it could just be other processed or found sounds. “Delta” is a bit more dissonant and unsettled, but still delivers. I am at a loss to identify any of the sound sources used throughout; this music is about the end result and the way you feel while listening to it. Ethereal and warm, Tones for LaMonte is excellent. Robyn Sheldon & Indidgnus “The Mama Bamba Way” (www.deviantdidg.com, 2009) 8 tracks, 79.12 mins Although there is relaxing ambient and new age music here, the main purpose of this disc is guided visualizations for birth. The first four tracks feature Robyn Sheldon talking the listener through her self-described “avant garde birthing process.” Sheldon has a pleasant, relaxing voice. The music is repeated on the last four tracks without the vocals, and my review will focus on that. The music is more about soothing textures than structured melodic compositions. Each of the four tracks runs about ten minutes, allowing space to breathe. “Dawn” is very soothing, with birds, warm gentle synth sounds, and light, sparse piano. The calm, reflective music creates an extremely comfortable listening environment. “Daylight” features gently lapping waves and a shimmering brighter timbre. “Twilight” is for fans of that time of day, not the vampire movie franchise, with crickets and soft atmospheric sounds. “Night” is the only track with any discernible rhythm, a distant, two-beat phrase that adds just a slight tribal touch. Michael Martin, the man behind Indidgnus, is quite adept at building soothing soundscapes. Apparently this sound is not his norm, as sound samples from his other albums, from funky to psytrance, will attest. I’d like to hear Martin do a full album of relaxing sounds like this. Terra Ambient “Wanderlust” (www.lotuspike.com, 2009) 7 tracks, 51.23 mins Jeff Kowal aka Terra Ambient makes ambient new age music with hints of several influences ranging from Robert Rich to Steve Roach, Patrick O’Hearn to Harold Budd, and others. “Myth” starts the album so subtly that the music is nearly inaudible for the first minute, until a slow tribal beat and gently floating washes of sound fade in. The intensity builds nicely after that, leading into powerful soaring guitars that perfectly amplify the mood. Bright, brisk, tinkling percussion at the start of “Mudfoot” reminds me a lot of “Primes” from Robert Rich’s Geometry CD. It also throws in some deep bass reminiscent and tribal touches reminiscent of the Ma Ja Le and Vir Unis collaboration Imaginarium. Guitars feature prominently here with another strong solo. Things cool down for the next three tracks with mellow earthy ambience. “Visionquest,” in particular, develops very nicely. Although it evolves quite slowly, by the end it is a totally different, much more active piece. For the title track, chimes and a haunting wind are joined by slow tribal beats and warm flowing synth sounds. “Mammoth” has an appropriately primeval quality about it, contrasted nicely with modern electronic sounds percolating up once in a while. “Epilogue” is the most subdued track so far and possibly my favorite. Rain and thunder herald the closing track, “The Ghost in Me,” with sparse piano giving it a new age feel, a nice relaxed way to finish. Various Artists “The Gatherings Vol. 2” (http://www.thegatherings.org/cd02.html, 2006) 2 CDs, 10 tracks, 2:13:42 The Gatherings Vol. 2 focuses on pre-2000 recordings from The Gatherings concert series, unique lengthy sets from a classic line up of ambient and space musicians. The intense, shrill tones of fujara are followed by cool tribal passages in Vidna Obmana’s 20-minute set from 1998, which includes performances of “Trail Dwelling” and “Encountering Terrain” from his Crossing the Trail album released that year. Alongside familiar numbers like Ma Ja Le’s powerful “Imaginarium” and Spacecraft’s enchanting “De Profundis” are fresh new artists such as Pure Gamma, a precursor to Jeffrey Koepper’s fantastic solo work. Saul Stokes fans should be thrilled with “Darcy’s Charismatic Proton,” 20 minutes of unique floating buzzes and drones with that familiar Stokes edge and originality. The album does a nice job of capturing the avant garde side of ambient in all its forms, retaining a remarkably cohesive identity for such a diverse compilation. Various Artists “Star’s End 30th Anniversary Anthology” (http://www.starsend.org/SECD.html, 2006) 2 CDs, 12 tracks, 2:15:57 This 2-CD set is only available by donating to radio station WXPN, but consider it a wise investment if you like space music, as this exclusive set of recordings culled from live Star’s End sets between 1996 and 2006 is a veritable who’s who in the genre. Chuck van Zyl, host of the Star’s End program, starts the set off with his Ministry of Inside Things project. Effortless dreamy guitar by Art Cohen melds perfectly with a relaxed bass line, light percussion, and warm vintage synth sounds and sequencing. Next is another Star’s End staple, the little-known but excellent Orbital Decay, who I only discovered myself about a year ago through a friend’s recommendation. This 2005 recording of “Terminal Velocity” infuses spacey synths with a lead line that lends a mournful quality at first. The mood brightens as a bubbly bass sequence percolates up through the mix, although dark tinges remain throughout. Speaking of dark, Ian Boddy’s murky “Before the End of the Beginning” has a primordial sound befitting its name, though some barnstorming sequencing really takes off in its latter half. “Ardent Engine” is a typical 12-minute atmospheric slab of AirSculpture goodness, a slow grower that really cooks by the end. Performances throughout are uniformly strong, featuring Robert Rich, Steve Roach, Jonn Serrie, Rudy Adrian, Radio Massacre International and more to round out this fantastic set. The music is weaved seamlessly as a single long set of music, like the best space music concert you’ve ever been to. All reviews © 2009 Phil Derby / Electroambient Space. Any reprint in whole or in part must be appropriately credited.
June 2009
14 CDs reviewed this month
Ashley|Roedelius|Story (ARS) “Errata” (www.nepenthemusic.com, 2008) 10 tracks, 49.27 mins Dwight Ashley, Hans-Joachim Roedelius and Tim Story have been around the block a time or two in ambient and electronic circles, so I suppose it is not a big surprise that the three of them would come together for a meeting of musical minds. The end result is much like you might expect, subtly crafted tunes with an unusual bent. These 10 tracks blend the melodic and the discordant in ways that, in particular, Ashley and Roedelius are known for. I suspect Story plays the piano that appears on tracks like “Gefällig”, a cool blend of jazz, ambient, and new age. “Simmering” does just that, with more smoky piano tones and a unique sound like treated violin or something. Melodies are relaxing and unsettling all at the same time. Occasionally some Berlin school references crop up, as on the gentle bubbly sequencing of the opening track, “Incubator,” and the longest track, “Squiggle,” fun in both sound and in name. But for the most part, each track is an intricate subtle sound experiment, such as the quirky but engaging title track which lasts but 95 seconds. The beautiful piano piece “Ruminator” wraps things up, with just the right surrounding touches of atmosphere. Errata is adventurous yet accessible. The Circular Ruins “Falling into the Sky” (www.dataobscura.com, 2007) 10 tracks, 64.11 mins Falling into the Sky is more glitchy ambient goodness from APK, aka Anthony Paul Kerby aka The Circular Ruins (TCR). We start with the 13-plus minute title track, with warm pads flowing over the top of electronic twitters and small grains of static. It is trademark TCR, dissolving into a low drone at the end. “Immer Du” eases things down further into relaxed ambience with the same slight edge, and some muffled background vocal samples. “Minus 40” keeps the music appropriately chilled, with a softly whooshing wind and a continued emphasis on subtlety. “A Day Without Secrets” sounds like a lost gem to an indie soundtrack, melancholy but beautiful and engaging. Next is a three-part 17-minute suite called “Paracelsus.” Each part makes good use of abstract layers of sound to set the mood. “A Dreamer of Pictures” reminds me of James Johnson with its use of sparse piano to add to the ambience. “It Is Always Too Late” is 13 minutes that seems to go nowhere yet creates a nice space in which to unwind for the duration. The last track brings the disc to short subdued conclusion. The Circular Ruins “A Treatise on Navigation” (Free download here, 2008) 5 tracks, 42.30 mins Yet another freebie from DataObscura, this EP from The Circular Ruins brings dreamy, pulsating sounds as the title track begins. The combination of bright melodic synths and the strolling bass line remind me of Edgar Froese’s Ages album, not a connection I’d normally expect while listening to Anthony’s music. One of my favorite TCR tracks to date. “Cerulean Blue” continues the retro associations in my mind as I swear I’m hearing Klaus Schulze play his pads with a simple, effective vintage synth lead. A tribute to Klaus’ In Blue perhaps? Intentional homage or not, I love the result. “Looking Glass” goes back to the more traditional TCR sound, relaxing electronic meanderings nicely layered with little chirps here and there. It takes some cool twists and turns along the way, particularly in the closing minutes. “Waterfront” moves slowly with piano, lapping waves, and…a synth horn of some type? It’s very different, and just as I’m trying to decide if I like it or not, it completely changes halfway through, a chugging little bit of synths and sequencing followed by the sounds of children. The water is the only element connecting the first half with the second, which I suppose makes sense given the title, but otherwise it sounds like two completely different songs. The final track features a looped percussion bit in the middle that works well, sandwiched between two atmospheric passages. This EP does play like the set of outtakes that it is, but what it lacks in flow it makes up for in some very good individual tracks for your listening enjoyment at an unbeatable price. Cluster “Qua” (www.nepenthemusic.com, 2009) 17 tracks, 54.47 mins Nobody does quirky electronic music quite like Hans-Joachim Roedelius and Dieter Mobius. They continue to push the sound envelope, literally, with this all-new set of captivating studio pieces. “Lerandis” starts the disc in soft, gentle, surprisingly accessible fashion, but two short tracks later “Flutful” is a strange wondrous cacophony of sound that is trademark Cluster. I wouldn’t want to hazard a guess at the sound sources used, although the promotional material mentions something about using a squeaky bathroom door. Oh wait, that almost has to be the sound I hear in “Putoil,” which at first I mistook for a baby crying. Normally I balk at music this adventurous, but there is something compelling about their style. You can hear the enjoyment in the creative process from the results. Although the music is fairly low key, rhythm is an important element throughout, in particular on wonderfully propulsive pieces like “Na Ernel” and “Malturi Sa.” This isn’t intellectual music for the sake of being weird – well, maybe “Putoil is. But for the most part, it is two guys in the moment, doing what they love to do. And we are better off for it. Free System Projekt “Procyon” (www.musiczeit.com, or direct from FSP site, 2009) 3 tracks, 62.33 mins A download-only release, Procyon is another notch in the Berlin school belt of Free System Projekt, aka Marcel Engels and Ruud Heij. The first two tracks are from their live set at Hampshire Jam 2008. “Procyon A” is an atmospheric beauty, nearly 28 minutes of the pure retro FSP sound. But this time the sequencers are given a much longer rest than usual, allowing the expansive music to float into the outer reaches of space for quite a while. It takes three minutes just for mellotron flute to arrive; before that, it is all abstract, like transmissions from a distant probe. Gradually things coalesce into a more recognizable form as a smooth vintage synth sweeps in just before the 5:00 mark. It takes over 11 minutes for the first sequencing to arrive, but of course once it does it’s off to the races, stellar stuff. A long slow fade dissolves into warbling space transmissions as “Procyon B” begins. I hope FSP doesn’t tire of the Tangerine Dream comparisons, because once again they’ve nailed their mid-70s sound down cold. Original it is not but deftly executed nonetheless, as all manner of vintage synths and sequencing are smoothly layered, building upon one another in a restrained frenzy. The last track, “And Then There Were Two,” is a decade-old unreleased track from when Ruud Heij first joined Marcel Engels, live in Huizen, The Netherlands. This one has a strong Phaedra vibe to it, fitting right in with the rest. After all, whether recorded in 1999 or 2009, FSP always makes EM fans feel right at home in 1975. Kwook “Skywave” (www.dataobscura.com, 2008) 12 tracks, 57.47 mins Australian artist Kwook offers Skywave as his tribute to shortwave radio. Softly pulsing synths on “Calling All Stations 1” sound very much like radio transmissions set to music. “Stationary Waves” slows down the pulse and loops it in a series of chimes going up and back down again. I’m reminded of Robert Rich’s “Primes” from his Geometry CD. “Way Out” sounds more like deep space transmissions that the radio variety, which is to say it is cool space music. On prior efforts Kwook sometimes would get a little too cute for my taste; here he takes a more restrained approach throughout that really pays off with his strongest, most even effort. “Calling All Stations 2” is an pleasing variant on version one, maybe even better, with crystal-clear sequencing. “Sunspots” has crisp, punchy percussion and a cheery melody. The disc closes with the title track, running over 23 ½ minutes and divided into three parts. It is softer and mellower than the rest and every bit as good, esp. part three which is almost too cool for its own good. I highly recommend Skywave. Neu Gestalt “Altered Carbon” (www.alextronicrecords.co.uk, 2008) 14 tracks, 67.29 mins Warbling electronics fade in and out, with clicks of static. Warm pads add a smoother touch as they swell and slack. Punchy bits of percussion emerge. Added together they form “Between Her Dreams,” the opening track to Altered Carbon by Neu Gestalt, aka Les Scott from Edinburgh, Scotland. He calls his music “reductionist electronica,” a name I rather like. As more warm synths emanate from track two, “Glyph”, I have to say I like the sound as well. There is a glitchy vibe, with a dash of drum ‘n bass, but it is more leisurely, with engaging melodies. I hear some Saul Stokes-like sounds, classic influences like Tangerine Dream, and unique touches throughout from Scott himself. “Convergence” takes the relaxed tone down a notch, a more expansive, airy piece, though still with lots of little extras in the sounds that I really like. “Fissure” starts quite abstractly, more gritty textures than music before “normal” synths return. But my favorite has to be “Frozen Ground,” with relatively simple drums, bass, and melody. I really like the way it flows effortlessly by. The title track adds cool grainy elements to warm synths and sparse beats. “Trace Elements” switches halfway through from a bright piano lead to a very pleasing vintage synth sound. “Levitation” is more upbeat than most, a perfect one to crank up on the car stereo for a sunny afternoon drive. My only slight critique of Altered Carbon is that I sometimes wish the intentional sounds of static were laid to rest, to let the warm pleasant melodies shine through unfiltered. Still, this is a solid debut and quite enjoyable from start to finish. Nunc Stans “Land” (Free download here, 2008) 6 tracks, approx 39 mins Nunc Stans “Ellesmere Island” (Free download here, 2008) 1 tracks, 25.34 mins First it was The Circular Ruins, then Lammergeyer, and now Nunc Stans. While Anthony Paul Kerby may suffer the musical equivalent of multiple personality disorder, in this case it is no cause for alarm; in fact, just the opposite. We the listeners benefit from his prolific output with slightly different styles. For these Nunc Stans releases, pure slow drifts of sound are the thing, perfect for deep chilling. Right now the title track of Land is floating across the room, and it’s wonderful, so soothing. Before that, the bright swirls of “Before the Colors Deepened” opened the disc in a shimmering ethereal way. “Journey of a Thousand Days” is an amazing way to make almost nothing really something, barely changing yet creating such a pleasant sonic environment that you want to stay there. A little more goes on in “Submerged Island” as low rumblings give way to brighter bleeps and blips over the top of it. The Ellesmere Island EP goes a bit deeper and darker, though it still is all about the floating, with lots of ambience and very little in the way of conventional musical structure such as rhythm or melody. It has a more organic quality and should appeal greatly to Robert Rich fans I would think. For free, you have no excuse not to check out both of these excellent releases. Dan Pound “Living Planet” (www.danpound.com, 2009) 6 tracks, 72.01 mins Quick on the heels of Dan Pound’s last release Esoterica comes Living Planet, presumably the sequel to Liquid Planet. “Birth of a Planet” begins with primeval deep rumblings, though this soon gives way to flutes, synths, random electronic sounds and gentle percussion. The many layers seem like they shouldn’t fit but they do. Now that we have a living planet we need to populate it, so “Dawn of Man” is next, bubbling up from the primordial ooze. Wordless vocals wail plaintively in the background midway through as tribal and futuristic sounds collide. Vocals become more pronounced at the end as a phrase is repeated, though I can’t make out what is being sung or what language it is, or if it is even words. The vocal phrase continues to repeat as a thumping beat and a bit of synths join in on “Monolith.” A very Schulze-like lead line plays softly toward the end, very nice. Long sustained swells slowly breathe in and out on “Time Forgotten,” sounding both organic and synthetic. Tribal drums and flutes return, as do wordless vocals. It ends in a smattering of sparkling synth tones and the same sweeping sound that started things off. The majestic tone continues into the title track, and gradually tapers off into deep meditative reflections, even more so as it flows into the closing number, “Ray of Creation,” a beautifully spacious way to finish off the album. Steve Rose “Twin Earth: Collected Ambient Works” (www.cdbaby.com/cd/steverose, 2008) 7 tracks, 62.12 mins Steve Rose’s Twin Earth: Collected Ambient Works feels more like a fully developed thematic work than a collection of recordings over a 15 year period. I knew I would like this CD from the opening notes of “Guitar Abstraction #3: Cumulus”, dreamy floating music. If you like ambient guitar treatments by the likes Steve Roach, Robert Rich and Jeff Pearce, this disc is definitely for you. “Emergent Properties” is equally ethereal and a touch brighter if that’s possible. Fans of sparser works by Brian Eno will find a lot to like on this 15-minute floater. Rose’s music is, for the most part, the antithesis of dark ambient; although it has haunting qualities here and there, this is ambience that will lift your spirits. For example, “The Haunted” is darker, but has a cinematic almost majestic tone to it. The way this one combines drumming with atmospheric sounds reminds me somewhat of Thom Brennan’s excellent “The Path Not Taken,” one of my favorite ambient tracks. While I’ve listed several common points of reference, Rose’s music is certainly solid enough to stand on its own merits. The bubbly restless churning of “TMR-1C” and the sparse piano and synth textures of the title track take us into darker territory before returning to the light with the shimmering closing track, another ambient guitar piece that makes a perfect bookend to the opener. Bruno Sanfilippo “Auralspace” (www.ad21music.com, 2009) 7 tracks, 71.35 mins Spain’s Bruno Sanfilippo makes some of the most creative cinematic ambient music around, and he has done it again with Auralspace. Seven tracks in a continuous flow tell compelling stories through sound. It’s as though Sanfilippo has written the perfect soundtrack, and now someone needs to make the movie that goes with it. “Mimosa Hostilis” starts as a brooding, pulsating piece, but after its somewhat dark beginning it glows warmly midway through, with bright metallic timbres as birds twitter in the background. The music seems to swirl around, wrapping the listener up in it. “Imagined Reality” slows things down and seems like pure floating music, ebbing and flowing not unlike Steve Roach’s Structures From Silence, until a percolating little percussion line appears. It keeps pace for the balance of the track, fading into delicate softness at the end. The title track is next, another delicate floater at first, with cool electronic twitters and pulses eventually joining in. And for ethereal floating music it doesn’t get much better than “Divine Moments.” The album has a very cohesive feel, each piece having a distinct character that warrants its inclusion, adding to the overall flow of the disc which is quite seamless and seemingly effortless. Bruno Sanfilippo is always good, and Auralspace is my favorite CD of his so far. Saul Stokes “Metacollage” (www.saulstokes.com, 2009) 8 tracks, 49.40 mins Saul Stokes remains a singular voice in electronic music, and Metacollage adds to his mystique. A slow, steady, thumping beat and edgy, warbling white noise open the album as “Slowing into Shimmering Steel” starts. The title paints a great word picture for the sounds emanating from the speakers. Synths gently bubble up to start “Out of True” in a cool way, followed by a quirky electronic warble that typifies the Stokes sound. At times the music fades briefly to silence before returning, a technique also employed effectively on “Drop By Drop.” Midway through the album I’m struck by how purely electronic it is. Although I liked Vast and Villa Galaxia, at times they seemed awfully, well, normal for Stokes. In that sense, Metacollage is a return to form, true experimentation by pushing the sonic boundaries of electronic music. The sounds are not readily definable, the melodies are indistinct, and each piece is more than the sum of its parts in the creative way it is fused together. Even the subtlest pieces, like “Inescapable”, are gems of intricacy. Each element of each track seems perfectly placed, with nothing missing and no excess; not a sound is wasted. This is minimalism at its best, and quite possibly Saul’s best work to date. Various Artists “Perceived Distances” (www.dataobscura.com, 2008) 15 tracks, 78.08 mins This sampler presents an excellent overview of the DataObscura label, featuring a diverse yet cohesive set of tracks. It starts with the glitchy goodness of The Circular Ruins and Off The Sky and ends with a new age/classical feel with Marco Lucchi’s piano piece “Mellow”. In between the music covers the bases for modern ambient electronica, with a veritable who’s who from the label’s offerings. Saul Stokes gets into a cool groove with “Camera Clicks,” a suitable choice for this disc as it probably wouldn’t quite fit on a Stokes album, yet his cool sense of sonic style remains intact. Next is one of only two names I don’t know on the disc, the enigmatic P is for Prue (the other is the aforementioned Lucchi). I can find no information about the band/person on the internet, but I can say that “princeFive” is a cool laid back track well worth including here. Part of the fun of compilations is hearing a different sound from established artists, case in point being Off The Sky’s “Early Morning Sunset,” a surprisingly light, beautiful piece from a master of all thing coarse and granular in music synthesis. If you prefer the granular sound, cue up Enti Non’s “Seeing Light”, a fine example of ambient minimalism. The Circular Ruins appears again on “Nobody Knows”, a mellow airy number that soothes. If you are familiar with the label’s sound, you will easily find a new favorite or two, or several. If you have not yet had the pleasure, this is a perfect introduction. All reviews © 2009 Phil Derby / Electroambient Space. Any reprint in whole or in part must be appropriately credited.
May 2009 9 new CD reviews this month Atomic Skunk “Binary Scenes” (atomicskunk.com, 2009) 8 tracks, 58.45 mins Atomic Skunk is Rich Brodsky from San Francisco,
and Binary Scenes is his debut release. Bright shimmering metallic tones get things
started on “Chronoswamp,” joined by a deep drone and sparse synths playing a soft melody in the background. It
has a relaxed, cool feeling. “Liquid Dharma” starts similarly, loaded with atmosphere including rain and thunder,
but toward the end cool tribal beats ensue along with a unique lead sound, sort of like a processed violin sound or maybe
something more primitive. Female wordless chanting lends a world music vibe to it. The
disc is replete with unique sounds and styles, combining synthesizers and traditional instruments (or their synth equivalents,
at least) in ways I’ve not heard before. For example, “Winter’s Gift (The Chamber) sounds like mellow electronica
mixed with chamber music. The end result is fresh, vibrant, and thoroughly entertaining and listenable. If you’d rather
have some straightforward space music, then cue up “Frozen Neptune,” gaze up at the night sky, and trip out a
little. After 13 minutes of reverie, get ready to be shaken out of it from the unsettled wildness that marks the beginning
of “Flying Spiders of Babylon.” Once it calms down it’s another cool one with a deep chill vibe to it. Each
track brings something fresh to the table, like the ongoing monologue of “Mind the Gap” and the assorted smatterings
of sound running through it. Expect to be entertained. Between Interval “The Edge of a Fairytale” (www.spottedpeccary.com, 2009) 11 tracks, 62.41 mins Stefan Strand (formerly Jönsson) returns with another excellent album
in The Edge of a Fairytale. “Delta Capricorni” starts the disc in sweeping
majestic fashion with hints of electronica thrown in to the theatrical mix. “The Great Void” takes a dark, minimal
turn, rumbling like thunder and harkening back to the sound worlds Stefan created on Secret
Observatory. “Minotaur’s Lair” fades in on a cool chugging bass line and is probably my favorite track,
though there is not a bad one to be found anywhere on the album. “Pillars of Creation” has a wall-of-sound effect
that crashes in and fades, repeating every couple of seconds, with atmospheric touches thrown in. The crashes gradually soften
toward the end, leaving only a low rumble that ebbs away. “Three Years Ago” begins in a similar fashion but male
choirs give it a Gregorian chant feel. It deftly evolves into something quite different by the end, with a dash of sequencing
and soft synth textures. Each track is well-defined, telling a unique story from beginning to end before moving on to the
next chapter. “Eden In Shadows” has a very organic quality, with odd rustling noises in the middle as gentle drifting
ambience floats by. Robert Rich fans should really like this one, as well as the appropriately murky piece “Purgatory.”
I cannot precisely define what it is that makes Between Interval’s brand of ambient music so special, but I can emphatically
state that he is one of my favorite artists in the genre today. Human Being “Live at the Zodiak – Berlin
1968” (www.nepenthemusic.com, 2009) 1 track, 56.34 mins From an underground place – literally –
called The Zodiak, this rare 1968 recording has been lovingly restored by Nepenthe Music as a tribute to the origins of some
of the most adventurous music and non-musical sounds to emerge from that time. Although experimentation in music has certainly
been going on since the very first primitive sounds were created millennia ago, what happened in the 1960s certainly was a
unique point in musical history. A rag-tag group of mostly non-musical individuals came together and were given free rein
to make whatever noises they wished. Early on, someone slowly bangs on something, probably not a drum although it does create
a slow-paced rhythm. A saxophone wails alongside the beat like a lovesick moose. Other noises slowly emerge, drones upon drones.
As the sax subsides it gets calmer, but still pulsates with a certain restlessness; I particularly like this section. It turns
nearly silent approaching the 16:00 mark, though the few sounds that remain have a distant, haunting quality. A quote on the
booklet describes it as “sounding like industrial machines gone beserk.” Something sort of resembling vocals occurs
at random intervals. Considering The Zodiak was co-founded by Conrad Schnitzler, an early member of a very avant garde incarnation
of Tangerine Dream, so that should give you the general idea of what it sounds like. Recommended for fans of experimental
EM and musical historians alike. Lemonchill “Sentant” (www.ricochetdream.com, 2009) 8 tracks, 51 mins When I saw the cover art for Lemonchill’s
Sentant I said, “Uh oh.” Naked pretty girl, lying in water. The word
“chill” in the name. This is going to be some sort of club music, probably with vocals, not going to be my thing,
I can’t review this. Reluctantly, I put it on. Yes, there is a downtempo chill vibe going on, nothing remotely retro
or Berlin school going on here. But it isn’t your garden variety house music, either. Case in point is “Open Rene.”
It starts with an echoing vocal sample “open-open-open-open” that literally seems to be inside my brain, even
without headphones, a sort of startling effect. Just when I’ve decided I don’t like the intensity of it, it fades
away and a slick bass line and thumping beat ensues. Speaking of infectious beats, I dare you to keep still while listening
to the grooves of “Emotions” or “Mantra.” Anyone who’s a fan of the excellent Ultimae Records
label, in particular the band Solar Fields, should seek this out immediately. Kudos to the normally retro Ricochet Dream label
for signing a very forward-sounding act. Highly recommended. The Ministry of Inside Things “Contact Point” (www.synkronosmusic.com, 2006) 7 tracks, 54.31 mins One of the things I like best about MoIT is that
they have a retro feel, but with a wider range than most instrumental electronic music. From the softly lapping waves of “Serenity
Cove Prelude” to the wailing guitar strains of “Serenity Cove” to the deep space exploration of “The
Uncharted Isle” to the classic synths and sequencing of “Fortescue,” the disc seemingly has it all, yet
retains a singular theme that holds it together extremely well. “River Dream” is a trippy number with eerie electronics,
distant unintelligible singing and other unusual sounds. “Night Scene” returns to a soft vintage set, with particularly
nice echoing guitars here, reminiscent of Ashra from about 1977 or so. Delicate spacey synths fade into crickets and other
nights sounds as “The Red Sun Rises” brings this excellent disc to a close. The
Ministry of Inside Things “Everlasting Moment” (www.synkronosmusic.com, 2003) 2
CDs, 7 tracks + 7 tracks, 57.15 mins + 62.59 mins The Ministry of Inside Things is Chuck van Zyl on
synthesizers and Art Cohen on guitars. Everlasting Moment captures a series of live venues from 2002, including Chuck’s
own Star’s End concert series associated with his radio program of the same name. As I’m sitting here listening
to “Neutron Flux” on disc two, I’m thinking how well this disc blends synthesizer music and rock music,
in Ashra fashion. The guitar solos on this track are fantastic, sizzling and dreamy at the same time. A moderate synth sequence
keeps pace. The two elements are contradictory and yet complementary, a strategy that works throughout this 2-CD set. Sometimes,
as on “Contour Adjustment” and “Chromatix,” the result is subtle, almost ambient. “Contour Adjustment”
in particular conjures up images of deep space, nearly silent at times. But other times, like on “Voyage for Guitar
and Synth” and “Function Four,” it practically rocks. Several of the quieter passages, especially on disc
two, remind me in spirit of the live improvisational shows by Tangerine Dream in the seventies, though of course the sound
quality here is markedly better. “Grateful” is a beautiful closing number, combining a gentle guitar melody with
warm Mellotron strings. Everlasting Moment is a first-rate 2-hour collection of electronic improvisation and experimentation. This review © 2004 Phil Derby / Electroambient Space The Ministry of Inside Things “Ambient Elsewhere” (www.synkronosmusic.com , 2008) 2 CDs, 7 tracks + 6 tracks, 63.27 mins + 62.59 mins Though MoIT likes to changes things up a little,
I was still a bit unprepared for the marked departure from their usual sound on Ambient
Elsewhere. “Invocation” reminds me of the deep drones and vocal overtone singing of Klaus Wiese and Mathias
Grassow. “Science Fiction” is mainly mellotron flute and reverberating echoes of spoken words, though eventually
mellotron strings and a bit of percussion join in. “Dubzilla” is aptly named as deep bass is prominent, joined
by soft electric piano which offsets it nicely. “Markzilla” starts as if someone is playing with a vocal processor,
and remains dark and experimental throughout. “Ricodub” adds another heavy dose of bass to the retro sound, with
great sequencing near the end. “Poor Alice” is hypnotic synths, sequencing, and guitar, the standout track on
disc one. “Aphelion Season” is a soothing, meandering atmospheric opener to disc two, followed by the gently playful
“Six-Sided Crystal,” featuring Cohen’s fluid guitar tones mostly. “Naylor’s Run” starts
with softly tinkling bells and then moves into a stellar sequencing section, a fantastic vintage piece here, easily my favorite
on the album. “Frostbound” has grinding, fuzzed out guitars for a cool contrast in tone. “Icicle Falls”
combines dreamy guitars and synths in inimitable MoIT fashion. “The New Past” is very similar to “Frostbound,”
in the middle, but is mostly notable for a lengthy narrative from the Apollo 8 mission including a scripture reading. What
I like most about Ambient Elsewhere is that it takes chances throughout, and I
think this could really become a favorite as I spend more time with it. Parallel Worlds “Shade” (www.DiN.org.uk, 2009) 10 tracks, 62.47 mins It’s not hard to see why Ian Boddy likes Parallel
Worlds aka Bakis Sirros. Quirky, darkly aggressive tracks abound, sounding very much like the sort of compositions Boddy himself
creates. Shade occupies the same sonic territory as Bakis’ previous DiN release
Obsessive Surrealism. This is shadowy, moody music that you can tap your toes to, as on “Frightening Frontiers.”
If Otso Parikinen were to restrain his experimental leanings a bit more, the result would be quite similar to this I would
think. Even more moving is “Mutating Realities,” although the dance-friendly beat disappears abruptly a couple
minutes before it ends. At that point it turns into very minimal ambient, nearly silent in fact. It’s a surprising turn
but the effect is cool nonetheless. “Compulsive Mechanics” sounds like machines gone haywire, but with a nifty
groove running through it. The emphasis is on unique melodies and unusual sounds and beats. Dynamic rhythmically throughout,
there are a couple of beatless sections here and there, but never for very long. The title track is exceptional, as is the
dramatic piano-tinged “Towards”, both playing like newly discovered pieces from industrial Berlin school masters
Node. Sirros has finely honed his craft, fully coming into his own with this album. SourceCodeX “Prophetic Ambient Awakenings” (Download from CD Baby, 2009) 10 tracks, 56.10 mins More dark minimal ambient from John W. Patterson,
whose Primordial Lands Arise I compared to Stalker
by Robert Rich and Lustmord. This time around, it is marginally lighter on occasion, such as on the opening track “Path
of the Overcomer,” as shimmering tones softly weave their way into the darker drones. Still, with track titles like
“Dark Night of the Soul,” this is hardly lighthearted new age. Patterson offers extended track-by-track notes
on CD Baby’s site regarding his spiritual journey that culminated in this release. Melody and rhythm are virtually absent
throughout. Occasionally a sound will coalesce into something almost solid, but for the most part sounds lay deep in the background,
as if hiding in the shadows. Sometimes the edges are softer, sometimes rawer; often it is organic, but at times it slips into
a more industrial-type sound. For those willing to take the journey it doesn’t get much better than losing yourself
in the depths of something like “Works of the Flesh,” a brooding almost sinister piece. “Kadesh-Barnea Wanderings”
has a more restless quality to it, like distant thunder. “Ramath Gilead” goes back to brighter shimmering timbres,
although it takes some haunting twists and turns along the way. If you like pure drone music like Stephen Phillips’
starker recordings or Stephen Parsick’s “doombient” releases, Prophetic
Ambient Awakenings should be right up your dark alley. Unless
noted otherwise, all reviews © 2009 Phil Derby / Electroambient Space.
Any reprint in whole or in part must be appropriately credited. April 2009
14 new CD reviews this month
AirSculpture “Doom Bar” (Available at MusicZeit here, 2009) 2 tracks, 63.04 mins And now for something completely different… Doom Bar takes AirSculpture fans on a decidedly darker journey than usual, exploring every nook and crevice of all tonal shades of grey, brown, and black. The 48-minute title track, recorded in one take, wanders through currents of dark water, with eerie strains of piano in the background early on. At times it rumbles deep like thunder, but occasionally shafts of light pierce through the darkness. Unlike the trio’s usual sonic sculptures, these come without sequencing, almost without form entirely. The gelatinous pool of sound slowly morphs its way along, sometimes accompanied by sparse beats, but usually without. Restless gurgling noises here, dark mechanistic sounds there, all quite different from the usual AirSculpture sound. Then, in the closing minutes, things brighten and warm considerably, rising out of the doom and gloom, as if coming up for air from the depths. “Voter Run” condenses the ambience into a 15-minute stretch, even darker and sparser than its antecedent, although it too enters a dreamier, lighter phase at the end. I miss the sequencing, but Doom Bar offers a unique glimpse into another side of AirSculpture. Blutiger Fluss “Dawn of Mars” (Available at CD Baby here, 2008) 4 tracks, 69.58 mins Most fans of vintage electronic music strive to make music like Klaus Schulze and Tangerine Dream made anywhere from 1975 to 1984 or so. The duo known as Blutiger Fluss aims more around 1972 to 1974, when freeform flowing electronics were the order of the day, before something called a sequencer became all the rage and seemed to define the genre ever after. Although Jeff Hutchison and Jim Duede formed the band in 2008, they have quite successfully created a sound rooted in origins some 35 years prior. Four lengthy drifting pieces of space music, all with German titles, harken back to a simpler yet more adventurous time in musical exploration. Though there are no beats or distinct melodies, the soundscapes are continuously shifting and changing. Perhaps best of all, the only thing Hutchison and Duede have truly copied is the spirit of that period of time in electronic music; the music itself is to my ears quite fresh and original. The sound is purely synthetic, thoroughly electronic. Though futuristic it also has a primal quality. It does not sound like Zeit or Phaedra, or Picture Music or Blackdance; it sounds like some new, undiscovered gem of a band from that time period has recently been unearthed. And in a way, I suppose it has. Robert Carty “Starlight Volume 1” (www.geocities.com/deepskymusic, 2009) 8 tracks, 61.13 mins Robert Carty has always had a penchant for space music, perhaps never more so than on his latest release Starlight Volume 1. This is a perfect collection for your next planetarium show or space journey, real or imaginary. “Polaris” is full of bright shimmers and electronic twitters, an ethereal way to start. “Enveloping Space” drifts softly in, remaining feathery light throughout. “Moonrise” reminds me of Telomere’s space music, although I don’t think Carty uses a Serge synthesizer. Still, it has that pure deep space quality to it; the whole album does, but this one even more so. Shimmering swirls of sound seem appropriate for “Saturn’s Song,” as if the rings themselves had been put to music. “Attracting Light” is another airy gem that floats dreamily by. “Starburst” digs a little deeper with a pulsating undercurrent that gives it more bite, though it is still unmistakably music for the stars. My personal favorite is difficult to choose, but the wonderful floating of “Deep Into Night” is surely near the top of the list. “Splendrous Starlight” is as pleasant and dreamy as the rest, a very nice closing piece. If you like Carty’s prior works or the early space music works of Jonn Serrie, this is absolutely essential listening. Driftin’ Thoughts “Nightshifts” (www.syngate.net, 2007) 12 tracks, 72 mins Driftin’ Thoughts is Marcus Hildebrandt, and Nightshifts is a 2007 remaster of a 1998 recording of pieces composed and performed from 1992-1996. “In Motion” kick starts the album in fine upbeat form, very much in keeping with the Driftin’ Thoughts sound based on my limited experience. “Flying Free” slows things down considerably but maintains a warm, cheery disposition. This is the antithesis of dark ambient. “The Intruder” energizes as it entertains. The synth drums sound a bit thin but it’s hard to find much fault in the fun. “Gravitation Waves” drifts into outer space with its soothing sounds at first, but soon joins in the rhythmic melodic fun. Track titles like “Sun In My Hand” convey the optimistic tone at hand. Even on gentle floaters like “Midnight Sky” the mood remains bright. Thunder, rain and distant bells create a darker tone on “Games 98,” but it doesn’t last for long, and soon light and bouncy is the order of the day again. It would be nearly impossible to be unhappy while listening to Nightshifts. E=Motion “Drifting Loops” (www.syngate.net, 2008) 10 tracks, 62.09 mins Jacek Spruch is back as E=Motion on Drifting Loops, another set of decidedly happy upbeat music with the usual sense of playfulness and good fun. Bell tones make a nice sequencer loop to start the opening track, “Recurring Waves.” “Old Schooner” has a cool buzzy retro synth to start and a deep rich bass tone that also harkens back to yesteryear. While still upbeat it has a relaxed feel as well, very nice. “Phantom” continues the trend of cool-sounding loops that move along just right, neither too fast nor too slow. “Riddle,” on the other hand, opens up the throttle with a brisk bit of sequencing. But even on the faster tracks, Jacek shows good restraint, not letting things get too frenetic as the intensity gradually builds. “Harbor” is a soothing midtempo piece, as is “Comet.” Spruch varies the pacing and sound palette just enough from track to track on Drifting Loops to keep things interesting while retaining his familiar enjoyable brand of electronic music throughout. False Mirror “Live At Kulturnacht Ulm” (Free download here, 2007) 1 track, 59.44 mins This free download is an excellent hour of live improvisation, some of the most relaxing and yet interesting floating music I’ve heard. Although it has both lighter and darker elements to the ambience, it is the warm, organic quality that draws me in. Quite minimal, it is nonetheless fully engaging as well, suitable for background music or focused listening. And although it plays as a single track, there are several discrete movements, with perceptible changes occurring every few minutes. For example, it gradually turns from warm synth sounds to white noise approaching the 15:00 mark. Sounds range from warm and accessible to cold and abstract. Sometimes it has a very cinematic feel as well. While I find I rarely have the attention span or the time these days to return to single longform works such as this, Live At Kulturnacht Ulm is one album that I make time for. Ideation “Adrift” (www.ricochetdream.com, 2009) 7 tracks, 58.16 mins Ideation is Pete Ruczynski of AirSculpture and Paul Nagle. Adrift is a fresh brew of EM that should satisfy those looking for something a little different from the usual Berlin school retro fare, while still maintaining firm roots in that fertile soil. “Function & Disorder” starts in more experimental realms, with random electronic bits and spoken word samples. When sequencing does arrive after a couple of minutes, it is of an odd sort, a cool percussive loop of some type. Drums and bass feature prominently the rest of the way, reminding me a lot of Nemesis. “Cherry Pie” is a beautiful bridging piece, with crystal-clear bell tones and a faraway feel. “Zeitgeist” is a quintessential vintage journey, sure to satisfy the retro purists with its mesmerizing sequencing. “Unreality” takes a 90-degree turn into all drums and beats, with virtually no retro element at all. It shuffles along nicely, but doesn’t go with the flow of the rest of the disc. The general tone set by the first three tracks is followed in fine form by the last three. “Gruber’s Great Aunt” has cool deep space wanderings. “Bom Badda Boom” is backed by a firm bass sequence and warm synth pads. Someone plays a little too much with the pitch bend wheel for a minute near the end, but otherwise this is first rate, classic stuff. The title track, nearly 15 minutes, closes out the album strong with bright piano and mellow synths and sequencing, featuring the obligatory build-up before pulling back for a laid-back conclusion. Highly recommended. Jeffrey Koepper “Radiate” (www.ricochetdream.com, 2009) 10 tracks, 70.58 mins Radiate is Jeffrey Koepper’s performance at The Gatherings concert series in April 2008, which celebrated the release of his excellent disc Sequentaria. It is an excellent performance, with seemingly every nuance perfectly recreated on the night, right down to the track order with only two exceptions: “Byzantine Machine” from the Momentium album replaces Sequentaria’s “Near Machinery” at track four, and an abbreviated version of “Rising Sun” from Koepper’s latest Luminosity is added at the end. Otherwise, it is virtually identical to Sequentaria. So if you are a serious Jeffrey Koepper fan, which I consider myself to me, it is nice to have another disc of his. However, any variations in the live performance are miniscule at best, often undetectable in comparison to the studio counterpart. Both Sequentaria and Radiate were mastered by Steve Roach, so they each sound excellent. The live atmosphere on Radiate perhaps adds just a dash of softness and warmth around the edges, whereas Sequentaria is perhaps a bit crisper. But these are minor differences only. Both discs have excellent music, so take your pick. Mac “Another Season” (www.macvibes.com, 2008) 6 tracks, 53.41 mins Mac is back with Another Season, another in his “Classic EM” series. I especially like the opener, “End of Summer,” which starts soft and gentle, then sweeps in on majestic tones that would make Vangelis proud. “Rainy” starts in muted fashion, staying low-key as moderate sequencing and synth sweeps come in. “A Shelter from the Cold” has a more experimental bent to it, with odd swooshes and other electronics moving slowly about, quite abstract for the first four minutes, which could have been shortened. Finally the sequencing arrives and we move back into familiar retro territory as a nice lead line takes the melody and a few other synth layers are deftly folded in. “Dragged Into It (Like Falling 2)” moves briskly as if being pulled into a vortex. In the closing moments we apparently get drawn fully in, cast adrift into the void, a cool effect. “I’m Raining Part 1” paints pictures like soundtrack music, with shifting themes every few minutes. The first, third, and fifth movements are emotive; the second and fourth sections are more experimental. It would be interesting to know the storyline that Mac wrote this music around. “Part 2” is a full-on rock piece with drums and rocking guitar. Fans of early Mark Shreeve will really dig this, as do I. It softens considerably in the closing couple of minutes to bring the suite, and the album, to a close. Dan Pound “Liquid Planet” (www.danpound.com, 2006) 17 tracks, 69.46 mins Liquid Planet is an excellent assortment of relaxing soundscapes that blend the best of ambient and new age styles. The title track features gentle electronics, definitely with a bubbly quality that makes one think of the liquid subject matter. Flutes add a soothing touch and an organic flavor that is a welcome presence in much of the music on the album. “Suspended Particles” is more synth-based but with equally tranquil tones. “Through the Layers” has a more playful tenor about it as bouncy sequencing forms its foundation. Pound lists Tangerine Dream as an influence, and this piece compares favorably with their mid-1980s sound. Each track is a gem, from abstract mood pieces like “Ocean of Stars” to shamanic new age like “Unknown Channel” with wordless vocals nicely blended in, to softer synthesizer passages like “Celestial Mermaid.” Pound’s playing and arranging are strong throughout the 17 tracks. In fact, the quality of the music on Liquid Planet is so impeccable that I find every single track enjoyable; I cannot recommend it highly enough. Dan Pound “Esoterica” (www.danpound.com, 2009) 8 tracks, 71.59 mins Esoterica is another set of first-rate serene shifting soundscapes from Dan Pound. As on prior albums, Pound uses analog and digital synths and samplers, voice, flute, and didgeridoo. He melds them into a thoroughly pleasant array of moods and sounds. Divided into eight parts, each one floats calmly by with influences ranging from Tangerine Dream to Brian Eno, often all within the same track. For example, “Esoterica Part One” starts with smooth floating music for a few minutes, but segues into a bright sequencer-based passage for the remainder. I particularly like part two, with a fascinating echoing bass line with quirky percussion running parallel to it. It defies easy categorization or description, but suffice to say it is a refreshingly unique take on electronic ambient music. The beat gets heavier and more tribal, ably aided by Pound’s Lakota flute playing. By now over 20 minutes of excellent ambience has passed, with still more to come. Part three has a brisk, bright sequence and a sweeping synth that rises and falls. Then this fantastic chugging bass line takes over, although the energy remains restrained just so. Instead of continuing to build on this, Pound teases and then brings it back down, creating this wonderful dynamic. Part four has a stuttering little rhythmic bit, a hint of glitchy electronica but smoother than that. We’re now well over 40 minutes in and it just keeps getting better. The energy goes up a notch on parts five and six, the latter featuring this cool clipped processed didgeridoo sound. The latter sections of the album with their clean, crisp, computerized percussion remind me of Vir Unis and James Johnson on their excellent Perimeter series, or Vir’s solo album Mercury and Plastic. After all this fun with rhythm, the floating tones of part eight bring the disc to a relaxed finish. Esoterica is easily one of the best ambient releases of 2009 so far. Steve Roach “Dynamic Stillness” (www.projekt.com, 2009) 2 CDs, 4 + 4 tracks, 72.43 + 73.02 mins Dynamic Stillness is a 2-CD set of amorphous shifting sonics, fully worthy of inclusion in the Steve Roach canon. The album starts in excellent form with “Birth of Still Places.” This 40-minute epic undulates softly and slowly, radiating light even as darkness hovers along the edges. This has a phenomenal flow to it, highly cohesive and yet ever-changing, dynamic stillness indeed. It flows completely effortlessly into “Long Tide,” another 20 minutes of pure floating. It is a subtler piece with emphasis on the stillness as opposed to the dynamics. We dive into darker stiller waters on track three, very dark in fact, although soothing in its own way. “Opening Sky” finds a perfect middle ground, neither too light nor too dark, to close the first disc with a long slow fade. Disc two brings another 73 minutes of deep floating. “Nature of Things” reminds me somewhat of the second movement of “Two Rivers Dreaming” from Atmospheric Conditions, perhaps emanating from similar primordial mists. The drones resonate particularly richly here. “Further Inside” has a gentle sonic pulsation running through the first few minutes, though like nearly everything else on the album it gets drawn into pure float mode. “Slowly Revealed” is perhaps the calmest yet, gently breathing in and out, well worth every moment of its 24-minute journey. “Canyon Stillness” plays like a dark inversion of “Structures From Silence,” using pauses in the music to eerie rather than calming effect. A cold breeze blows through it all, like a black mist. After so much softness it makes for a surprisingly chilling, engaging finish. Syndromeda “The Twilight Conjunction” (www.ricochetdream.com, 2009) 5 tracks, 68.26 mins Danny Budts is back with another synth epic, jumping in with a bang on “Inside the Lophophora” as full-on synths and sequencing open up the throttle immediately. This is an energetic piece that really gets things going. “No, Not Scared of You” reminds me a little of the duo Synaesthesia at first, with an almost sinister touch, but in the latter half it is trademark Syndromeda with a pulsing bass line and a strong synth lead. “The Vulture” has melodramatic flair as well, with the synths going all warbly at the end. “Looking at You” continues the trend toward the ominous before the album finishes on a somewhat lighter note with “First Dream.” The Twilight Conjunction should sit comfortably with fans alongside the rest of the Syndromeda catalog. Robert Scott Thompson “Sidereal” (www.aucourantrecords.com, 2007 reissue) 12 tracks, 63.38 mins I first reviewed Sidereal when it was released
as a single long-form piece of music on a different label. Robert sent me a new pressing of it on his own label, conveniently
indexed into the natural points where the music changes. Although I highly recommend playing it through in a single sitting
from start to finish, I do think this is a more convenient way of packaging the disc. Here is the original review I wrote
a few years ago. Some references are now outdated because of the new track indices, but my high appreciation for this disc
remains thoroughly unchanged. I must confess, when Robert first sent me some of his CDs a few months ago, I had received several others around the same time. I quickly sampled a couple of them, but I set this one aside, only recently finally dropping it into the player. From the opening seconds, I knew this was another personal favorite, second only to The Silent Shore. In structure only, it reminds me of Ron Boots long-form work Too Many Secrets. Like Boots’ piece, this is technically one track, but has several distinctive passages and moods. The similarity ends there, however, as Boots’ disc has both upbeat and reflective moments. Here, though there are several different streams of musical thought, the mood generally remains calm and serene. The changes in tone are shades of lightness and dark, of electronic and acoustic elements. At times it is very haunting, at others soothing. Often, the music takes the form of rich drones with subtle layering. Other times, beautifully stark piano either takes to the forefront or adds character to the background. Ambient music with this kind of elegant, delicate touch is extremely difficult to describe on paper. It is breathtaking, but not at all in a new age “pretty” way. It has depth and feeling, but in a way that will definitely appeal more to fans of ambient and deep space music. For example, as it passes the 48:00 mark, eerie choir-like sounds and drones are captivating. Trying to pick out all the subtle details and peak moments would be impossible in a concise review. Suffice to say, I like this disc – a lot. (This review © 2003 and 2009 Phil Derby / Electroambient Space) All reviews © 2009 Phil Derby / Electroambient Space unless otherwise specified. Any reprint in whole or in part must be appropriately credited.
March 2009 13 new CD reviews this month Ashen Simian “Omicron in Ostrobothnian Finsternis” (www.myspace.com/asimian, 2009) 8 tracks, 54 mins Ashen Simian is an anagram for Ami Hassinen, a founding
member of the Finnish band Nemesis, and this is his first solo album. “Vaporizer” gets things started off with
a bang, completely dance-floor ready with pump-up-the-jam rhythms. As usual, synths and sequencing get a workout too, and
the end result is a fantastic kick start for the disc. Solo albums are an opportunity for an artist to diversify, so Ami slows
things waaay down for the laid back jazzy tune “Footprints in the Sky,” with the coolest little bass line and
an effective piano lead. Imagine Spyra in chill-out mode and this is right there. I completely love this, and I love the strong
contrast between it and the opener. “Meteorstorme” has a heavy dub influence with deep bass busily moving in the
background while nifty synths meander in the foreground. It ends with a regal flourish as synth strings take over and the
bass disappears, another unexpected but effective change of pace. “Start before you stop” gets up and moves again,
very much like the trademark Nemesis sound blending retro and modern electronica. “Omicron” is playfully hypnotic
with a great chugging sequence and rhythm, not to mention some great e-guitar. “Finsternis” mellows things out
but not too much, still keeping its cool groove on, as a sparkly metallic synth in the higher register is offset by lower
electronic tones for good balance. All this good stuff and there’s still 21 minutes to go with two excellent tracks
to wrap things up. Electronic music in 2009 is off to a great start. Ian Boddy & Bernhard Wöstheinrich “Hemispheres” (www.musiczeit.com, 2009) 10 tracks, 93.19 mins In this planetarium performance from September 2008,
Boddy and Wöstheinrich cover the gamut of EM styles from Berlin school to ambient and all sorts of nooks and crannies in between.
“Shorelines” is a lengthy, spacey, subdued introduction of nearly 15 minutes, meandering in a cool way. Bubbly
percolating percussion pops up as soon as “Ascension” begins, and then male choirs and panning sequences strut
their stuff. “Traverse” brings loads of atmosphere for a few minutes, until a big whooshing wind brings with it
a low punchy bass line and a thoroughly infectious groove. The album’s strength is that it never pushes too hard; the
music feels relaxed, unhurried, like they just let the music flow out of them and went wherever it took them. “Integral”
is a perfect midtempo piece that is very comfortable in its own musical skin, followed by “Setting”, an unassuming
little number to close out the first five-track set. “Statik” sounds like turning the knob on an old radio dial
as we hear softly crackling static and various vocal snippets coming in and out of focus. It is abstract and experimental,
yet calm and soothing in its own way. Shuffling beats pick up the pace again on “Funktion,” the most accessible
track though with the same quirky style that Boddy and Wöstheinrich bring throughout. “Prozedur” is an aggressive,
edgy piece that blurs the lines between rock and dance, and modern and retro electronica. “Suspended” ends the
satisfying journey on a moody atmospheric note. Broekhuis, Keller & Schönwälder feat. Raughi Ebert & Thomas Kagerman “Live @ Dorfkirche Repelen 2” (www.manikin.de, 2008) 2 CDs, 7 + 6 tracks, 73.52 + 72.19 mins As with the first volume in the series, this 2-CD
set showcases the mellower side of the synths, sequencing and percussion of Broekhuis, Keller & Schönwälder, ably aided
by Raughi Ebert on guitars and Thomas Kagermann on violin. “Lanes of the
Lord” is a leisurely, relaxed, very pleasant beginning, creating a different sort of hypnotic effect from the usual
Berlin school fare, with Kagermann’s violin adding extra dimension here. “Moers Part I” is softer still,
with lush synth strings and other gentle touches; a steady thumping beat is added midway through to keep things moving along.
As one might surmise, “Rock that!” picks things up a notch, the focus being on Ebert’s electric guitar,
although it eases gradually into it, and plenty of cool synthesizer atmospherics remain. “Source of Life” is a
melancholy number filled with the sounds of strings, oboe, and acoustic guitar; my 12 year-old daughter says “it’s
awesome!” “Moers Part II” continues the somber mood, with reverent, passionate wordless female vocals and
a symphonic style of EM with spot-on sequencing. As it builds it takes on a more traditional Teutonic sound with a very Schulze-like
synth lead. “Shiauliai” includes shades of world music with electronica, and “esrever oloS” even gets
trumpet into the act, something like I’ve heard Bernd Kistenmacher do on occasion. The album brilliantly combines emotion
with electronics throughout, perhaps best exemplified by the opening minutes of “Return to the beginning” to open
disc two. And if the music isn’t enough to make you wish you were there, the beautiful 16-page booklet of striking images
of lights, colors and people from the show certainly will. Caaldruun “Cloudface Mountainhead” (www.tothefoxden.com, 2008) 7 tracks, 58.48 mins I just finished reviewing a disc of very easygoing,
accessible new age music. Then I put in this disc, which I would have to say it is the exact opposite of that. Caaldruun uses
such unusual instrumentation as “burnt-wire synthesizer”, “circuit-bent voice,” and “minidisc
sound recovery.” The result is much as you might expect from such a gear list, that is, highly experimental, cutting
edge sounds that are fairly non-musical. “Hawan” gives an early indication with its glitchy static and edgy buzzing
and such. Though it clicks at a regular tempo, the sounds are quite abstract. “Urubamba-Rhine Pt. 1” sounds melodic
by comparison. At first it sounds like a wet finger rubbing the top of a water glass. A thicker electronic sound then comes
in over the top of that, bringing back a dissonant character. “Ratukama” has a start-stop quirky quality to it,
with even more unusual sounds. Everything on Cloudface Mountainhead is edgy and
adventurous, even though the pieces tend to be on the minimal side. It is the
sort of sounds avant garde friends might want to explore and dissect, or that one might play to encourage unwanted guests
who have overstayed their welcome to leave. If Saul Stokes were ever to entirely abandon any semblance of conventional musical
structure it might sound something like this. John DuVal “Cassiopeia’s Playground” (Free download here at Earth Mantra Netlabel, 2008) 8 tracks, 70 mins Although it has been a while since John DuVal of
Dweller at the Threshold released Hell’s Canyon, his follow up Cassiopeia’s Playground retains his unique musical tendencies. DuVal tells me it is more Berlin school than
his last release, but don’t expect a Tangerine Dream or Klaus Schulze clone. The 10-minute title track does have brisk
sequencing, but it includes a challenging mélange of seemingly disparate elements as well, including bright piano sprinkled
over the top, lots of synth strings, and deep pulsing bass and beats. It has a very arty feel. The opening track “Midnight
from Riegel” similarly employs familiar retro synths and sequencing but in DuVal’s distinctive manner. “Amber
Waves of Atoms” has a very pure electronic sound to it, full of chirps and twitters than only a synthesizer could make.
This one is considerably more abstract, an interesting composition in both the sounds utilized and how they are blended together.
“Amoeba Fritters” is similar but with a humorous bent to it. The quirky, playful “Mimsy were the Borogoves”
has a neat bubbly bit of sequencing running through it. “Sanctuary” is boldly adventurous journey that shows off
what synthesizers can really do, and “2705” could be a cool alternative soundtrack for Blade Runner. “Saturn Serenade” finishes off the disc on a high note, with great sequencing and DuVal’s
unique spin on the Teutonic style. Joost Egelie “Boundaries of Infinity” (Free download here, 2008) 6 tracks, 43.20 mins If you need proof that some of the best things in
life are free, click on the link above and then download this very good Berlin school album by Joost Egelie from Belgium.
A big synth sound swells and slacks on “Transcend,” then is joined by a bouncy little bass sequence followed by
a feather-light synth providing the melody. As the melody drops to lower tones in the middle section, I’m reminded a
lot of Chuck van Zyl’s excellent solo album The Relic. “Decoding a
Masterplan” follows a similar pattern, starting low with cool space sounds. They drop out and then the sequencing jump
starts things quite nicely, moving along at a regal march. “Beyond Singularity” has a catchy little sequence that
slowly moves up the scale and back down again. It drops out entirely for just a half a second as if done, and then picks right
back up where it left off but with more energy. Things mellow out on the leisurely “There are 10, not 4.” The
atmospheric sounds are particularly good, and then superb sequencing totally takes over by the end. “Electronvolt”
is an exceptional impersonation of Schmoelling-era Tangerine Dream – the pacing, the melody, the rhythm, and the sound
palette. This is the pop single of the album, and a great one at that. “Void” is a 12-minute epic conclusion riding
a retro groove and then pulling back for a majestic finish. Peter Farn “Alkor: SciFi Lounge Vol. 1” (www.syngate.net, 2007) 5 tracks, 61.35 mins I love the opening track of this disc, called “Weltenreise.”
It has a funky little bass line whose quirky rhythm reminds me of Laurie Anderson’s “Blue Lagoon” from her
Mister Heartbreak CD; not a typical reference point for electronic music, but it
totally works. Retro elements like mellotron choirs and other electronic sounds add to the ambiance. “Novemberwelt”
is a 22-minute number a bit more meandering and experimental in nature. Melancholy synth strings in a minor key wax and wane
slowly for a few minutes, then tribal drumming is added to the dark mood. Quirky mechanical pulsations emerge after that,
bringing a livelier beat to bear along with a rawer, edgier sound that sounds like a modern take on old krautrock, maybe a
bit like Klaus Schulze’s energetic solo on “Mental Door” from Totem,
though not that frenetic by any means. This track has several distinct movements, some more abstract and minimal, some more
active. This could prove a challenging listen for some, but I like it. If you prefer a stronger retro element, the bass line,
male choirs, soft sequencing, and infectious beat of “Zeit:Los” should be right up your alley. “Stimme im
Kollektiv” is perhaps the most daring yet, a minimal, mostly quiet abstract piece that explores a surprising range of
sounds within a certain mood and feel. The wide-ranging tracks showcase Fern’s skill quite well in a fascinating album
that works quite well despite the differing styles throughout. One of my favorite new discoveries, and I hope Vol. 2 is coming
soon. Cosmic Hoffmann “Outerspace Gems” (www.manikin.de, 2008) 9 tracks, 60.47 mins When I reviewed the first Space Gems set of archival recordings from Cosmic Hoffmann, I thoroughly enjoyed it and said bring on volume two,
and here it is, Outerspace Gems. All source material dates from 1978-1985, so once
again the retro electronic sound is quite authentic. “Up to the Stars” is swirling space rock, more space than
rock, pulsing along in psychedelic fashion. “Megasun” is one of my favorites, a melodramatic low-key affair that
growls just a tad menacingly. “Cosmic ChaCha” is as fun as it sounds without being overly cheesy as a playful
set of interweaving rhythms dance around cool synths. By now the disc really hits its stride with three fantastic outer space
journeys. “Galaxy Rising” is a somber piece loaded with Mellotron strings and male choirs, followed by the epic
“Spacewards,” nearly 13 minutes of vintage EM goodness. The first half is very spacey and atmospheric, and then
mesmerizing sequencing comes in midway through along with more Mellotron strings, wonderful stuff. By the time “Magellanic
Cloud” concludes, which plays like a cross between early Klaus Schulze and Tangerine Dream, you should be totally in
analog heaven. And yet there are still three more to go, all as good as the rest. The closing track, “Black Hole Magic,”
is particularly nice, with a unique lead line that is vaguely like hammered dulcimer but is likely guitar or synth based.
Outerspace Gems is full of drifting,
trippy pieces that will send you into the outer realms with a great big smile on your face.
Mystical Sun “Energy Mind Consciousness” (www.mysticalsun.com, 2008) 11 tracks, 63.13 mins Somewhere between ambient, dub, downtempo and chillout
music lies a place occupied by the likes of Global Communication, O head, and now Mystical Sun. It is a thoroughly immersive
listening experience, designed to be played from start to finish. “Dune Oscillator” starts with low rumbles of
sound and then a sweet electronic pulse that fades away and returns. A classic filter sweep moves in and out of the mix. Bass
and beats are deftly folded in, enough to give your subwoofer a workout without overpowering the synths surrounding them.
“Blue Lotus” drops into low gear, a moody atmospheric number with a slow, thumping beat. “Passage”
features soothing choirs reminiscent of the classic closing track of Global Communication’s 76:14 album. Softly chirping birds in the background complete the relaxed dreamy feel. Deep rich bass tones add
depth, carrying the music slowly along. “Departure” continues the atmospheric proceedings as lush electronic textures
join gentle sparse beats. “Incense” has a strong eastern sitar twang to it. The disc progresses into surprisingly
darker ambient realms, as on “Dark Energy” which percolates with haunting pulsing energy. “Expansions”
conjures similar images of coldness and darkness, pulling us further into the depths. Next, gurgling floes of sound emanate
from “Lava Tubes,” which also has some of the coolest tribal drumming. “Holographic Rain” keeps the
chill and hypnotic feel but starts lightening things up considerably, then “Sanctuarium” brings us fully back
into the light as a serene closer. Highly recommended. Craig Padilla “Below the Mountain” (www.spottedpeccary.com, 2008) 7 tracks, 73.58 mins Electronic musician Craig Padilla lives in Redding,
California, in the shadow of one of the country’s most recognizable and beautiful mountains, Mt. Shasta. So really,
the only surprise is that it took Padilla this long to create an album based primarily around the mountain as his source of
musical inspiration. “Currents” is a cool, mellow opening number, mostly expansive atmospheric ambience, but with
a light touch on the lead synth that runs through it. It exits on the whooshing wind, moving right into excellent sequencing
on “Woven Planet,” a bubbly retro pleaser. “Wandering Thought” goes back into dreamy ethereal mode
with a majestic touch, as warm pads and a softly percolating percussive sequence are melded perfectly together. “Windspell”
swirls about, hovering in deep space, ranging from psychedelic to dark ambient. Listening to the gently pulsating “First
Light” I can almost picture the sun as it first peers over the morning mountain air. “Alturus” is an epic
conclusion nearly 23 minutes long, alternating light and airy passages with a more classic retro sound, the latter third featuring
a thumping beat and energetic sequencing before finishing with a softer touch. Steve Roach and vidnaObmana “Spirit Dome –
Live Archive” (www.projekt.com, 2009 reissue) 8 + 8 tracks, 73.31 + 67.14 mins This 2009 double CD reissue of Spirit Dome from 2002 and Live Archive from 2000 is a natural pairing
of albums and a natural pairing of talents. Since their fantastic Well of Souls, Steve Roach and vidnaObmana have collaborated successfully on several occasions, sometimes as a
full-fledged duo, sometimes as guests on each others’ solo albums. If you somehow missed these on their first release,
no true fan should be without them. Spirit Dome is the dreamier of the two, a haunting
floater composed in a Philadelphia hotel room in the spirit of the moment. Divided into eight parts but playing as an epic
continuous whole, this delicate work ebbs and flows serenely. Deep tribal beats appear in the second movement, yet they are
somehow muted to meld seamlessly into the liquid ambience. The ethereal dark tones gain intensity, then flow into the third
part which takes us deeper into the crevasse as the drums fade away. Though it shimmers at times, it spends most of its time
enjoying wandering in the darkness of night. Live Archive covers a wider array
of sound, culled from various concerts during 1997 both in America and Europe. Despite the varied sounds and locations, it
flows quite nicely from the chanting and didgeridoos of “Verruchio Invocation” to the powerful tribal drumming
of “Common Ground” to the abstract rustling noises of “Two Reptiles,” a slowly evolving, cavernous
expansive tribal piece that is one of my favorites. “Soundworld Collage” starts and ends with soft organic tones
but is brisk and intense in the middle. Both discs capture a range of cool sounds from two masters of the ambient genre. Janet Robbins “Carrying the Bag of Hearts:
Interpreting the Birth of Stars Vol. III” (www.janetrobbins.net, 2008) 4 tracks, 32.01 mins Although listed as volume three in a series, this
is my first exposure to Jan Robbins’ music. “Nibiru’s Crossing” has a relaxed feel with a steady upbeat
tempo and various soothing electronic sounds. This opening track fades completely away and then reemerges with a different
theme, like a brief unexpected epilogue of sorts, a technique that Robbins employs throughout. “Ascension” starts
like a sonar pulse with subtle surrounding electronics, abstract at first. After a couple of minutes a nice solo piano lead
takes over, and then it takes a really surprising turn into a touch of dub, shuffling right along in a cool groove. A discordant
lead line incongruously hangs over the top, as if out of tune, but only briefly; the rest of it is quite catchy. Like the
first track, it has a bit of a false ending before it changes and finally finishes for good. “Walking the Milky Way”
features relaxed guitar playing with soft synth touches gently wrapped around it. Robbins seems to like to play with the audience
a bit, because once again this one changes fairly dramatically near the end, stripping away the guitar and synths and switching
to all percussion, vaguely tribal and yet modern at the same time. If not for the abrupt crossfade right into it one would
swear it is a completely different piece of music. Dark haunting ambience begins “The Train to Rhinecliff,” followed
by a soft sequence and some oboe. An unusually assertive, cool bass line that sounds like something Yes might do comes in
next, and a shifty little rhythm to go with. By now it is 180 degrees from where it started only a couple of minutes before,
and it changes a few more times before it’s done. Robbins has quite a creative streak put to good use for the brief
time it is on display here. Conrad Schnitzler / Bernhard Wöstheinrich “20070709”
(www.musiczeit.com, 2009) 1 track, 62 mins Conrad Schnitzler is well known in EM circles as
an early member of Tangerine Dream and as an adventurous solo musician who makes music for himself, not for an audience. As
such, his music tends to be quite experimental, atonal, even noisy. Bernhard Wöstheinrich, on the other hand, has made a name
for himself in recent years by being a sonic sculptor and technophile who makes creative music primarily on Ian Boddy’s
DiN label, with a variety of collaborators. For this album, cryptically named 20070709,
Wöstheinrich has “interactively remixed” source recordings from Schnitzler. Describing the music itself proves
to be a bit of a challenge. Though not divided into sections, I’d say the first distinct movement occurs over the first
6:15 or so, an assortment of abstract sounds, white noise, electronic noodles and gurgles, and the like. Though not particularly
musical, I find it much less abrasive and inaccessible than some of Schnitzler’s work. Still, this isn’t the sort
of thing one would put on at a party to keep the groove going, far from it. A moodier section follows for a few minutes. Throughout,
the disc is very electronic sounding and quite idiosyncratic. As I listen, I suppose the marker for me as to whether a passage
is listenable or not comes down to volume and complexity; that is, the noisier, more heavily layered sections are the hardest
to swallow. The quieter, more stripped down sections are more palatable, but still far from conventional musical structure.
Conrad Schnitzler’s music, with or without remixing, remains an acquired taste. All
reviews © 2009 Phil Derby / Electroambient Space. Any reprint in whole
or in part must be appropriately credited. January 2009 27 new CD reviews this month! Kees Aerts “If One Door Closes” (www.groove.nl, 2008) 12 tracks, 75.42 mins It has been a long time coming for Kees Aerts’
sophomore release, although apparently the seeds for it were germinating for some time, as the tracks were recorded over a
period of several years. Those familiar with E-dition magazine should recognize “Undelivered Delivery” from the
CD that accompanied E-dition #1. It is a playful, upbeat song, a very straightforward synths-and-sequencing number, and a
perfect way to start things off. I can’t help but grin from ear to ear when listening to “Put Me Down, Scotty,”
complete with Star Trek samples. It’s fun to hear Kees let his hair down and have fun with this one, which by the way
is a pretty catchy tune even without the sci-fi reference. “Decision Time” is one of two brand new songs, with
synthesized lyrics that I can’t quite make out. A deep bass sequence forms the foundation beneath. I really like the
moment at 6:30 where the vocals drop out and the rhythm and warm synth pads take over. It also builds really nicely at the
end, very Jarre-like. “Entering the Unknown” is a cool 1990 track that reminds me of something similar from Synthetic
Block’s first album. After this come a few tracks from the same period which are overly cute for my taste. However,
sandwiched between them is an excellent collaboration with Ron Boots called “The Sun Shines, The World Smiles.”
This is warm and relaxed, and reminds me a lot of Ron’s Close, But Not Touching
album, right down to the waves lapping the shore. Another Aerts/Boots piece, “Sunray,” is as bright and sunny
as the name implies. The other brand new solo composition is “Move Forward and Discover,” my personal favorite
with a totally catchy groove. Kees excels at painting bright sonic pictures that will keep a smile on your face. Ian Boddy “Slide” (www.din.org.uk, 2008) 9 tracks, 56.21 mins Ian Boddy recently acquired a new synthesizer patterned
after a unique keyboard invented in the 1920s in which the notes slide up and down glissando style, hence the name of his
new album Slide. At times, as on the opening track “The Probability of Doubt,”
his playing sounds very much like Robert Rich’s lap guitar, which is no big surprise considering how often they have
collaborated. There is a wailing, mournful quality to it, a murky moody beginning to the album. “Lost and Found”
starts down a dark path, like an eerie sci-fi film, though it soon picks up a typical Boddy pace with crisp percussion and
sequencing. The title track has crisp punchy rhythms as well, chugging right along as the synth lead continues to slide up
and down the scale. Boddy does movers and shakers well, and this is no exception. “Tourmaline” takes a more experimental
turn at first, somehow managing to meander briskly, as contradictory as that sounds, before settling down into another trademark
Boddy toe tapper. “A Moment of Gliss” is a bright, beautiful bridging piece that takes us to another rhythm fest
with the infectious grooves of “Yesterdays Memories.” “Mechamystical” sounds like musical machinery,
and flows into the catchiest tune yet, “Troubadour,” before finishing the disc in the same dark, dreamy reverie
it began with “The Possibility of Existence.” Vintage Boddy with a twist. Javi Canovas “Eigenspaces” (www.musiczeit.com and www.javicanovas.com, 2008) 8 tracks, 56.19 mins Known for his energetic Berlin school music, Javi
Canovas starts Eigenspaces in a more subdued manner. “Living in the Emptiness”
is bright shimmering electronics, largely formless in the early going, until a cool burst of sound like Klaus Schulze’s
Timewind signals the arrival of sequencing at the 5:00 mark. Similarly, “Where
was the Time” starts in moody atmospheric mode, but brisk sequencing ensues after the first couple of minutes. It builds
and gets increasingly bright, to the point of being overly shrill nearing the end – one sound in particular needed to
have the edges softened considerably, though otherwise it’s a good one. “Lost Sign” brings needed calm afterward;
though it gets progressively more energized as it goes, it remains fairly relaxed. Also finding a cool laid back groove is
“Blue T”, but perhaps the best moment on this album is one of its most subdued, the gentle “Vector.”
I love the soft electric piano lead on this, with just a bit of strings for good measure; a gem of a track. “Forgotten
Future” heads back to the dance floor with its infectious rhythm, followed by “Parallel World” with industrial-type
sounds at first, followed by – what else? – more sequencing! Another fun CD from Javi Canovas. Javi Canovas “Nights of Brightness” (www.musiczeit.com and www.javicanovas.com, 2008) 7 tracks, 62.02 mins If you like upbeat melodic sequencer-based EM, and
if you haven’t yet discovered Spanish musician Javi Canovas, you should head right on over to Musiczeit and check out
his latest albums, including this one, Nights of Brightness. “Nimbus”
starts things off crisply and brightly, really getting the feet and/or the body moving depending on your inclination. “Elipse”
is just as lively with a rollicking beat and fun synthesizer sounds. “Metallic Core” has a moderate tempo with
hypnotic loops. “Mr. Ivan” is the liveliest yet, even playful. “Fugitive Star” mixes things up nicely
again, with mellotron flute and low-key chugging sequencing. And so it goes, alternating dance-friendly numbers like “Beta”
with dreamy drifters like my personal favorite, “Protoplanet.” It is the longest track and closes out the disc
on a high note. Highly recommended. Max Corbacho “BreathStream” (www.maxcorbacho.com, 2008) 7 tracks, 73.15 mins I really like the direction Max Corbacho has taken
with his most recent releases, The Talisman and now BreathStream. He seems to be delving deeper and deeper into pure floating music – no rhythm or melody at
all, just serene calm tones that thoroughly soothe and placate. BreathStream is a particularly focused work on the art of
diffuse sound, as contrary as that may seem. Track titles are very appropriate; “Act of Light” has a shimmer and
sheen to it; “The Great Breath” seems to echo into infinity. Perhaps the most delicate and subtle of the lot is
“No Day nor Night.” The beauty is in the way Corbacho makes something special out of next-to-nothingness. The
challenge is for me as a reviewer describing this minimal musical excellence. Suffice to say if you enjoy ambient music as
a means of escape or relaxation, look no further than BreathStream. Glen Darcey “Ambiata” (www.creative-license.com, 2008) 10 tracks, 61.14 mins Velvety smooth floating ambience doesn’t get
much better than Glen Darcey’s Ambiata, one of my favorite recent discoveries.
It is light and calming, but not mere new age. Fans of Brian Eno, early Steve Roach like Structures
From Silence, and similar albums and artists will want to be sure to check this out. The title track is as smooth as glass
and just as delicate, and “Yeshua” is even softer. “Harmonics” is a little shrill at the start, but
the harmonics level off somewhat and take the edge off just enough. This one in particular could pass for an Eno sonic experiment,
exploring tonal qualities as much for the journey as for the resulting music. “Greenland” was inspired by Darcey’s
flight over it, and the stark, simple, cold beauty perfectly captures the essence of that. “The Garden” finds
a perfect middle ground, not too light or dark, with soaring synths and a very gentle touch on the sequencing in the background.
This sounds somewhat like the space music of Jonn Serrie. “Peace” is like lying on a soft pillow. “Lake
of Fire,” on the other hand, is a shade ominous as one might expect from the subject matter. Low metallic drones and
crystalline electronics mesh well together to form this darker piece. “No Boundaries” includes a soft beat, one
of the few tracks with any discernible rhythm. However, it remains thoroughly relaxing, which can be said for all of Ambiata. Highly recommended. Gert Emmens & Ruud Heij “Silent Witnesses
of Industrial Landscapes” (http://home.versatel.nl/emmens_heij/, 2008) 7 tracks, 78.58 mins Emmens & Heij team up for a fourth time on Silent Witnesses of Industrial Landscapes, and they just keep the Berlin train rolling
right along. Let’s just cut to the chase and say that if you have and like their prior albums, don’t hesitate
to add this one to your collection. Fans of retro EM should once again be in analog heaven. As usual, this is improv-based
synthesizer music with an equipment list a mile long, sure to make the gearheads green with envy. But enough on that, what
about the music? “Overture”, the first of the two-part title track, starts with bright shimmering synths that
breathe in and out, and a bubbly sequence low in the mix at first, gradually coming to the foreground. A classic Emmens’
melody takes over as this one moves along neither too fast nor too slow, in a very comfortable groove. Ruud’s excellent
sequencing starts from the get-go in “Elements in Decay”, joined by warm synth pads. This too moves at a moderate
pace and is equally enjoyable. “Liquid Ore Finding Its Way” moves at a slightly faster clip, chugging along quite
nicely. Although the straight ahead sequencer fests are plentiful and very good, my personal favorite may be the moody atmospheric
number “When Night Falls”, full of soft sparkles of electronic sound, rich textures, and a light touch on the
melody. This is a wonderful piece, delicate and put together just so, surprisingly with nary a sequence to be found. Not to
worry, Teutonic lovers, the pulse comes back in “Point of No Return”, perhaps the best of the Berlin school bunch,
with solid rhythm to back up the hypnotic loops. The best Emmens & Heij collaboration to date. Free System Projekt “Narrow Lane” (www.freesystemprojekt.nl, 2008) 2 tracks, 78.02 mins Culled from concerts in 2006 and 2007, Narrow Lane is another gorgeous slab of retro EM in the grand style of Tangerine Dream in their heyday in 1975.
“Part 1” is the “short” track at a mere 29:10, starting with dark haunting tones complete with mellotron
flutes and strings. One almost can’t help but think of Ricochet, Rubycon, and Edgar Froese’s classic Epsilon in Malaysian Pale.
As usual, rather than merely imitating or blatantly copying, FSP manages to blaze new ground along this well-worn terrain,
coaxing just enough freshness out of the familiarity, which breeds comfort rather than contempt. After the first sequencing
appears just past 5:30, classic lead lines play delicately over the top of that, and the sequence evolves and gyrates just
so. Mellotron flutes return, although the sequencing remains a central focus throughout, with only occasional respites that
allow more atmospheric elements to briefly rise to the top. By the time male choirs appear past the 22:00 mark, virtually
all the Berlin school stops have been pulled. A low buzzing drone-like noise hangs in the air for the first couple of minutes
of “Part 2,” very much like the beginning of TD’s Ricochet album.
An oboe-like synth lead plays quietly in the background, though in a higher register than a real one. At 4:20 there’s
a key change, and it literally seems to become Ricochet for a few moments, before
dark melancholy synth strings take things down a notch as the buzzing drone fades away. The long brooding intro to this piece
is magnificent, and a reminder of how emotive synthesizers can be in the right hands. Lots of twists and turns happen along
the way for the remainder, with nary a misstep. This sort of music still stimulates the senses as much in 2008 as it did in
1975. It’s comforting to know that bands like FSP, perhaps none better than FSP, get that. The Glimmer Room “Home Without the Journey” (www.theglimmerroom.co.uk, 2008) 3 tracks, 51.34 mins Andy Condon returns as The Glimmer Room on Home Without the Journey, which features three lengthy electronic excursions, starting with the nearly half-hour
title track. Andy’s compositions are always creative and intricate, and this one is no exception, with solid melodies
and sequencing. It seems to evolve quite naturally, almost effortlessly, although it is obviously carefully constructed and
executed. Gently lapping waves give way to eerie synths that seem to moan, but in short order bright piano and warm synth
strings take over, followed by light sequencing. Barely five minutes in Condon has already deftly steered us through a variety
of sounds and moods. Themes emerge, are built upon, fade, and begin again. My favorite passage begins just before the 14:00
mark, an excellent bit of retro sequencing and synth work. The track seems to have two parts, with a distinct ending at about
18:00, falling nearly silent and reemerging at 18:20 with a completely different sound, soft and ethereal. It is a 180-degree
turn from the music preceding it, but every bit as good. One more brief rhythmic passage and this masterful epic comes to
a close. “Carbon Statues” is quite different, a mellow haunter with an infamous quote at the beginning and end
by Robert Oppenheimer, father of the atomic bomb. Darker at first, it becomes delicate and dreamlike, a beautiful counterpoint
to the comparatively active title track. “Cool Blue and the Plough” is my personal favorite, indeed a cool blue
piece that strikes a perfect mellow balance to bring the disc to a close. It is easily my favorite Glimmer Room disc so far,
and one of the best albums of 2008. Vic Hennegan “Aqua Vista” (www.vichennegan.com, 2008) 9 tracks, 52.11 mins I quite enjoyed Vic Hennegan’s Desert God, a solid collection of new age electronic music. Aqua Vista
likewise contains a variety of soothing sounds for the soul. “Of The First Water” features gentle rhythms and
melodies. It reminds me somewhat of early Mark Dwane, as does “Aqua Donna” with its crystal clear bell tones and
ethereal wordless female vocals. A sparse tribal beat and almost flamenco style guitar add nice dimension to the piece. Any
stress you had before putting on the disc would likely have dissipated by the time you get to this point, but if not “Ice
House” will take you the rest of the way with its icy ambient tones. This one is less new age and more in the realm
of deep space music. “Seascape” adds a pulsing sequence and crisp percussion, along with a strong retro synth
lead. “Libation” takes the aqua theme to the extreme, with churning splashing water running throughout. Both “Crossing
Over” and “Down The River” have male chanting that I found distracting, although I very much like the rest
of it, with some great energetic sequencing on the former and nice drumming on the latter. Add in a couple more strong tracks
in “Winter’s Tears” and “Moon Waves” to finish things off, and it remains a largely successful
outing. Recommended. Jeffrey Koepper “Luminosity” (www.jeffreykoepper.com, 2009) 9 tracks, 73.32 mins I continue to be impressed by the high quality of
Jeffrey Koepper’s releases, fantastic music in the style of late 70s and early 80s Tangerine Dream. As usual, Luminosity is filled with great sequencing, tight melodies, and beautifully atmospheric space music. The breadth
and depth of Koepper’s talent is on full display within the first three tracks, starting with catchy moderately paced
sequencing and synths on “Reflection.” In perfect contrast, “Light and Truth” is very airy, light
but not insubstantial, full of bright shimmering tones in relaxed sonic hues. “Artifacts” goes pure retro, but
in a stripped down way, using three synths to capture the essence of the old classic Mellotron flutes, strings, and a simple
cadence in the background to keep time. It is wonderful in its sparseness, as is the next track, “Winter Space.”
In fact, this is a considerably mellower affair throughout than its predecessor, Sequentaria.
“Life Clock” continues the easygoing pace, ticking slowly with cool space twitters along the way. The lead synth
line here is very reminiscent of vintage Klaus Schulze. Gently pulsating sequences pick up the tempo a little on the next
couple of tracks, but throughout the disc shows considerable restraint, focusing on setting a hypnotic mood and maintaining
it, particularly in the case of the 11-minute “Transmission,” the longest track and yet the one you may miss most
after it fades. “Dusk Till Dawn” is the most minimal track, mostly water and low drones, with a sparse melody
toward the end, very cool. “Rising Sun” is a warm, relaxing number to finish off a great album in style. Numina “Sound Symbols” (www.numinamusic.com, 2008) 5 tracks, 65.01 mins Jesse Sola returns as Numina on Sound Symbols, five lengthy pieces of floating ambient music. Numina excels at formless waves of sound that are
neither light nor dark, finding a comfortable niche that allows the listener to decide the mood. “Buried Icon,”
for example, has both shimmering highs and resonant lows. Melody is hinted at but discrete notes rarely fully form. Rhythm
is noticeably absent as the quiet music drifts easily by. Although each track is distinct, they merge seamlessly together.
Even when there are multiple themes or sound employed, as on “Symbolic Script”, each part blends together into
the unified whole. Sparse bells nicely fill in the open expanses in “Heiroglyph.” Shifts are subtle and slow,
making this perfect music in which to fully immerse yourself. Sometimes there are bubbly, gurgling undercurrents that are
very organic in nature, whereas other times the electronic chirps and twitters have a clearly synthesized sound. Regardless,
the mood is calm, reflective and relaxed throughout. Song titles imply an ambient music version of a Dan Brown novel, containing
icons, symbols, relics, secrets, and angels. Or simply imagine your own story as you enjoy listening to Sound Symbols. Ozone Player “Orange Apples” (www.ozoneplayer.com, 2008) 12 tracks, 58.34 mins I don’t think there is any doubt who is the
most adventurous, creative force in instrumental electronic music today – it has to be Otso Pakarinen. I hesitate even
to define what genre he is in, although surely it is somewhere in the electronic/progressive realms. For a quintessential
Ozone Player track, head right to “Animal Pharm.” Keys, guitars, percussion and sax meld in a sound that strikes
a perfect dichotomy between music and cacophony. Even quirkier is the bouncy number “Lemons and Lizards,” although
it grows more powerful and aggressive as it goes, dropping much of the cuteness that it began with. I have to be in just the
right frame of mind to listen to Otso’s music. His music certainly inspires passion one way or the other, and if you
are one of his intensely loyal fans you probably already own the CD. If you ran screaming from the room the first time you
heard an Ozone Player CD, this one will probably leave a similar impression. I wholeheartedly applaud Otso for his continued
bravery and boldness. And there are some rather catchy tunes in all the weirdness, such as the title track as well as the
opener, “Extrasensory Deprivation” – which may be the first electronic music track to credit someone’s
dog, at least that I’m aware of. Vocals are also credited, though heavily processed into something quite foreign. The
drums and guitars kick ass in this song once it gets going, love it. Notable guest musicians include Ami Hassinen of Nemesis
and Paul Ellis. Recommended for the truly daring listener. Dave Preston “Be” (www.myspace.com/daveprestonambient, 2008) 8 tracks, 46.28 mins Ambient with an edge; that’s what I’d
call this CD by Dave Preston, simply called Be. Although Preston himself calls
the music ambient, it defies easy categorization. Strange haunting tones emanate from his guitar and other sources. “Be
Creative” starts the disc with an atmospheric touch, but then drums come pounding in. The contrast between the ethereal
textures and the heavy beats reminds me of early Cocteau Twins, though definitely with its own twist on things. It is much
more powerful and visceral than most ambient. “Be Ing” is quieter but still with a hint of restlessness as things
are intentionally left just a bit rough around the edges, the guitars allowing slight distortion or static to enter into the
mix. I particularly like how this one continues floating about for a minute after it seems to have faded away. “Be Joy”
is somewhere between the assertiveness of the first and the moody anxious calm of the second. The musical phrasing here is
deceptively simple but appealing. “Be True” strips down to the bare essentials, a sparse piece that radiates warmth,
as does “Be Alive,” aided by beautiful wordless female vocals. After a very soft beginning this ends up being
one of the most accessible tunes with an almost pop sensibility as a steady, easygoing beat carries it along. “Be Different,”
despite the name, is probably the most conventional new age guitar piece on the album, though I suppose on an album of edgy
ambience that IS different. Both male and female vocals on “Be Hope” form a dream-like mood to bring things to
a close. Procer Veneficus “Saltwater & Glassmoon” (www.newagedawn.co.uk, 2008) 5 tracks, 42.53 mins Stellar Auditorium is a label featuring dark, richly
complex ambient works, including this subtle one by Procer Veneficus. “Oceanic Spheres” sounds like white noise
and wind when it starts, but soon settles into a calm reflective ambient piece with shades of melancholia. Similarly, low
drones and smooth synth tones adorn “Descent Through Glassmoon.” Fans of darker works by Robert Rich should really
like this. Darker still is “Amaranth and Liqueur,” which again blurs the lines between music and noise. At times
is it soft and smooth, other times it swells and slacks, sometimes going nearly silent. This is a real haunter. “Atmospheric
Lull” is even sparser than the previous tracks. It is more neutral emotionally, not overly light or dark, although it
likely will conform to your mood at the time as to whether you find it relaxing or somewhat chilling. The disc ends appropriately
with “Departure,” another fine example of dark floating music. Saltwater
& Glassmoon is a must-have for dark ambient fans. Redshift “Turning Towards Us” (http://www.redshift.biz/index2.htm , 2008) 5 tracks, 54.51 mins Low rumbling machinery and haunting echoes start
“The Love of Nature”, the first track on Turning Towards Us. The song
title seems very tongue in cheek, as this is a thoroughly synthetic futuristic sounding piece of music. Redshift has always
flirted with the aggressive side of Berlin school, and this is their most assertive album since Down Time. As the volume and the intensity increases, the sound seems to distort as if exceeding the maximum recommended
threshold for the equipment. The lines between Redshift and ARC have blurred considerably, as Ian Boddy and Mark Shreeve are
now part of both bands, with Julian Shreeve the lone difference between the two. “The Love of Nature” features
a mainstay of the Redshift sound, alternating between dark moody quieter passages and much more intense, considerably louder
sections. Almost playful as it nears the end, the bouncy bass line and surrounding atmospherics retain a haunting quality.
The album has a certain symmetry about it, with two short bridging tracks sandwiched between three lengthy ones. Both shorter
tracks are cool but soon forgotten, having seemingly accomplished their task serving as segues. “Clan” starts
with a shuffling, clicking sequence, heavy drums, and eerie synths like otherworldly wood flutes. Just before 3:00 a particularly
chilling crescendo is reached, brimming with power. It levels off, softens, then returns to full intensity. Midway through
we get the classic retro treatment, very crisp and clean. Also excellent is the nearly 23-minute title track, which after
the obligatory murky intro goes into some of the best sequencing since Klaus Schulze’s Mirage album. Past the 12:00 mark it goes for the throat again, dark intense stuff. Majestic sweeping synths bring
the disc to a regal finish. Rey “Innovative Desert” (www.rey.dk, 2008) 10 tracks, 45.58 mins It’s been seven years between albums for Rey,
and if you liked Hidden Vibrations you will feel right at home with Innovative Desert. Light synthesizer
music with a pop sensibility makes these 10 tracks fly by. “Mexican Treasure” has bright, flute-like sequencing,
warm strings and a steady rhythm, setting an upbeat optimistic tone that continues throughout the album. “Invisible
Islands” is almost a dead ringer for Tangerine Dream circa 1985-1987, nicely layered synths arranged in pleasant melodic
fashion with an irresistibly catchy beat. The title track is next, slowly fading in before a stutter-step beat jumps in, followed
by light percussion and a lilting synth melody. Rey is good with contagious toe-tappers, and this is another one, as are “Strangers
are Coming” and “Floating Statement,” both midtempo pieces that keep the juices flowing just right. “Transatlantic”
has perhaps the sunniest disposition yet. In fact, the only remotely melancholy piece is the brief “An End is Also a
Beginning,” which closes out the disc. One is unlikely to be depressed after listening to Innovative Desert. Steve Roach & Byron Metcalf “Nada Terma” (www.projekt.com, 2008) 7 tracks, 73.22 mins I thoroughly enjoyed Roach & Metcalf on their
collaborations Serpent’s Lair and Mantram,
so I was really looking forward to their latest, Nada Terma, and it does not disappoint.
Low drones and something like eerie sitar music lend an otherworldly feel to the first of seven parts that play as one continuous
piece of music. World and ambient music are fused together harmoniously as wood flutes, clay pots, overtone vocals, and of
course Steve’s various treatments combine into a unified whole. The album is similar to Mantram in that it goes very deep, practically demanding the listener reach a different plane of consciousness.
Each track is called an excerpt rather than a part, further emphasizing the intended continuous listening experience. Until
tribal drums arrive in the fourth passage, the music evolves incredibly slowly, but once change comes it comes boldly, the
drums bleating insistently and continuing into part five, which becomes more intense and dramatic. Things calm a bit in the
sixth excerpt as flutes return, and further still on the 17-minute closing section which makes for a soothing relaxing finish. Steve Roach & Erik Wøllo “Stream of Thought” (www.projekt.com, 2008) 19 tracks, 69.58 mins A friend of mine and I, both Steve Roach fans, weren’t
sure what to think when we heard that Steve Roach and Erik Wøllo had collaborated on a new CD. We were having trouble imagining
how their two differing styles would complement each other. I can happily and eagerly report that the resulting album, Stream of Thought, is fresh invigorating music that I doubt either man would have
come up with on his own. The 19 parts to this constantly changing and ever-evolving work are captivating from the first hypnotic
loops of “Part 1” to the 14-minute effervescent conclusion of “Part 19.” Though repetitious, the first
track is so entrancing that it barely seems to have started before it fades into near silence just ahead of “Part 2.”
This second part starts with soft ethereal floating, but a restless churning percussive sequence soon emerges over the top
of it. Most tracks are very short, many only a minute or two, but these first two longer tracks do a great job of setting
the mood early, pulling in the listener quickly along for the ride so that you are ready for anything that might come next.
“Part 3” is smooth as glass and just as pretty. “Part 4” has a similar aggressive chugging quality
to “Part 2” at first, but it soon subsides and turns into a dark haunter. “Part 5” sounds like alien
machinery, very cool. At very few times does Wøllo’s guitar make itself clearly known as such, although “Part
9” is a notable exception as his gentle strumming echoes among the atmospheric synth textures. Tracks alternate between
moving, active numbers and subtler slower ones. Trying to describe the lovely nuances of each of the 19 tracks would be lengthy,
difficult, and not nearly as compelling as listening for yourself, which I thoroughly recommend. Stream of Thought is one of the most pleasant surprises of 2008. Sempervirens “Dirge of the Dying Year” (www.newagedawn.co.uk, 2008) 8 tracks, 55.17 mins This elaborately packaged CD comes in a limited
edition of 300, with beautifully rendered postcards that act as cover art not for the album, but for individual tracks, creating
a strong, literal image for these pieces. “Grey Skies Above Us” starts with a pulsing beep that thankfully fades
away in the first 30 seconds, giving way to low rumbling, a rain shower, and other ambient noises subtly pieced together into
a highly organic sonic mix. It becomes surprisingly bright and shimmering midway through, then changes to a distant ringing
bell and something like wind blowing across a microphone, along with the odd noise here and there for extra texture and sonic
interest. It is often non-musical, but has a certain soothing quality somehow. A dark wind signals the beginning of “The
Moon of Misfortune.” Again unique sounds are employed, some sort of material rubbing or scraping against something at
random intervals. At times it appears to be going nowhere, but then something interesting and unexpected happens – which
sort of sums of the whole disc. The album plays like a soundtrack to a dark quirky indie film. Perhaps the oddest is “Boundless
Geological Stratum,” which seems to start and stop at times, and features something like alien bird calls at night.
Like others, it brightens somewhat as it goes, and takes surprising and often rewarding detours. Speaking of which, electric
guitar makes an appearance out of nowhere on “Sails Engulfed In Fog & Fire,” but it totally works. About the
only things that don’t are the first 30 seconds of the disc, and a shrill noisy beginning to the last track. Despite
the varied sonic treatments there is a unique, singular focus to the entire album, one of the more cohesive takes on experimental
ambient music I’ve experienced. If Ozone Player were to turn exclusively to the dark side, it would sound like this. The Solaris Project “The Solaris Project” (CD info and samples here, 2007) 6 tracks, 73.36 mins A truly different kind of ambient music, The Solaris
Project is Igor Abuladze on koto and Travis Metcalf on electric guitar. This is a live recording from September 2006, and
it is excellent, the results sonically soothing and refreshing. “Return” immediately calms the mind and soul,
and transcends normal definitions of new age, instrumental rock, and electronic music. The koto is front and center, and Metcalf’s
layered textures on guitar perfectly augment it. Though this is too active to truly be called ambient music, the effect on
the listener is similar, as it is peaceful and tranquil nearly throughout. “Cloudwalk” starts with ambient guitar
sounds and then the koto returns. I could envision either the koto or guitar section of this piece making a fine solo recording,
but together they become truly synergistic. “The Deep Beasts” is a peaceful 16-minute sojourn that continues the
peaceful sounds. “Following The Voices” experiments with some odd tuning or an unusual playing style on the koto
that detracts from the overall mood set by the rest of the album. Thankfully the last two tracks resume the relaxing journey
and bring it to a gentle close. Wellenfeld “Fusion” (2005) 8 tracks, 53.53 mins Wellenfeld excels at fun melodic synthesizer music,
and Fusion continues that trend. “Genesis” floats right in on a soft wave of electronics, then gets carried
off with toe-tapping rhythms followed by a catchy lead synth line. “Matrix” is imbued with subtle shades of melancholy,
with piano and warm synth strings, but it too has a bright optimism about it. The title track is even more upbeat, pure fun.
“Atmosphere” is just that, a bit more on the dreamy side, with a cool little bass pulse meandering through it,
extremely pleasant. Surprisingly ominous synths open “Hal,” but it too finds a cool groove once it gets up and
running, including a bouncy melody. In fact, the only fault one could possibly
find with Wellenfeld’s music is if you have an affinity for dark music, because you certainly won’t find anything
but cheeriness here. Wellenfeld “Trip To Illusion” (2006) 8 tracks, 53.53 mins “Ring of Saturn” is just the coolest
track, the sort of tune that gets stuck in your head all day and puts a smile on your face. A simple but totally engaging
main theme runs through it, and the rhythm makes a perfect companion to the melody. It starts Wellenfeld’s Trip To Illusion off just right. “Moon 19” starts low, with a cool groove and it reminds me, strangely
enough, of Synaesthesia, a much darker EM band. Sparse piano adds just the right touch, helping to set the mood. “Black
Hole” continues the apparent space theme, going down a similar but still enjoyable sonic path. I really like the gentle
sequencing in this one. “Ocean Air” is softer and lighter, a nice change of pace, although the steady beat that
runs through much of the album is still here and there. The entire disc does an excellent job of setting up and maintaining
a cohesive sound, while still varying things just enough to keep the interest level high throughout. Although I really liked
Cosmic Waves, Trip To Illusion may be
my favorite Wellenfeld so far. The Winterhouse “Slow Promises” (www.dataobscura.com, 2008) 8 tracks, 62.57 mins The Winterhouse is DataObscura/Blue Oasis artists
Robert Davies and label founder Anthony Paul Kerby, who also records as The Circular Ruins and Lammergeyer. The emphasis is
on slow, luxurious ambient pieces. The result is an excellent album of pure floating music, and surely one of the best ambient
albums of 2008. “Winterhouse” is full of soothing sounds that gently drift by, subtly flowing over one another.
Although clearly electronic in origin, earthier elements like wind and water are weaved into the mix as well. The title track
shimmers brightly, contrasting nicely with the darker tinges of “Too Tired for Words.” Each track is more like
an assortment of soft sounds with varying textures rather than music in the conventional sense. Melody is hinted at but never
quite fully develops. Titles make vague references to images and feelings, allowing the listener to create their own storylines.
“If You Dream Like This” has big swelling echoes of sound, contrasted by little gurgling electronics. “Beneath
the Grey Walls” is filled with deep, swirling drones; it is darker and sparser than most, although softer brighter elements
appear briefly in the middle. “Inside and Out” starts with creaking doors, then meanders with melancholy over
the remainder. Truly a mood piece, it seems perhaps the most unstructured of the set. Floating and gentle pulses take over
on “Letting Go,” a winning combination of gentle rhythm and open spaces. The latter part is particularly deep,
smooth space music. “Relax, It’s All Over” ends the album appropriately with gentle sounds of the night.
Wintherstormer “Electric Fairytales” (www.wintherstormer.no, 2008) 4 tracks, 77.16 mins Wintherstormer is a foursome from Norway with a
wide variety of instrumentation, from synths and sequencers to drums, guitars, vocoder, and theremin. The end result is a
complex blend of Berlin school electronics with elements of progressive rock and early krautrock. For example, the beginning
of the opening track “Cucumber Salad” is electronic noises and knob twiddling like early Klaus Schulze experiments
that appeared on his Ultimate Edition box set. It eventually settles down into
a chugging bass sequence with a lighter sequence layered over the top of it. A nice soaring guitar lead is added in the middle.
“For the Love of All Things Electronic” starts with floating dreamy synths, setting a calm relaxed tone, then
another simple bass line is added, and more nice guitar flourishes, with just the right amount of drumming. This is a perfect
little track, the shortest at 10:29. “Rising Ashes” starts with “hard” electronic noises again for
several minutes until cool sequencing arrives, with solid, non-intrusive drumming to keep the tempo. This one is easy to lose
yourself in for its 28-minute course, although various banging sounds and other noises may snap you out of your reverie on
occasion during the closing minutes. Last up is the 16-minute title track, which starts with a low sustained drone and a smattering
of sounds like a shakuhachi played through a vocoder. This is the most adventurous track, with abstract sounds such that the
song seems to start and stop several times. Unlike the others, this one remains experimental, never coalescing into a conventional
piece of music, and then it ends quite abruptly. WintherStormer “LIVE 2007” (www.wintherstormer.no, 2007) 3 tracks, 79.36 mins This limited edition disc without packaging
was for WintherStormer’s E-Live performance, and includes an extended version of “Pure Analog Forever” that
also appeared on their Woodwork CD. Though this version is over 10 minutes longer,
it retains the cool, slowly pulsating vibe, with a very nice interplay between the synths, sequencing, and percussion. The
synths get squelchy and very retro in the middle, yet it still retains the fresh take on Berlin school that WintherStormer
brings to the table. “Wooden Chair” comes whooshing in next, with more unique sounds. This is raw stuff, very
electronic and very non-musical, but the sounds are sure cool, whatever you want to call it. It does soften considerably,
getting much more spacey in the middle, sounding remarkably similar to some early TD bootlegs, circa 1974 or so. The knob-twiddling
does get a little shrill at times, which I’d like to see them keep in check just a bit, as my aging ears have a bit
of trouble with those frequencies. But the parts that work are really cool, not the least of which is the excellent closing
track, “Random is our Friend,” although it seems like the recording on this one is a bit more muffled and bootleggish
that the first two for some reason. Still, adventurous EM fans should seek this out if you can get your hands on one. Wintherstormer “Woodwork” (www.wintherstormer.no, 2007) 4 tracks, 76.20 mins To get an idea of the unique mix of instrumentation
on Woodwork, one needs only look at the cover art – a log with patch cables,
synth knobs, drumsticks, and guitar tuning pegs. “Pure Analogue Forever,” reminds me of some of the more freeform
experimental stuff by Radio Massacre International. A low slow sequence fades in around 5:00, with some warm synths surrounding
it, along with just a dash of percussion, gentle cymbals mostly. Dueling synth leads dance back and forth later on, or perhaps
it’s a guitar and a synth; an effective and promising opener. Soft chimes are joined by assorted electronic sound effects
in the second track. Modulated male choirs are prominent later on, and a quirky 4-note pulse adds a bit of structure but not
much. “Engraved” starts softly but then pounding drum beats turn it into hard-hitting space rock. The drums disappear,
come back, disappear, and come back again. Both sections are cool in their own way, but the manner in which they are spliced
together sounds like taking turns in a musical argument. By now I’m not quite sure what to expect of the 35-minute closer,
“Monochrome.” Soft synth flutes and a light sequence start things off, and it develops in largely traditional
Teutonic fashion, with a dash of prog rock toward the end. This is excellent retro music that is different enough to offer
a fresh perspective without going too far afield. I would really like to hear a whole album of this type of music, but clearly
Wintherstormer doesn’t want to just be another entry in the already crowded Berlin school field, so kudos to them for
daring to be different. All
reviews © 2009 Phil Derby / Electroambient Space. Any reprint in whole
or in part must be appropriately credited. November 2008 8 new CD reviews this month Rudy Adrian “Desert Realms” (www.lotuspike.com, 2008) 11 tracks, 69.26 mins Inspired by a weekend tour of North American deserts
in 2002, Desert Realms finally comes to fruition in this 11-track, 70-minute set.
Two tracks feature Nick Prosser on Baroque flute, adding to the desert theme and sound. This is a mellow Adrian set, devoid
of the upbeat sequencer passages that he often creates. Instead, a very specific mood is conveyed throughout, and as such
this is probably Rudy’s most cohesive thematic work, although he certainly has done similarly focused efforts, most
notably The Healing Lake. Slightly dissonant bells carve out a unique beginning
on “Saguaro Silhouette,” accompanied by gentle synth textures and wordless vocals. I’ve lost count how many
of Rudy’s CDs start with soft vocals like this, but it does fit with the overall theme. “Pathway” is one
of the two tracks featuring Prosser, and his flute is joined by light tribal touches, very nicely done. The title track is
an excellent example of Rudy’s dreamy style of ambience; the eight minutes seems to pass by quickly and easily. “Circling
Hawk” brings vocals stronger into the foreground, likely creating the desired effect but it is easily my least favorite
on the album. “Fading Light” fares much better, a subtle delicate Eno-like floater. The slightly discordant bells
return on “Subterranean River”, surrounded by dark echoes of sound. “Cloudburst” consists of rolling
thunder, rain, and flutes, again capturing the desert imagery quite well. The next three tracks make up over a third of the
disc, and they are the most ethereal yet, and the strongest portion of Desert Realms.
Chirping birds “At the Edge of the Desert” bring the journey to a pleasant end. Ron Boots “Mea Culpa” (www.groove.nl, 2008) 6 tracks, 75.22 mins Dutch musician Ron Boots is back only a few months
after his last release with Mea Culpa. The two-part title track is fantastic. The
19-minute first part opens the disc with electronic twitters and deep space sounds, followed by a slowly meandering bass line.
Bright sequencing appears a couple minutes into it, joined shortly by a synth lead line and gently shuffling percussion. Drums
eventually join in, and then a new synth solo takes over as the drums grow stronger. A key change a minute later cranks it
up another notch. A couple minutes more, and the mood calms just a bit before building back up again to the end. I like pretty
much everything about this track. The 14-minute “Mea Culpa II” appears later on, and it is every bit as good.
The percussion is crisp, reminiscent of Tangerine Dream’s classic “Thru Metamorphic Rocks” from Force Majeure. A steady bass pulse lends a dramatic feel, and the synths are understated but highly effective.
It continues to slowly build, all the while staying in a cool groove. This great one-two punch makes up nearly 34 of the album’s
75 minutes. Other strong tracks include the mellow dreamy “08:00 Sunday Morning,” which serves as an excellent
contrast to “Mea Culpa I”. The excellent synth solo here reminds me of vintage Klaus Schulze. Drums and female
choirs fill out the sound nicely. Speaking of female choirs, they abound in “Quick Silver,” the most energetic
track on the disc. Credit is given here to Voices of Passion, a virtual instrument of female vocal samples from five different
countries. My only complaint about Boots, one of my favorite EM artists, is his insistence on singing on a track on some of
his albums in recent years. To his credit though, this time he offers an instrumental version of “The Roses in My Life”
as a bonus track at the end. This is Ron’s best album since Close, but not touching. Igneous Flame / Achromus “Flicker” (www.luminasounds.com, 2008) 14 tracks, 69.05 mins After several solo albums, Pete Kelly is expanding
his Igneous Flame musical horizons by joining forces with Michael Stringer aka Achromus. Pete continues to explore all guitar-based
forms of ambient, while Michael supplies keys and other sonic elements and textures. The emphasis throughout is on keeping
things bright and ethereal, surprisingly accessible given the lack of distinct melodies. “Evergreen” floats slowly
by to start things off, and it is typical of the light and airy approach. In a slight divergence, “Sinuhe” has
a brief Finnish narrative, but musically it remains similar to the rest. Sometimes the guitars soar over the other sounds
and are distinctly guitar-like, but more often than not they meld into the rest of the amorphous ambience. “Off The
Horizon” is a slowly undulating piece with wonderfully delicate textures, including female vocal samples that Kelly
manipulates into a velvety smooth instrument. Speaking of sonic manipulation, several tracks feature samples from airports
and train stations, although you’d never know it. Mostly a collaborative effort, there are a handful of tracks that
are Kelly’s alone, including the last four, which take the disc into a bit darker territory, but nothing to be too afraid
of. Besides, there’s a good chance you will have drifted off into dreamy reverie by then. Igneous Flame / Achromus “Halo” (Download: AtmoWorks, CDR: Hypnos, 2008) 2 tracks, 53.33 mins Flicker
and Halo, the two recent releases by Igneous Flame and Achromus, are opposite sides
of the same ambient coin. Flicker is the lighter, ethereal choice. If you prefer
your ambient on the dark side then Halo is the one for you. Comprised of two long
journeys into cavernous depths, it offers a tasty treat for explorers of the darker realms. And while it is dark, it is eminently
listenable for fans of the genre, not too strange or experimental. “Arc Light” starts right in with a metallic,
reverberating echo, jumping right into the shadows. Haunting sounds, vaguely like eerie choirs, hang in the mist. It takes
several twists and turns along the way, sometimes sounding more like white noise or churning machinery, at other times drifting
more softly by. Don’t go looking for distinct melody or rhythm, though, as you are unlikely to find it. This is all
about abstract sonic textures in varying shades from grey to black. At times I imagine a deep dive into the Marianas Trench;
and just when it seems we might be getting closer to the light for a time, we dip back down again. “Halo” is similar
and yet unique, at turns both lighter and darker than its predecessor. The artists recommend headphone listening, but if you
do you may want to leave the lights on. Recommended. Logic Gate “Voyages” (www.magnatune.com, 2008) 5 tracks, 48.41 mins It’s been five years since Steve Grace’s
debut as Logic Gate with From the Silence, which I thoroughly enjoyed. His sophomore
release Voyages takes his classic Berlin school leanings even further, seamlessly
blending a variety of moods and sounds into a complete concise package. Synths and piano meld perfectly on the title track,
a subdued number that has just the right melodramatic edge to it. The main theme has a majestic feel to it, coming at the
beginning and the end of the piece. It’s the soft piano section that really sets it apart for me, a beautiful counterpoint
to the rest. Bubbly gurgling synths drift in on “Starlight,” a short mellow space music number. “Permafrost”
starts with a cold wind, then a two-note bass line and a simple synth phrase. This one shows Grace’s finer touch with
composition, patiently moving the music forward in a natural progression. Throughout, the music is devoid of excesses that
can render some retro music as kitsch. “The Voyage Home” is a fitting finale, nearly 15 minutes of analog heaven.
At times Voyages reminds me of Rogue Element’s excellent debut Premonition, another disc that clearly pays homage to classic Tangerine Dream, fully capturing that essence but
distilling it in a fresh way. This is an essential recording for retro fans. Synth.nl “AtmoSphere” (www.groove.nl, 2008) 12 tracks, 70.54 mins AtmoSphere
is more playful upbeat melodious synth music from Michael van Osenbruggen. Whereas AeroDynamics
was based on the theme of motion, this time van Osenbruggen has his head in the clouds, quite literally, going through the
many levels of earth’s atmosphere. Starting in the “Troposphere” the music is appropriately, uh, atmospheric
of course. Though it is floaty it is also thoroughly electronic, with just the right tribal touches as well. It progresses
smoothly from a mellow to a more upbeat sound, with solid sequencing and melodic synth leads. “Cumulonimbus” starts
appropriately with distant thunder and an ominous mood, though it turns light and bouncy as well. There is a Jarre-like playfulness
here and on the next track “Stratosphere,” but Osenbruggen carves out his own sound and style within the genre.
Sometimes there is a more majestic tone, often right in the middle of otherwise
toe-tapping tracks, but transitions are deftly handled. I sometimes found his debut a little too playful and light, but AtmoSphere shows more restraint and maturity in the compositions which works to its
advantage. Even when tracks do get a little sweeter, as on “Stratocumulus” and “Altocumulus,” it seldom
if ever carries things too far on the cute or cheesy scale. When I’m in the mood for the lighter melodic side of EM,
AtmoSphere will be a disc I will reach for often. Peter Tedstone “Time & Motion” (www.ambientlive.com, 2008) 4 tracks, 55.40 mins The third in Tedstone’s time trilogy, Time & Motion takes a more active dive into the Teutonic sound. That isn’t the case at first, as “Astral
Projector” is really a five-minute mellow intro, all mellotron flutes, wind chimes, and lush sonic textures. “Alternative
Marriji” starts even more quietly, but cool moderate sequencing eventually forms a solid foundation. A growling synth
solo sounds almost like an electric guitar, giving it a nice edge that stretches Tedstone’s sound just enough from his
two prior outings. “Time” has a perfect tinge of melodrama to it, adding new sonic layers just when it seems they
should appear. Retro fans will be in heaven by the end of this one. But wait, there’s more, a lot more, as “Motion”
takes center stage, all 23-plus minutes of it. This one has a majestic feel, marching confidently forward. Atmospheric electronics
and male choirs ease us into it, then a steady bass sequence picks up after a few minutes. Hypnotic synths swirl around one
another. Drums finally appear past 11:00, followed a minute later by a powerful electric guitar synth sound. Warm pads fill
out the sound, completing the package. A soft subdued finish brings the disc to a fantastic finish. Peter Tedstone “Timeslip” (www.ambientlive.com, 2007) 3 tracks, 55.24 mins The first of a time trilogy (the second, Timestorm, was reviewed in EAS in September), Timeslip is an excellent
foray into Berlin school, capturing well that vintage sound. Three lengthy excursions explore synths, sequencing, and rhythms.
Each track is allowed plenty of time to build and then lock into a groove. “Part One” starts very quietly with
a few deep space sounds, whooshing cosmic winds, and various electronic noises swirling about. Choirs join in, followed by
a very good mellotron flute solo, soft and slow. An oboe synth lead takes over as just a bit of percussion and a slow, simple
bass line round things out. A great bit of retro sequencing ensures approaching the 8:00 mark, and reminds me of Berlin musical
staples such as Schmoelling-era Tangerine Dream, Keller & Schönwälder, and Minds In Motion. Drums are well done, probably
computerized but sounding a little like Harald Grosskopf, with some really good fills. Eventually everything drops out except
the echoing strains of the mellotron flute, which brings “Part One” to a close. “Part Two” is the
shortest piece but still is almost 14 minutes long. Similar elements here – male choirs, mellotron strings instead of
flute – yielding similarly positive results. Each track really draws the listener in, particularly with the hypnotic
sequencing. “Part Three” is particularly mesmerizing, take a relatively simple but classic bit of sequencing and
stretching it ably over nearly 20 minutes, with enough twists and turns through electronic realms to keep it moving. Timeslip is retro done right. All
reviews © 2008 Phil Derby / Electroambient Space. Any reprint in whole
or in part must be appropriately credited. October 2008
14 new CD reviews this month
Johan Agebjörn feat. Lisa Barra “Mossebo” (www.lotuspike.com, 2008) 11 tracks, 59.20 mins Mossebo is an ambient new age album full of lush textures and colors. “Dulciter Somni” is a mellow opener, effective at building anticipation of what may follow. Johan Agebjörn’s electronics are soft and light, and Lisa Barra’s voice on 5 of the 11 tracks adds a dreamlike ethereal quality that permeates the disc. Bright shimmering sequencing forms the backing to “The Sound of Snowflakes Touching The Ground.” In addition to Barra’s vocal, there is a male voice providing a brief narrative at a couple of points, presumably Agebjörn. The title track is a dreamy bridge to “The Sea”, which is the strongest vehicle yet for showcasing Barra. In a change of pace, “Ambient Computer Dance” is exactly what you’d expect from the name; it is melodic, bouncy and fun. “Shoreline” is a subdued piano piece with bells and other delicate synths. Agebjörn asks the listener to imagine this as the last track on Side A. “Unitas Vitae” is an appropriately livelier number to start Side B, although it still has the same softness that runs throughout. Next is the original mix of the “Snowflakes” track, with Barra’s vocals clipped into brief snippets. Agebjörn made the right choice in keeping her vocals intact for the lengthier version. “Siberian Train” is divided into two parts, and chugs right along like a locomotive; a woman even gives directions to disembarking passengers. The first part is more minimal and haunting, and the second has crisp, bright percussion to lighten things up just a bit. These are my two personal favorites on the album, although there is plenty to recommend on Mossebo. Darshan Ambient “From Pale Hands to Weary Skies” (www.lotuspike.com, 2008) 11 tracks, 56.50 mins Michael Allison aka Darshan Ambient has always had a knack for effortless-sounding ambient new age music, skillfully blending piano and synths into soft sonic tapestries. The liner notes explain that his latest release came after a period of intense inspiration following a very serious illness. “The Furniture of Time” makes an enjoyable beginning, thoroughly engaging and pleasant. A simple repeating piano phrase is draped in atmospheric synths and a catchy rhythm. The punchy little percussion, which appears again in “Slowly Toward The North,” reminds me of modern electronica like Saul Stokes, not a name I normally associate with Darshan Ambient, but it sounds good – really good. In fact, if you played “Multiplication of the Arcs” or “The Geometer of Dreams” for me sight unseen, I’d swear they were Stokes – the sense of melody, quirkiness, and rhythm, and the skillful way they play off of each other. “The Look Of Amber” and “Suffering Softens Stones” are more familiar territory, soft ethereal ambience and beautiful sparse piano. Allison has never shied away from his softer side, as on the piano pieces “Tomorrow (For Nicky)” and “I Await You,” both too good to dismiss as merely new age pap. Two of my favorites are the title track and “The Rapidity of Sleep”, both combining ambient, new age, and a touch of tribal for a very accessible yet fresh sound, not unlike Patrick O’Hearn does so well. Darshan Ambient’s best so far. Gert Emmens “A Boy’s World” (www.groove.nl, 2007) 6 tracks, 79.01 mins Gert Emmens has a distinctive take on the retro EM sound, and he continues that trend on A Boy’s World. Melodic synths, bright sequencing, and a regal flourish typify his sound, as on “School’s Out.” Lead synth lines have Emmens’ characteristic use of portamento, and there’s a cool sort of churning crashing percussion sound. Gert has always been a proponent of the long, slow-building Berlin school number, and he expands on that here, with two tracks in excess of 20 minutes, “Gaming Part 1” and “Gaming Part 2.” “Part 1” chugs right along, the pulsating sequences starting early and continuing unabated until just past 13:00, when a very spacey passage forms a bridge to another bit of sequencing to finish things off. “Part 2” is mellower but follows a similar pattern. The disc finishes with a majestic tribute to Gert’s mother, “Nothing Lasts Forever.” Emmens fans will find plenty to like here. Indra “Bhuvaneshvari” (www.indramusic.ro, 2008) 4 tracks, 74.54 mins Indra is back with four more classic journeys into deep space electronics. “One Billion Light Years” jumps in with fast-paced sequencing almost from the get-go. It seems equal parts retro and modern electronica. Changes are gradual, creating a mesmerizing effect. Think of a unique hybrid of Klaus Schulze from the 1970s and the 2000s, with a dash of espresso. Each track goes long enough to fully immerse yourself in it. After the 22-minute juggernaut opener comes 32 minutes in the form of “Tiamat.” It begins with whooshing swirling cosmic winds, then a pinging little twitter very much like Schulze’s classic “Totem.” Spacey effects flit about, echoing in the background. This one really takes its time, and is more subdued than its predecessor, remaining so throughout. This is a great mood piece, one to just let yourself go with the leisurely flow. Tinkling bell-like synths start “Alchemy of Life,” followed by gentle sequencing that sounds light and fizzy like bubbles. Though “only” ten minutes long, this one covers more ground, getting into a meatier synth solo and a chugging rhythm. I hate to overuse the Schulze analogy but it fits. What I like best about Indra is his ability to sound like KS while exploring that sound in his own way, forming music that is comfortably familiar without being derivative. Highly recommended. Evan Marc + Steve Hillage “Dreamtime Submersible” (www.somniasound.com, 2008) 7 tracks, 66.59 mins This hypnotic groovy trance-induced bit of EM comes courtesy of relative newcomer Evan Marc aka Evan Bartholomew (see this month's interview), and established British guitarist Steve Hillage. The resulting mesmerizing loops flow seamlessly as a single work, vaguely reminiscent of classic trance recording E2-E4 by Manuel Göttsching. The focus throughout is on bass, beats, and repeating sequences. “Intention Craft” is a fine example of the album’s sound, and makes a good leisurely beginning. The electronic synthetic nature of the recording is evident throughout, but in a good way, as the music is remarkably expressive given its repetitive nature. There is a very natural evolution to the music, such that track indexes, while somewhat helpful as points of reference, are more like convenient markers to return to if you are unable to take it all in at one sitting, which I would recommend if possible. “Hypnagogue” settles into a more laid back sound. The guitar seems a bit more pronounced here, although the synths and effects continue to find plenty to do. The rhythm asserts itself more as “Alpha Phase” arrives on the scene. Throughout, the music is deceptively simple yet thoroughly immersive. The synths – or a processed guitar by Hillage - growl on “Theta Phase”, giving it added bite. Themes are explored and revisited throughout, and though it all sounds rather mellow, a singular pulse runs throughout. Dreamtime Submersible is one enjoyable sonic trip. Stephen Parsick “Cryotainer: Music for Gasometers” (www.parsick.com, 2008) 8 tracks, 64.27 mins Recorded live in the Oberhausen Gasometer at a temperature of 6 ͦ Celsius, this is pure distilled coldness. The eight tracks flow into one, the deep industrial sounds playing as a singularly dark work. Stephen has been particularly drawn to the darkness since leaving his Berlin school roots behind, and this could be his deepest, bleakest sonic journey yet. At times I suppose there are shimmers of light here and there, for example some fleeting moments on “Density and Pressure.” But these are few and far between, and the emphasis is upon fully embracing the dark and the cold. If “Lightwave” were not dedicated to someone’s memory I would call the title the height of irony, as it is as dark as the rest. Some are softer, some are louder, some are drones, some gradually evolve, but all have a restless undulating pulsating quality to them. Uplifting it is not; it is undeniably intense. If you like dark ambient, Cryotainer is essential. Stephen Parsick “Fuzzstars: Music for Planetariums Vol. 2” (www.parsick.com, 2008) 8 tracks, 72 mins Stephen Parsick continues to push the boundaries of ambient music to the extreme. Strange alien sounds chirp about for the first couple minutes of “Moon Musick Phase One” before a metallic ringing drone swells up out of it. The drone rises and falls, and brighter shimmering sounds are layered over the top. As the title of the disc implies, this would indeed make excellent planetarium music. The sound gets fuller and deeper as it goes, sure to rumble the floor if you have halfway decent bass in your sound system. At times it sounds like Michael Stearns’ classic Planetary Unfolding. “Dark Matter” strips away the shimmering part, leaving the low rumblings only, very much another Parsick doombient affair, as is the title track. It is almost pure blackness set to music using synthesizers, singing bowls, field recordings, and other processed and looped sounds. The bleakness brightens a touch on “Sometimes They Call It “God””, but only by degrees as ethereal tones are set against dark cavernous echoes. There is a certain stark beauty to it. “Emptiness Is All There Is” which sounds much like Robert Rich’s organic darker works. It is all well done, though I suspect if the majority of this music were to be used in a planetarium, most of the audience would leave in fear. I also suspect this would make Stephen a bit proud. [‘ramp] “Doombient.three – Kalte Sterne” (www.doombient.com, 2008) 5 tracks, 72.14 mins Kalte Sterne is available in a limited, numbered edition of 100 copies, each in a tin can with an embossed serial number. This is the third and final installment in the doombient series of Stephen Parsick’s [‘ramp] project with Frank Makowski. Recorded live at Bochum Planetarium in 2007, it is built around the theme of the nothingness before and after the Big Bang. Though Parsick calls it the most peaceful and tranquil of the doombient albums, and I would agree with that statement, it is a restless peace, filled with the deep resonant drones and echoing reverberations that he has been known for in recent years. Still, there is a bit more structure at times to wrap your ears around, such as the Vangelis-like “Pillars of Creation”, which has a regal flourish to it. Still, tracks like “Quantum Surge” are deep and dank, like going alone in a small submersible into the Marianas Trench. We remain in the depths for “Triumph of Entropy,” interestingly the second EM track by that name that I know of (the first by Bone Idol, not the same piece of music). The disc finishes on a lighter note, comparatively speaking, with “Questions Unanswered,” moving more into traditional space music at least somewhat, though still quite on the dark side. As good as Parsick was with Berlin school, he and Makowski have fully embraced and immersed themselves in the netherworld of dark ambient.
Samarkande “3 Synapses” (www.samarkande.ca, 2008) 3 tracks, 52 mins Samarkande is Eric Fillion and Sylvain Lamirande from Canada. They specialize in daring experimental music using both electronic and acoustic sources, everything from the usual synth and sampler arsenal to African thumb piano, Indian pump organ, “a very peculiar violin,” and much more. Simply titled “Synapse” nos. 1 through 3, we launch right in to the unique soundscapes. Reviewing instrumental music in general can sometimes be daunting, but here the sounds are so alien it’s hard to know where to begin. It starts with a gently layered, slightly dissonant collage of quiet if unusual sounds. Guest Cathy Thibault provides the vocal phrase “the past is left unspoken” which loops throughout, soft at first but then forcing its way to the forefront, along with a sound not unlike an alarm clock if you were to play it as a single note on an electric guitar. Pulsing sounds pan back and forth. Just when it seems the collage will remain completely in the abstract, it settles just a bit into some sort of looping sequence that provides a bit of structure, and it’s a pretty cool sound. It grows louder and louder until it abruptly drops to silence at 11:17, except for sound waves like someone trying to tune in an old AM radio. More speaking, a man this time, possibly Adolf Hitler? At one point near the end of “Synapse No. 2” it sounds like some poor saxophone is being destroyed, followed by banging on piano keys. It is deeply challenging throughout, for fans of experimental noises. Spiraleye “The Space Between” (www.peterchalloner.co.uk, 2008) 9 tracks, 59.52 mins Spiraleye is a collaboration featuring Peter Challoner on synths and Neale Haddon on guitar. Challoner, who has graced the EAS reviews page on several occasions, hopes this will serve as a springboard to his first live performances, as well as future albums. The music takes a somewhat different direction than Challoner’s solo work, which is apparent from the beginning of “Aether.” This is quite stripped down, with more or less a single synth playing alongside Haddon’s gently strummed notes. “Highland Shadow” is next, in two parts, another soft interweaving of synths and guitar in very pleasant fashion. What I like best about The Space Between is that it sounds fresh and simple. Though quiet, I hesitate to call it ambient or new age, though I suppose that is the closest categorization. But it seems more deliberate, more intentional than most ambient. Haddon takes center stage at the start of “Optimal Distance.” I really like his approach and what he adds to Challoner’s synths. This one takes an experimental turn, at one point sounding like someone is slowing down the recording while it is playing. Then little clicking percussion dances about, guitars come back in after a brief absence, and the synths start becoming more active. It evolves quite nicely over the duration. Bright sparkling synths dot the seascape in “The Endless Ocean.” The mood remains light and bright throughout, almost playful at times, though it is clear Challoner and Haddon are serious about their craft. Each track is filled with nuance, and although it might be fine as background music I’m more inclined to listen closely to hear every detail. Stockman & Mac of BIOnighT “Solar Mission” (www.syngate.net, 2008) 11 tracks, 66.56 mins Both Stockman and Mac are known for bright, optimistic melodic EM, often with themes of ancient or future worlds, so it is not overly surprising that the two would decide to join forces, and Solar Mission is the result. It doesn’t take long for the title track to start moving right along with a steady beat and light electronics. Tangerine Dream’s pop sound of the mid-eighties, particularly their soundtrack work, is a handy reference point. Occasionally a passage may turn darker as the atmospheric sound effects take over, but it usually isn’t too long before the synth melodies and sequencing return. Whooshing winds fade right into “Space Travel”, which reminds me of Software with its easygoing accessible nature. “Closing In” features the catchiest melody yet and is likely to get your toes tapping along with its infectious rhythms. On the softer side is “Solar Orbit,” a brief ethereal number, which then launches into “Heat,” a bouncy happy tune with an insistent beat. Synths and sequencing build up nicely at the end. Fuzzed out sounds start “Sun Flares” before moving back into light, bright melodic electronics. Given Stockman and Mac’s musical leanings it’s no surprise that there is little to be melancholy about here. “Probe One” is a chilled exception, all atmosphere and space twitters. But the stuttering pulses of “Data Stream” bring the energy right back. Solar Mission is the ticket for easygoing accessible EM fun. Saul Stokes “Villa Galaxia” (www.hypnos.com, 2008) 8 tracks, 55.45 mins Saul Stokes makes a welcome return to Hypnos on their Binary sublabel with Villa Galaxia. First, mention must be made of the exceptional cover art, simple but effective in its use of colors, shapes, lines, and texture. Come to think of it, that’s exactly what Stokes is able to do with sound. He shapes and colors it to his liking, creating tracks like concise complex sonic puzzles. “Hello Radar” is irresistibly catchy, from the electronic sounds to the complex rhythms to the hints of static and distortion that give it just the right edge to avoid being just a bit too cute. If there were musical justice in the world, either this or “Vapor Trails” would be a hit single, it they have all the makings of one except that the public at large seems unable to handle instrumentals. The shuffling bass and beat of the latter number are very cool. “Blaze” takes me back to older Stokes classics like “First Jump” on Zo Pilots with its quirky beat and hip synthesizer sensibility. Trademark punchy percussion gets “Night Painting” started, and it builds from there. The most fun, both in name and in sound, is the playful “Eta Car is a Massive Star,” although it makes an abrupt surprising turn midway through. The emphasis throughout Villa Galaxia is on bright tones and colors, carefully put together into neat little packages. No need to put a calling card on each one indicating who they are from; they are thoroughly, unabashedly Stokes. Various Artists “Message from a Subatomic World” (www.hypnos.com, 2008) 10 tracks, 72.30 mins Message from a Subatomic World excels at doing what Hypnos does best with their compilations – introducing listeners to a variety of new and established artists in a cohesive album. Austere’s “Crystil” is first, and it is a cool ten minute journey into a variety of ambient sounds. At first the music is almost imperceptibly quiet, but soon the soft drones are joined by beautiful wordless vocals that border on operatic in feel. Piano adds to the regal nature that briefly takes over before becoming soft drifting ambience again. Barely intelligible male vocals come later in forceful whispers. Evan Bartholomew’s “Sacrosanct” is next, and it does have a touch of the sacred about it – ambient church music perhaps. Bleeps and blips in “Distant Radiance” by Relapxych.0 are juxtaposed against glassy smoothness. Hypnos artist Numina follows with “Nadir Ever Spirals,” which swirls about in equal parts lightness and darkness. The entire disc, and this track in particular, has a very relaxed meditative quality. Jason Sloan paints a sonic picture of dark restlessness in “faded.forgotten[trace].” It is eerie and beautiful at the same time, whereas Phaenon’s “Quantum Silence” dives down into the depths. Ironically, Stephen Philips “Down Deep” brings us out of the darkness with a comparatively light airy floater. Pure drones fans have to check out Eric Kesner, aka True Colour of Blood. His “Choosing To Remain Blind” is composed entirely on guitar, though its warm ambient tones scarcely resemble one. Svartsinn creates a review for me with the perfectly titled “Cold But Strong.” The disc closes with one of the best known names in ambient music, Italy’s Oöphoi. Also aptly named, “Icelight” could have formed a bookend with Svartsinn called “Cold But Bright” instead. With not a bad track to be found, this is an essential addition to any true ambient fan’s music collection. Various Artists “Perceived Distances” (www.dataobscura.com, 2008) 15 tracks, 78.08 mins The singular sound of DataObscura, now called Blue Oasis, is on display in this varied yet cohesive collection by 15 artists, mostly familiar names to fans of this ambient electronica label, plus a few new surprises. First is a collaboration by The Circular Ruins and Off The Sky, and the glitchy quirky sound is what you’d expect from these two. Jazzy keyboards and bits of static mesh with other sonic textures, elusive and yet accessible. The ever-inventive Saul Stokes presents “Camera Clicks,” a surprising piece with a fast-moving undercurrent and the usual assortment of uniquely Stokes sounds. “princeFive” is a cool composition by newcomer P Is For Prue that fits right in with the album’s vibe. A pulsating sequence forms the basis for the track, along with what could be guitar or synths carrying the main theme. Beta Two Agonist nicely pairs piano chords with little electronic tidbits on “Seele.” This quiet unassuming piece is one of my favorites. I could go on at length about the remaining high points, such as the crisp sonic art of Off The Sky’s “Early Morning Sunset,” the experimental white noise and abstract sounds of Entia Non’s “Seeing Light,” the mellow moody “Nobody Knows” by The Circular Ruins, the deep dark drones of False Mirror’s “Nebelhorn Mountain,” and much more. Suffice to say, Perceived Distances is another fine collection of modern ambient electronica from DataObscura. All reviews © 2008 Phil Derby / Electroambient Space. Any reprint in whole or in part must be appropriately credited.
September 2008
17 new CD reviews this month, a mix of new and old. At-Mooss “Cyclotron” (www.at-mooss.com, 2002) 6 tracks, 64.05 mins Cyclotron looks and sounds like a sleek, futuristic machine. It begins with “Lagrange 5,” featuring deep pulses and punchy electronic percussion. Metallic synths float in, shimmering brightly. I really like the shuffling, synthetic groove of this one. The title track is a 31-minute monster, again with a pulsating undercurrent like machinery, with a slightly ominous tone. Melancholy synth strings are juxtaposed incongruously with a dance beat, which eventually takes over. Really cool synth sounds move in as we pass the 12:00 mark, and the rhythm steadies out. A couple minutes later, it moves into a purer Teutonic sound, great transitions here. As if we haven’t covered enough ground, it switches to near silence only a minute or two after that. Keep up with the changes if you can. “Venus” is a comfortable groover with a gentle rhythm. “Red” is the most mechanical yet, like someone banging on something. It is almost all synth drums and percussion, very few overtly electronic sounds. “3 K” takes a darker turn in cool fashion, minimal except for the ongoing churning pulsations that rarely go away for long. “Robot XXI” finishes the disc on a light melodic note. At-Mooss “The Arrow of Time” (www.at-mooss.com, 2004) 5 tracks, 68.37 mins The Arrow of Time is a unique blend of EM styles, a bit hard to describe. A prime example is the 33-minute epic “Cyclotron II,” which weaves its way along techno/dance realms, deep atmospheric space journeys, and classic Berlin school motifs. Sometimes I like it a lot, other times not as much, but I do like that the music is not merely a knockoff of those gone before, and that it keeps me on my toes, uh, I mean ears. It is precisely this mishmash of ideas that had me sitting this one on the backburner for so long before reviewing it. “Neocortex” is like 1990s Klaus Schulze on steroids, that orchestral style but with rapid-fire electronic percussion. “Indigo” has a similar breakneck pace, threatening to spiral out of control at times, although the reins do seem to get pulled in before flying too far afield. This flows right into “Axon”, very much a continuation or second part to “indigo,” with a somewhat lighter touch on the intensity if not the pacing, except for a nice spacey ending, with some cool pseudo-tribal drumming for a final flourish. “Go2” is a relaxed number to finish. Recommended. Patrick Balthrop “Autopoetic” (Microbeat Music, 2007) 11 tracks, 36.57 mins Autopoetic has some really cool sounds, along the lines of glitchy modern electronic that I like so well on the Databloem and DataObscura labels. When it works, like on the cool shuffling beats and warbling synth lines of “Shout along the Highways,” it’s great. “Inside of Me” starts just as well, but then Balthrop sings. His mellow vocal style does meld somewhat into the background, but the music would work better as a standalone. “Throwaways” is more effective in this regard, the vocals truly disappearing into the synth textures as part of the music. Glitchy elements add extra crispness and punch throughout, particularly on the electronic percussion in “Tearing the Seams” and on the static edges of “The Silo.” For every couple of hits there’s a miss, like the annoying stop-start tendencies on “The Night Rose,” which literally sounds like someone hitting the pause button every few seconds and messing with the tape. On a longer album a few missteps like this would be forgivable, but on an album that runs barely over half an hour, it leaves the listener wanting. Autopoetic shows great potential, almost but not quite fulfilled. Beta Two Agonist “Autumn Perdue” (www.databloem.com, 2008) 8 tracks, 52.53 mins Ian Lizandra is back with his sophomore solo release Autumn Perdue. I was excited by his fresh sound on Zero Point Field, and the new album continues along the same path of adventurous exploration into minimal glitchy electronica. “Kamunyak” sounds like Patrick O’Hearn with its sparse piano and organic sound, albeit with a touch of grit in the form of buzzes and static. Unusual bell-like tones also emanate from the synthetic mist. “Klausner” is a bit sparser but with similar elements – a little white noise here, a little pulsing drum ‘n bass there, just enough to hold it together and yet keep the interest level high. On the one hand, these seem like the barest of compositions, but on another level they seem intricately planned and detailed. “Mono-No-Aware” has a little clicking almost like a skip on a CD, but it pans back and forth just so. Each track is its own little vignette, a part of the whole and yet wholly distinct. For example, I love the repeating glissando piano phrasing in “Blackbird Playground.” Every track seems to have a signature sound such as this one, justifying its inclusion in the overall scheme. Deftly planned and executed, Autumn Perdue is excellent. Gert Blokzijl “From Marum to Clackmas” (Self released, 2008) 7 tracks, 60.58 mins In reviewing the excellent Groove Unlimited compilation Analogy Volume 3, I mentioned that I’d like to hear a whole album by Dutch musician Gert Blokzijl because I enjoyed his “Monopology” track so much. In response, Gert sent me his album From Marum to Clackmas, and I am pleased to report it is as good as I would have expected. Starting with random cool electronic gurgles and twitters and such, “Monopology 1” eventually settles down as it speeds up, firing on all cylinders with rapid-fire percussion and sequencing. This will really get you moving. “Monopology 2” is more spacey like vintage Klaus Schulze, very nicely done. Here the sequencing forms a firm foundation, but the synth leads really add to it. “Monopology 3” is the track featured on the Groove compilation, and it fits right in with the rest, reminding me of some of the best Free System Projekt offerings – must be something in the Dutch water! Sequencer fanatics barely get room to breathe as “Monopology 5” (there is no “4”) keeps up the brisk tempo. This is not only Berlin school, it’s my favorite sound within that subgenre of EM, pumping up the pace and just letting it roll. Next is “Bouwte”, a 20-minute epic that starts with dark ominous synths, but the sequencing arrives soon enough, more moderate this time, and continues onward for most of the duration, except for some cool space drifting for the last few minutes. Even when the mood is a little darker, as on “Sometimes,” the music is exciting and invigorating. This is one of my favorite new EM artists to come around in some time. J.M. Ciria “Ylem” (www.at-mooss.com, 2003) 10 tracks, 58.44 mins The At-Mooss label from Barcelona covers a range of electronic music styles with a flair for emotionally charged compositions that seem suitable for soundtrack music. Case in point is J.M. Ciria’s Ylem which features 10 pop-length tunes that blur the lines between electronic, new age, dance, and jazz. Tunes such as “Wolf 359” with its happy beat will get your toes to tapping for sure. The quirky sounds and pacing at the start of “Fractal” seem like the music will take a more experimental bent, but it too settles down into a regular rhythm and a pleasant melody. “Solaris” seems like something Klaus Schulze might come up with on a dare, or just in a slightly different mood. Think Inter*Face but with updated technology and sounds. Ylem is different than what I’m accustomed to, but there is an appealing sense of fun and playfulness about it. Jason Corder & Beta Two Agonist “Further to Find Closer” (www.databloem.com, 2008) 9 tracks, 49.57 mins Two masters of glitchy ambient electronica join forces on this release. A single bell tone starts things off, then various electronic touches float and twitter by. “Further, Undo” is the trademark Databloem sound, bottled and distilled into less than 3:00. The label always seems to hit the mark in a unique sonic space too busy for ambient but way too mellow for techno or typical electronica. The sound gets slightly fuzzy and distorted as it moves into “Amber Somber Scene,” but despite the dissonant tones there is warmth and a relaxed feel. This one reminds me somewhat of Saul Stokes’ Abstraction CD, a personal favorite. “Neige” softens the rough edges a bit, meandering nicely through sparse piano and other found sounds - the instrumentation is varied so it’s hard to pin down what creates the lush yet edgy sonic textures throughout. The duo describes the end product as “musical fragments…fused and blended into a morphing cloud of texture.” Man, I wish I had written that. Cool stuff. E=motion “E-ternity” (www.underwatermusic.of.pl, 2008) 7 tracks, 54.10 mins E=motion is Jacek Spruch from Poland, and he specializes in upbeat melodic sequencer-based music of the kind that Tangerine Dream used to make in the mid 1980s. “Reunion” starts in typically bright fashion, with moderate pacing, carried along on gentle steady rhythms and synth soloing. It flows effortlessly into the chugging beat of “Blue Road”, which finds a pleasant middle ground and stays with it for the duration. E-ternity is dedicated to the memory of Jacek’s mother, and “Mother” is the next track. A beautiful crystalline sequence, like some of the best vintage Klaus Schulze, appears in short order, followed by a light acoustic guitar synth patch. Other electronics are smoothly laid over the top for another pleasing arrangement. “Anxiety” is brisk and bouncy, though fortunately not at all panic inducing. Words like “enjoyable” and “agreeable” are apt descriptions for the music throughout. Though the album does not have distinct highs and lows it is quite easy on the ears and would be particularly suitable for a sunny weekend afternoon drive. Recommended. Gert Emmens “The Nearest Faraway Place Volume 1” (www.groove.nl, 2008) 7 tracks, 70.52 mins A cool picture of the Gasometer in Oberheim, Germany graces the cover of this Gert Emmens’ album, which was composed for a concert there. “Part 1” begins as moody space music. After a couple of minutes bright tinkling sequencing arrives, followed shortly by Emmens’ trademark warm pads and a nice shuffling beat. It moves at a relaxed pace throughout, fading back into atmospheric shadows for the last couple of minutes. If you prefer more traditional Berlin school sequencing, Emmens style, head straight to “Part 2.” This concert included guest musician Jan Dieterich on electric guitar, and he adds just the right extra touch here. Sequencing is strong throughout, as evidenced on “Part 4”, which slips into a very cool leisurely groove. The disc gets stronger as it goes, my favorite being “Part 6,” with a really cool bubbly pulsating undercurrent that propels this one along. “Part 7” is just a touch bittersweet, making for a fitting epilogue. Joseph Loibant “C1E2C5” (www.at-mooss.com, 2003) 11 tracks, 64.05 mins Hmm, a sweeping majestic electronic music soundtrack with lots of big drums and an orchestral feel? Would you guess Vangelis? You might be tempted to after listening to C1E2C5, Joseph Loibant’s soundtrack to a Spanish film. This 11-part suite fits together quite well, and definitely has a cinematic feel throughout. Soft, crystalline sequencing is featured on the bright, shimmering “Part 04.” The synth gets a bit silly here, perhaps following another Vangelis trademark of going just a little over the top at times. But for the most part the music is entertaining and fun. In fact, “Part 05” may make you think more of Tangerine Dream’s soundtrack work than Vangelis with its bouncy melody and pacing. I wonder if Mark Dwane may be an influence as well. Some tracks are lighter, some darker, some happy, some sad, all competently put together. Lothus “Desert of Frequencies” (www.at-mooss.com, 2003) 11 tracks, 64.05 mins The most experimental of the At-Mooss label CDs I’ve heard, there are lots of abstract bleeps and bloops to this one. It’s a rather tuneless, very synthetic affair, focused on higher end, thinner sounds. Melody and rhythm are largely absent, and sounds seemed layered in an intentionally dissonant, even abrasive fashion. If you like Japanese noise or similar subgenres you might like this, but be warned it is for the adventurous only. Nattefrost “Transformation” (www.groove.nl, 2008) 10 tracks, 55.58 mins Bjorn Jeppesen is back with Transformation, a new set of upbeat melodic EM tunes. “Decadence” starts right off with an immediately infectious groove, full of fun synth sounds and a steady beat that pushes it along. What a great way to start. “A Path Less Followed” is equally enjoyable, starting nice and easy. This and many other tracks on Transformation have a very Jarre-like flavor, in this case due to warm synth pads that rise and fall just so in the background. Various synths chirp and twitter along its path. “Perfectly Connected” launches out of the gate with contagious energy, again filled out nicely with pads. Guitars courtesy of guest musician Phil Molto add just the right extra touch. “Fields of Infinity” brings Jean-Michel to mind once more, with its bouncy rhythm and the light melodic touch on the synth solos. The title track is another upbeat affair, with a slightly more relaxed feel. It ends with what must be a tribute to JMJ, sounding just like the train rushing down the tracks at the end of “Part 4” of Magnetic Fields. And though “The Contact” doesn’t have such an obvious Jarre reference, it certainly sounds like one he could have made. However, Transformation is not merely a knock-off or repeat of what has gone before; rather, it is an excellent homage to this sound and style, in fresh new arrangements done exceptionally well. Craig Padilla & Skip Murphy “Analog Destination” (www.groove.nl, 2008) 4 tracks, 76.33 mins Long-time American synthesists Craig Padilla and Skip Murphy feature a gear list on Analog Destination to make most any EM fan drool. The end result is four deep space explorations of pulsating swirling sequences, loaded with mood-altering and mind-altering music. The 18-minute title track moves along at a leisurely pace, building ever so gradually into a wall of sound. “Stellar Nursery” is the 28-minute centerpiece, starting with tinkling echoes that evoke images of far-flung galaxies. While it sort of reminds me of Klaus Schulze from 1976 or so, it doesn’t sound like any of his albums from that time. Just as it seems this one will stay purely atmospheric, sequencing does come in just past the 7:00 mark, and a steady drum beat a couple minutes after that. It then locks into a moderate groove for most of the remainder before ending back in the deep realms of outer space. “Live Illusions” is a live version of a track from Phantasm, a mostly mellow shimmering piece that ends with a fast synth solo. “Quantum Swirl” is light and airy, with a softly meandering bass line that gradually builds into a low sequence not unlike something Redshift would do as a warbling synth solo takes over briefly before finishing with cool floating space music. Recommended. Note: If you want to check out some previews of the music before you buy, or just watch these guys playing live in their home studio, check out Craig and Skip’s videos on YouTube. There are several videos, including this one. Steve Roach “Empetus” (www.projekt.com, 2008) 2 CDs, 44.51 + 71.44 mins As Steve Roach has continued to look to the future he has also been re-exploring his musical past. Case in point is his exciting new 2-CD special edition reissue of Empetus. Though Steve’s sound has evolved considerably over time, the mesmerizing fast-paced sequencing on “Arrival”, “Empowerment” and others sounds as fresh and invigorating today as it did then. Softer pieces like “Twilight Heat” and “The Memory” also retain their original warmth and charm. But of course the real treat here for long time fans is disc two, starting with the 45-minute epic “Harmonia Mundi” recorded in 1982-83 with Thomas Ronkin. The sequencing moves along briskly if not at a full-out breakneck pace like Stormwarning. The edges are just a bit softer than that, creating an enhanced hypnotic effect. The piece evolves quite gradually, gently and judiciously folding in additional layers as it goes, sometimes fading out old sonic elements as new ones form. This is music to completely immerse and lose yourself in. “Release” skips any atmospheric intro and goes right for the cool Berlin school sequencing. Klaus Schulze’s influence back then is readily apparent, yet it still has Steve’s musical signature on it. Though both bonus tracks have a hypnotic pulse that run throughout, the changes on “Release” are more pronounced from one minute to the next. In particular, an impressive synth solo in the middle really brings the energy to an already lively number. I cannot emphasize enough how good these are, not merely some dusted-off castoff relics. It would have been a shame if these had never seen the light of day. Peter Tedstone “Timestorm” (www.ambientlive.com, 2007) 5 tracks, 69.31 mins Whooshing space wind and mellotron flute at the start of “Twilight” give a strong indication of what is to follow for the duration of Timestorm from UK synthesist Peter Tedstone. After this brief intro come four lengthy excursions into the classic Berlin school sound. “Monoceros” develops nicely, with male choirs, a bit of atmosphere, then a great vintage sequence followed by a perfectly understated retro synth lead. The Tangerine Dream influence circa 1980 is unmistakable. There is a certain similarity to another TD-related classic as well, Michael Hoenig’s Departure from the Northern Wasteland. “Oscillator” begins in similar fashion with male choirs and a smattering of space sounds. This one is content to explore the darker minimal side for a while, before slowly chugging sequencing arrives. Mellotron strings get into the act this time, a simple yet effective three-note phrase that steps up and down a key. As it evolves, the sequencing gets more hypnotic, reminding me a lot of early Radio Massacre International. Drums are then added to round things out. This is a 14-minute gem of all that is good about retro EM. As if this weren’t enough, we’re just getting to the really good stuff, two more tracks in excess of 20 minutes each. Piano is used effectively in “Emulating” to go along with the synths and sequences, before ending abruptly in time for the equally strong title track. Teutonic fans should buy without hesitation. vidnaObmana “The River of Appearance” (www.projekt.com, 2006) 2 CDs, 8 + 8 tracks, 58.58 + 55.14 mins For the 10th anniversary of vidnaObmana’s ambient new age classic The River of Appearance, Projekt put together a special package which includes the 1996 original and a 2001 re-creation by Dreams in Exile. These two recordings are analogous to the two versions of Music for Airports, by Brian Eno and then by Bang on a Can. In each case the original was created with significantly different instrumentation, such that the new versions can be appreciated on their own merits. For example, the opening track, “The Angelic Appearance,” is virtually silent on vidnaObmana’s version for the opening 30 seconds or so as it slowly approaches. The Dreams in Exile version, on the other hand, starts with chirping night sounds, dripping water, and a gently plucked mandolin taking the melody that is handled by piano on the original. They are definitely the same song but definitely different. The first has a shimmering, surreal feel, while the second is more acoustic and down to earth. In fact, that is pretty much the case throughout. For example, “Night-blooming” is a serene, fairly minimal ambient piece on disc one, but disc two features fuzzed out electric guitar sounds and strummed acoustic guitar as well, not to mention trumpet and children’s vocals. Purist fans of the original may find such divergences a bit jarring; still, you get two viable musical interpretations for the price of one, and it's hard to argue with that. Zilverhill “+ Eotvos +” (www.adeptsound.net, 2008) 9 tracks, 69.42 mins This beautifully packaged limited edition CD is the debut release on the fledgling Adeptsound label. It is a fascinating if somewhat uneven sonic exploration into all things noisy and ambient. Its dichotomous nature is immediately felt upon transition from the minimal piece “Veris” to the dissonance of “Aiken.” “Veris” is as beautiful as it is stark and cold, sure to please discriminating fans of minimalist works by artists such as Mathias Grassow and Klaus Wiese, with perhaps just a slightly more industrial edge to it, with indiscernible vocal samples or the like. “Aiken”, on the other hand, is a two-word conversation ad nauseum, static, and other scratchy and obnoxious sounds. “Proven” has a cool sound like a door slamming underwater, repeating in a pulsing pattern, but it is a bit unrelenting even as deep metallic drones surround it nicely. “Self Murderers” continues this deep trek into sounds at the microscopic level, twisting and bending the waves in unique ways, though it truly stretches the definition of what is music. Fans of more haunting works by Robert Rich or Lustmord may find “Ominous” to their liking with dark atmospherics, sparse piano, and an odd female monologue. “Motus” continues the emphasis on sounds with a raw, aggressive edge, though still ambient. The mechanical sounds are interesting, and vocals again hang in the background mysteriously. “Memory of Water” is aptly named, seeming to swirl about darkly. “Hiding” is another intense cacophony like “Aiken.” “Saarinen” provides a lengthy, comparatively soothing tonic to come down from this intense exploratory surgery of sound. Recommended for the truly adventurous. All reviews © 2008 Phil Derby / Electroambient
Space. Any reprint in whole or in part must be appropriately credited. August 2008 reviews
13 new CD reviews this month, from minimal ambient to Berlin school sequencer frenzies... Austere “Pulse” (www.hypnos.com, 2007) 1 track, 52.59 mins From the Hypnos Secret Sounds CDR sublabel comes an austere work by Austere, the wondrous 53-minute tone poem aptly titled Pulse. A low drone rumbles in and fades out. It sounds a little like Tom Heasley’s ambient tuba on a previous Hypnos release, Where The Earth Meets The Sky. This is the sort of pure drone music that you either get or you don’t; if you do, you will think it is fantastic; if you don’t, you’ll be bored to tears or simply scratch your head bemusedly. On the face of it, this is one of the most static pieces of music you are likely to hear. On closer inspection, certain repeating patterns and minimal changes occur throughout. Sometimes the drone is a bit thicker, with more rumbling; sometimes it is a bit softer and smoother. Sometimes it swells and slacks; sometimes it seems to hold steady, or perhaps it is never exactly the same; one can never be sure. Some changes may be merely imagined as the listener anticipates the music evolving in a way that it never quite does. For those who love the drone, this is it; get lost in it and enjoy it. I know I will. Robert Rich & Ian Boddy “React” (www.DiN.org.uk, 2008) 11 tracks, 63.55 mins Recorded live at Star’s End 30th Anniversary Celebration Concert, React captures two of electronic music’s most enduring and creative artists, Ian Boddy and Robert Rich. This eclectic blending of talents continues to push the sonic envelope, blurring the lines between dark ambient and Berlin school, or perhaps melting those boundaries away entirely. “Depth Charge” is a dark brooding piece, which then segues smoothly into a live version of “Ice Fields” from their Outpost album. The percussion is crisp, the bass is punchy, the lap guitar mournful. As usual when these two combine forces, it is aggressive, bold stuff. “Sojourn” forms a calm, reflective bridge to “AxD”, which builds off of a bubbly little sequence with cool sounds panning back and forth. It gets very sci-fi sounding in the middle, then goes unexpectedly dark and downright haunting. It’s a perfect microcosm of this unlikely EM duo and how their strengths both diverge and intersect. After “Veiled”, a quirky experimental slice of ambience, “Slow Hand” is edgy, forceful electronica with haunting wails of sound. The disc continues to alternate between darker formless textures and more rhythmic structured passages. One thing is for sure; Rich and Boddy have carved out a readily identifiable, unique niche in the EM world. Peter Challoner “Lunar Tide” (www.peterchalloner.co.uk, 2008) 1 track, 60.48 mins Peter Challoner explains that Lunar Tide resulted from taking source material that in no way resembled ambient music; he radically altered it into its current soothing relaxing state. I would be very interested to hear the original recording, as he gives no other hint as to its origin. Was it loud rock-n-roll, a waterfall, his vacuum cleaner…who knows? Regardless of the method, I cannot argue with the thoroughly pleasant outcome. There is a bright, shimmering quality throughout, as it floats by like velvet. Though there are subtle shifts throughout, it is a minimal work without definite highs and lows. Listening to Lunar Tide while driving or operating heavy machinery would definitely be contraindicated. On the other hand, it is absolutely perfect for quiet reflection or meditation. Highly recommended. Disturbed Earth “Dreamswept” (www.store.atmoworks.com, 2007) 4 tracks, 60.57 mins AtmoWorks has discovered a whole slew of new talent recently, seemingly all of them good. Case in point is the man who calls himself Disturbed Earth. Fans of calm reflective ambient music from artists like James Johnson, Harold Budd and Brian Eno should find this very much to their liking, especially if you don’t mind venturing toward the dark side. The 30-minute title track is a beautiful piece of melancholia, though not without moments of shimmering light as well. “Interruptions” is a resonant drone piece, like floating into deep space on a distant solitary mission. Two brief pieces close out the disc, “Rockbird” with its low rumbling drones and “Trace” with an undulating, pulsating quality. Recommended. Fanger & Kersten “Elektrik Massage” (www.ricochetdream.com, 2008) 4 tracks, 78.14 mins This previously unreleased material from Fanger & Kersten, aka Mind~Flux, is a collection of studio and live recordings from 2000-2002. Normally the duo tends to likes their beats dance-floor ready, but this disc finds them mostly in a dream-like state of mind, in particular on the soft swirling synths of “Salt Tank.” This exceptionally pleasant music was recorded at the famous Toskana Therme, no doubt perfect accompaniment for those relaxing in its underwater spa. Piano and warm synths and little electronic blips make this a welcome introduction to the disc. “Gentle Waves” is eerily similar to the Manuel Gottsching classic “E2-E4,” exceptionally well done. If you prefer the hypnotic beats F & K are known for, check out “Night Cruisers.” The lead synth line again has an Ashra-like feel, a good place for inspiration in my book, although this definitely has the signature Fanger & Kersten sound as well. The pièce de résistance is the epic “Moon Roads”, clocking in at nearly 39 minutes. Starting as pure space music, it wafts gently over the listener for the first quarter, before a chugging bass pulse comes in. It locks into this moderately paced tempo for several more minutes, ever-so-gradually building the energy while keeping a hypnotic groove going. As it approaches the 30-minute mark the music is in full stride, completely entrancing. And yet they keep finding ways to keep the momentum going without going over the top. I’m not sure why this music was kept under wraps for so long, but I’m very thankful that Ricochet Dream saw fit to release this tasty Teutonic treat. Peter James “Holding On – Letting Go” (www.store.atmoworks.com, 2007) 13 tracks, 67.27 mins Peter James is part of a plethora of relatively new AtmoWorks artists on the soft ambient side. Holding On – Letting Go starts with the light and airy “Aurora.” It is gentle but not too delicate or sweet. If you prefer colder sounds then go to the next track,“In the Face of Loss.” James’ compositions seem more intentional than most ambient despite the lack of discernible melody or beats. He strikes a really nice balance between light and dark, between experimental and accessible. “Still”, for example, centers around a soft wall of white noise, but it ebbs and flows in relaxed fashion, softening the edges just so. Other tracks, like “Crossing Through,” are more adventurous even as they remain firmly in the ambient realm. “The Gate” makes me wish for liner notes from this download-only release, though I doubt it would explain exactly the source of the cool metallic bowl-like sound. “Into the Invisible” has a similar quality, moving deeper into minimal ambient territory. Adrift” is the lightest number, with a bit of acoustic guitar – or synth equivalent – draped gently over the top of the sonic textures. But most of the remainder goes back to dark metallic sounds, including the two title tracks. “Flight of Tears” brings the disc in for soft, slightly sad ending. Holding On – Letting Go makes a strong first impression for Peter James. Peter James vs Disturbed Earth “Remains” (www.store.atmoworks.com, 2007) 5 tracks, 43.17 mins “Autumnal Nights” starts out Remains with deeply resonating tones with distinctly metallic timbres. Melody and rhythm are conspicuously absent on this minimal ambient album. “Where Roses Bloom” features darker swirling sounds with a more haunting quality. Earlier tracks explore darker ambient niches, but the mood brightens and warms considerably on later tracks such as “Clouds Collide” and “In The Light,” which sound like two parts of a whole. Each track takes a key sound or mood and holds it there, as if to examine and appreciate it before moving on to the next. The emphasis is on floating, expansiveness, and breathing deeply in and exhaling fully out. No one track stands out, but rather each plays its part as one piece of a calming, relaxing whole. Radio Massacre International “Fast Forward” (www.radiomassacreinternational.com, 2008) 5 tracks, 78.27 mins RMI has never been a band to do things conventionally, and that includes their approach to a compilation album. This set is a unique perspective on RMI’s extensive back catalog, featuring excerpts from 30 albums recorded over the past 15 years. Each of the five tracks is a collage, a patchwork quilt of various recordings in a new mix, in no particular order, the selection process being “quick and intuition driven” according to the band. Those familiar with the earlier releases will easily recognize the transition points, such as when Been There Done That crossfades into Borrowed Atoms at the 2:50 mark of “Tranche 1”, and again at 5:30 when it segues into Planets In The Wires. Oftentimes a moody atmospheric piece will launch right into a sequencer frenzy, and back again, so even casual listeners can spot the changeovers. As such, there is a restlessness to the disc at times, particularly for a band who relies on slowly developing improvisational pieces for the most part. On the other hand, sometimes the formula creates a unique new take on things, as on “Tranche 4,” which builds very nicely as it progresses from Organ Harvest through Lost In Space and then really cooks on Septentrional. Rock bits from Rain Falls In Grey and Greenhousing do rather stand out, particularly the latter as it sits alongside Startide, arguably their most ambient album. But in the end, Fast Forward succeeds in its goal of giving the uninitiated an excellent introduction to the world of RMI. And for the faithful, it’s a good reminder of why we like them so much. Radio Massacre International “Rain Falls in a Different Way” (www.radiomassacreinternational.com, 2008) 8 tracks, 77.29 mins A self-described companion set to Rain Falls In Grey, these are the pieces that didn’t make the final cut for that album. It is a very similar animal, right down to the guest musicians. The title track forcefully announces as much, with cool guitar licks and very solid drumming, totally in rock mode without a trace of the usual synthesizer experimentation. For that, look no further than “Pluto,” a shrill cold piece that is purely synthetic in origin. If it were anything but a short bridging piece it would be downright annoying, but it works for its 1:30 running time, serving as an odd sort of respite before launching headlong into “Silicon Psychosis,” another rocker. Guitars form a wall of sound, again with a strong rhythmic accompaniment on the kit. Synths do get into the action this time, though they must compete for sonic supremacy in the ensuing cacophony, and in the end they are relegated to the background, an extra bit here and there to augment the volume. Various takes on space rock and space music round out the disc, from the deep space sounds of “The Emissary” to the slow, majestic tones of “Chainless & Beauty Black” to the mellow space rock of “Yeager.” Make no mistake, this is a disc to be played loud, not space music for late-night listening, unless it’s for a party with your ultra-cool friends. In essence, the twin Rain Falls CDs are two sides of the same coin. If you like one you should like the other. Radio Massacre International “Philadelphia Air-Shot” (www.radiomassacreinternational.com, 2008) 1 track, 58.39 mins Easily my favorite of the three latest RMI releases, Philadelphia Air-Shot provides a glimpse into what this trio can do when given an hour and no particular musical agenda. After a shot rings out to start, a skittering little sequence forms the backbone of the piece. In the original version of “Bettr’r Day-s,” which was the initial inspiration for Philadelphia Air-Shot, this sequence appears near the end, in the background. Here it is an omnipresent force lending just a bit more energy, taking an already excellent RMI track into the realm of the brilliant. When this sequence is allowed to play nearly solo with other electronics heading into the seventh minute, it is mesmerizing. From there it gradually builds layers of sound just so, pulsing bass tones here, dashes of percussion there, and Houghton’s excellent guitar work sprinkled in at seemingly the exact right moments throughout. The set moves deftly from space rock to Berlin school to spacey experimental electronics with ease. It’s all good, but a particularly strong passage occurs just past the half-hour point, as Gary’s guitar wails like whale song in a dreamy, delicate section that goes on for several wonderful minutes. For the remainder the guys seemingly explore every nuance and niche of atmospheric electronic music until birdlike twitters fade out at the end. Fantastic. Rigel Orionis “Night Heat” (www.hypnos.com, 2007) 4 tracks, 79.25 mins Rigel Orionis is longtime music reviewer Jim Brenholts, one of those genuinely nice guys who find something to appreciate in most others’ music. I am pleased to say that Jim’s music has much to recommend it as well. “The Damp Desert” is a cool collage of sounds, combining organic and synthetic sounding textures into a unique mélange. “Arctic Sunstroke” swirls psychedelically at the start, and then gets even trippier as strange occasional snippets of vocals bounce about in the ambient darkness. It is a churning, restless piece, alternating dark sparse passages with more abstract experimental ones. At times the twisted vocal snippets seem a bit too intrusive, but they do come and go, allowing a respite. Though the 26-minute running time could’ve probably been cut in half, it makes for an interesting listen. Next is the tribal sounding “Drastic Eventuality,” bringing to mind Steve Roach and Robert Rich. However, Brenholts does a nice job of keeping a certain signature quirkiness running throughout the album. Another long track at 22 minutes, again there may be a question whether it could have been halved, but it works well enough as music to get lost in for a time. “Centrifugal” is the closing number, featuring a sinister deep echo that swirls about, accompanied by shakers or something along those lines. After several minutes a sound like a solar wind rides over the top, replacing the swirling echoes. Eventually it devolves into a low rumble for a long time, ever-so-gradually increasing in pitch as it goes. It builds to a climax of sorts, though each track tends to find a comfortable space and stay there. Night Heat is fascinating in its ability to be experimental yet eminently listenable. René van der Wouden “Universal Quiet” (www.renevanderwouden.net, 2008) 5 tracks, 58.46 mins Universal Quiet features five lengthy tracks firmly rooted in the Berlin school style. Though the titles and cover art suggest soft, possibly even acoustic music, the album explore purely synthetic realms. “In Silence” starts as a nice floater before a bass sequence gets going, joined by male choirs, then a few more synths, and eventually a simple steady beat. Sounds are layered in just right as it goes, quite nice, a strong way to start. “Pin Drop” has a darker moodier sound to start, including what sounds like banging on sheet metal, which is actually cooler than you might think. The longest piece at nearly 18 minutes, it takes quite some time before the first sequencing arrives, a low brisk bass tone that almost growls before settling into more typical Teutonics. A light playful synth solo makes a good counterpoint to the low bass. Warm pads round things out, and van der Wouden rides this cool groove through to the end. Wind-like synths and mellotron flutes introduce “Be Quiet” which is indeed quiet and serene throughout, although soft beats and yet more sequencing keep it moving. This could pass for a Mind Over Matter track. “Go Quiet” seems to be a command rather than a description, as the music is fast paced from the get-go. “Get Quieter” is the final piece, bringing more good synths and sequencing to bear. Berlin school enthusiasts should enjoy this from beginning to end – I know I did. VoLt “HjVi” (www.groove.nl, 2008) 4 tracks, 76.29 mins HjVi stands for Hampshire Jam 6, the origin of the latest CD from Michael Shipway and Steve Smith. These guys have been doing this a long time and know their stuff. “Primaeval” wastes no time, jumping right in with fast, stutter-step sequencing. A nice synth lead starts a couple minutes later, and off we go. Things get a little wilder, pinging back and forth with quirky little sounds as we pass the 10:00 mark. But always, the mesmerizing sequences are there, forming a steady foundation that holds everything together. It really hits its stride as it chugs past 15:00, and it seems like this 21-minute track is done in no time. It flows seamlessly into “Atavistic” which cools things down considerably, which is good because you may need a breather after such a great opening number. There’s even some pretty piano mixed in with the synth textures, reminiscent of how Tangerine Dream did that so well on albums like Ricochet and Pergamon. Of course, it doesn’t sit still for too long, and within a few minutes we’re on the move again, first one sequence, and then another over the top of that. Once again the synth lead is very nice, and everything builds and fits together just as it seems it was designed to. A sizzling guitar lead adds punch to the latter moments, finishing this one with a real flourish. So what else can I say? There are still two lengthy tracks to come, filled with more stellar electronic music. I can hardly imagine any serious Berlin school fan not being totally tickled by this. All reviews © 2008 Phil Derby / Electroambient Space. Any reprint in whole or in part must be appropriately credited.
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 substanc |