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

 

Be sure to check out the interview with Stefan in this month's issue!

 

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. 

 

 

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 10^th 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 30^th 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.

 

 

 

 

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"
(www.groove.nl, 2008)
7 tracks, 70.29 mins

Ron Boots' latest solo offering is really a group effort, with several musician friends lending a hand, from Gert Emmens synth solos to the drumming of Harold van der Heijden and more. The extra elements from this ensemble cast add an extra dash of variety, with Ron providing the strong underlying atmosphere and sequencing throughout.  "Hour of the Wolf" starts in dreamy mode, and for a time it seems like this will be a softer side of Boots, but Emmens' solo comes in strong at the 6:15 mark, giving an extra punch to the proceedings. "A Walk in the Rain" has softly strummed guitars and playful synths dancing around a soft summer rain. It builds just so, again with Emmens doing the solos if I'm not mistaken. Synths play like electric guitars halfway through and continue to the end. As usual, Boots takes a more structured approach to his EM than some, with melody and rhythm as important elements. "Boellistian" has a cool bubbly little bit to start out and settles into a cool sequencer groove for the duration. The disc really hits its stride at this point with "Storms Over IO," again very good in the way it develops over its 12-minute course. A brief ambient bridge in the form of "Harbours" is contrasted with "Radar," a bouncy piano-based piece with a laid back feel. "We Are Off" is a surprisingly upbeat number that seems more like an opening track, but it serves just as well as a cool finish to the album.

 

 

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.