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Cleaning House, Part 1 Electroambient Space is a one-man operation, so it should come as no surprise that there is a continual process of
catching up and falling behind (more often the latter than the former) when it comes to reviewing all the CDs that arrive
in my mailbox. So I decided it was way past time to clear the decks, and force myself to review most of what has been sitting on
my shelves. Apologies in advance to the musicians who hoped for a more in-depth and timelier review of their CDs, but hopefully
better late than never, and better short than not at all. I’ve added a couple of new features to provide more information for these brief reviews. First, a brief description
of the genre, admittedly a subjective art given all the subgenres in EM. Second, if similar artists immediately come to mind,
I’ve mentioned them. And third, I’ve added a “5-star” rating system, as follows: Rating system:
♫♫♫♫♫
Best ♫♫♫♫
Very good ♫♫♫
Good ♫♫ Fair ♫ Poor Half-star ratings are indicated by ♪. For example, if a disc rates a 2.5, it would shown as ♫♫♪. Enough chatter, away we go…
Andreas Akwara & Björn Lutz “Pathos” (AA Music, 2004) 8 tracks, 79.21 mins Style: Melodic synth-pop Rating: ♫♪ I don’t know why I like synth oboes so much, but I do; I suppose Tangerine Dream doing it so well could have
something to do with it. Anyway, “Nu Ages” starts this disc, and an excellent synth oboe takes over the melody
toward the end, very enjoyable. “Ambush” is a low-key affair with solid synths, but I swear if I hear one more
song with G.W. Bush voice samples in it, I’ll scream. Voice samples appear on several other tracks as well, overstaying
their welcome. I could also do without the ya-ya female vocals on “At all delight,” but that’s always been
a bias of mine. Mostly, this is light upbeat melodic synths, nothing groundbreaking. “Synthetic Horizon” is different
from the rest, a quiet closing number that finishes the disc strong. Andreas Akwara “Pathos” (AA Music, 2003) 8 tracks, 79.21 mins Style: Sweet melodic synth music, with touches of melodrama Similar artists:
Frank Van Bogaert, Vangelis Rating: ♫♫ Pathos is
emotive melodic synthesizer music by Andreas Akwara of Germany. The upbeat playful “Part III” is equal parts Jarre
and Vangelis, with very crisp perky sequencing. Equally good is “Part IV,” with a moderate sequence pinging back
and forth over the top of some nice water sound effects. Spacier passages like “Part II” and “Part V”
allow room to breathe, the latter including some Gregorian chanting, giving it the feeling of a processional. Another Jarre-like
upbeat passage is “Part VII,” which would not sound at all out of place on Oxygene or Equinoxe.
Sometimes the synths get overly cute, as on the bouncy “Part VI.” Also, the layers get a bit thick here, choirs
practically shouting at one point as it gets too busy. For the most part the music is accomplished enough, but it doesn’t
quite catch with me. I need to spin it a few more times; it could be a grower. DAC Crowell “Red-shifted Harmonies” (www.magnatune.com, 2005) 3 tracks, 73.10 mins Style: Minimal ambient floating music Similar artists:
Brain Eno, Harold Budd, James Johnson, David Parsons Rating: ♫♫♫♪ This one is all about bright shimmering floating music. Two of the three tracks are in the half-hour range, starting
with “Tranquilitatis,” a swirling set of mellow metallic ambience. The music captures a pleasant space and stays
with it, varying just enough throughout to keep the meditative flow interesting. “Prisengracht Extensions” is
even brighter, with a drone seeming to pulse as light atmospheric touches play bout. The evolution of this 35-minute piece
is even more subtle than the first, but it still works very well indeed. If these first two tracks don’t have you spellbound
and completely relaxed, then the comparatively brief title track should finish you off. Nearly silent for most of it, this
one has a bit more edge, a little more experimentation going on, but at a very subtle level. Strings give it a modern classical
feel. Excellent. DAC Crowell “The Sea and the Sky” (www.magnatune.com, 2005) 2 tracks, 74.55 mins Style: Ambient with touches of modern classical Similar artists:
Phillip Glass, Steve Reich Rating: ♫♫♫♪ Crowell spreads his wings a bit as he goes for something with edgy rhythms and a wider array of sounds. “Tidal
Motion” has this repeating sound like a processed cymbal or something. A cool percolating sequence has a punchy quality
just a bit like Klaus Schulze on his classic “Totem” track. The synth lead provides a melody of substance, unusual
for DAC. The crashing processed cymbal sound eventually goes away, although it returns again later, and the pulsing shimmers
that follow remind me a lot of Phillip Glass, though the hypnotic effect is softer, not frenetic like Glass sometimes gets.
The remaining track is almost an hour long, an epic ambient piece that has a low drone and a slow steady beat that paces it
for the duration. The rate of change is very slow. The beat keeps the same tempo but becomes louder, more insistent toward
the end. Creepy sound effects gather at the very end, a touch chilling. Note that both of the above releases are on www.magnatune.com, a download-only label. You can go to the site, and download the disc and cover art cheap. What could be better? DeTrop “After The Water” (Skean Dhu, 2004) 11 tracks, 48.50 mins Style: Drone, experimental, avant garde Similar artists:
Stars of the Lid Rating: ♫♫♫ The cover of After The Water looks very avant garde, unusual sketches of a couple in muted yellow and brown
tones. I know nothing about this American label or the musicians from Scotland – Colin Laughland and Krist Moran –
who recorded this. “Stars and Angels” opens with drone music. The track propels steadily forward, virtually unchanging
but it swirls and dances in your head as you imagine different elements moving in and out of the mix. “Foo” follows,
and shows that this will be an adventurous listen, taking a dramatic departure into a simple instrumental guitar, a stripped
down tune with a relaxed pop feel. It’s a surprising contrast to the first track, but no less enjoyable. “For
The Duck People” has more guitar, and a very odd synth that seems just slightly off-key as it mimics the guitar phrasing.
Other songs range from fuzzed out guitar distortion (“Cracked Bleeding Lips and Red Shoes”) to beautiful crystalline
synth structures (“Little Broken Kittenheart”) to all over the board between accessible and experimental all in
the same song (“Angels Hanging from a Rope in a Darkened Room”). For the most part it is daring stuff; the pieces
that have gentler guitar movements seem a bit out of place, but for those who love to explore new original stuff, check it
out. Not my usual thing and I don’t see myself playing it a lot, but it is clearly inspired material with a sense of
craftsmanship. Electric Lawnchair “Double Platinum” (Smiley Jones Records, 2003) 20 tracks, 73.12 mins Style: Experimental,
avant garde Rating: ♫♪ If you are an old rocker like me, you went through your Kiss phase sometime in high school. You may recall they released
a double album compilation called Double Platinum. Apparently, the person or persons behind Electric Lawnchair could
not think up song titles for the music, which is a bizarre though often interesting collage of sounds, spoken word stuff,
synths, and the kitchen sink. So, they simply lifted the song titles of the Kiss album. Yes, track one is called “Strutter
‘78” and track twenty is called “Black Diamond,” and in between there are classics like “Love
Gun” and “Calling Dr. Love.” It’s a strange and possibly copyright-violating idea, but I am very amused
by it. The music itself is way too odd and random to appeal to the typical Electroambient Space reader, though parts of it
are strangely compelling. Enemy From Space “The Condition of Music” (Smiley Jones Records, 2003) 12 tracks, 59.35 mins Style: Quirky electronic music meets progressive rock Rating: ♫♪ This unusual set covers a variety of sounds. “Achilles and the Tortoise” stutters along in humorous fashion,
reminding me of the quirky character of music by ex-Tangerine Dream member Johannes Schmoelling. Even weirder is the brisk,
brief “The Seventh Victim,” with marimbas, organ, tympani, and a cheesy synth lead. But there are also excellent
bits that stray into more conventional Berlin school styles, such as “The Outer Worlds,” with great spacey sounds
effects and a beat that chugs along very nicely. The title track is all over the map over its 21-minute course. Sometimes
it sounds like a cheap video game, sometimes a prog rock manifesto, sometimes who knows? And I’m either starting to
admire it as a unique vision, or I hate it, I can’t decide which. There are good moments here and there, but you have
to look for them. Enemy From Space “Abstractions” (Smiley Jones Records, 2002) 9 tracks, 39.11 mins Style: Ambient electronica; ambient; electronic Rating: ♫♫ A much more cohesive work than The Condition of Music, Abstractions is relatively solid synthesizer
music that is a bit different from the norm. It is very listenable, and some tracks like “Pastures of Alpha Centauri”
have very strong references to early Tangerine Dream and other krautrock and Berlin school. But others, like “To Be
Born,” dabble in ambient electronica. “Loving the Chimera” is a soft delicate tune with vintage sounds that
closes the disc nicely. Short and semi-sweet. August 2005
Artist Spotlight: TouchXtone
Michael Thomas
Roe and Jim Combs are TouchXtone from Decatur, Georgia. Their four currently available CDs are all rock solid, straddling
Berlin school and ambient electronica realms. To get an idea of how inventive their music is, take a look at how many different
artists I try to compare them to in the reviews below, just to try to give the reader a frame of reference. This very good
music happened by Jim putting out an ad for a collaborator, and Michael responding. They started by playing three 2-hour sessions,
and hit it off well enough to produce 2 CDs worth of music. More followed, and we are the happy recipients of the results.
I highly recommend them all, let’s take a closer look. TouchXtone “One” (www.touchxtone.com, 2003) 1 track, 53.30 mins One plays as a single continuous track, although the cover lists the starting
times for the six movements. One starts with “Dub Chill 2,” marked by light modern percussion and floating
bass tones. The bass takes over on “Florian and Fauna,” a mellow mood piece. “Kyoto Dragon” has a
lilting sequencer that bubbles gently up and down, along with soft melodic piano. The piano playing is exceptional, and the
overall composition is very strong. “Alien Radio on a Moonless Night,” is the fourth section, the title piece.
Dark churning mechanical sounds emerge, then a classic synth lead soars slowly over the top for just a few notes. The moody
atmospherics continue, along with warbly electronics that could indeed pass for alien radio. “The
Dawning” is the longest section at nearly 16 minutes, starting with smooth undulating pads. A gentle melody surfaces,
and I can envision a beautiful sunrise accompanying the music. We then take a surprising turn into a more experimental section,
nearly silent, with clicking buzzes and metallic sci-fi sounds. Softer sounds return, but in more melancholic fashion. A Vangelis-like
synth lead appears briefly. The music is quiet but restless, creating a mild yet palpable tension that doesn’t abate
until we move into the last section, “Age of Desire.” Another mellow number, warbly space noises are followed
by softly echoing choirs and tiny electronic pings that mark each measure, along with a great vintage lead line that plays
a soft melody. Synth strings and sparse piano playing make a muted, effective conclusion. I like this disc a lot. TouchXtone “Two” (www.touchxtone.com, 2003) 1 track, 68.30 mins Like One, TouchXtone’s Two plays as a single continuous track, the cover listing
the starting times for each individual passage, of which there are eight for this go around. Oddly enough, “Dub Chill
2” appears on One, and Two begins with “Dub Chill 1.” At any rate, this disc begins similarly
to their first, with relaxed crisp percussion. A steady toe-tapping beat is nice, as is the pleasant synth lead that forms
the melody. “Titans and Chariots” is up next, a dreamy combo of pads and strings, along with occasional beats,
piano and other elements. It subtly shifts over the next 20 minutes before going “Subterranean,” which indeed
it does. The brief “Cat Got Your Tongue?” is piano and cat-like strings that meow in the higher range. The titles
convey the imagery well, such as the cold crystals of “Ice Palace.” This disc is mellower than One. Even
the slightly foreboding “Imperial Standoff” is quiet in its menacing. This has the feel of a soundtrack to an
epic film. “Cold Stone of Tiananmen Square” is the quietest, darkest track. The brief, bright “Life for
a Thousand Years” has a hammered dulcimer quality to it, a marked contrast that sounds like the credits rolling to a
movie’s happy ending. Another winner. TouchXtone “Three” (www.touchxtone.com, 2004) 7 tracks, 67.15 mins Having discovered track indexing, TouchXtone’s Three is a little easier to follow
along than its predecessors. The oddly titled “Hello Hercules” makes for a quiet, somewhat experimental beginning,
reminder me somewhat of Cluster’s abstract sound when they played here in Portland in 1996. The intensity picks up toward
the end as the music swirls about in a most unusual and fascinating way. On the face of it this track feels a bit disheveled,
but it is compelling nonetheless. After a short bridging piece, “Riders on the Xtone” has a sequencer rolling slowly
up and down in the rain. This reminds me of the opening track on O Head’s Silent Universe CD. “Below the
Surface, Beyond the Touch” is the longest track, rumbling drones that shift into near silence for a time, then a softer
low drone holds for what seems like an eternity, hypnotizing as other subtle sounds surround it from time to time. A bit of
muffled drums come into play toward the end. “The Return” has a unique synth sound panning back and forth that
is cool but difficult to describe in words. “Child Mind” is the softest track, excellent space music. Water flows
as “Lake O’Shalmirane” appears, bringing the disc to a quiet ending with a long slow fade to black. TouchXtone “EyeDream and Beyond” (www.touchxtone.com, 2004) 7 tracks, 64.55 mins This is a live recording from July 2003, featuring a few tracks from the first three releases as well as new studio material. The live tracks differ significantly from the originals, sometimes twice or half the length, so if you own and enjoy any or all of the first three that shouldn’t dissuade you from getting this set. Only the last two tracks are called bonus tracks, but as far as I can tell there are four new studio recordings here. “Solar Flare” reminds me of the modern electronica I enjoy so much on the Databloem label, such as The Circular Ruins. Subtle shadings of synth sounds join little backbeats and computerized percussion. Chugging bass and synths move sluggishly along in “Acid Wash,” a short but entertaining piece. “Your Brightest Star” begins bright and shimmering but moves to a more experimental line of musical thought in the middle that continues to its end. The longest track (and title, for that matter) is “A Perfect Future in Real Estate.” Punchy beats and edgy synths start us off, but the music isn’t content to sit still. There is a dark ambient stretch for a few minutes, followed by light ethereal tones with wind chimes. This lighter touch brings us to the finish.
All reviews © 2005 Phil Derby / Electroambient
Space. Any reprint in whole or in part must be appropriately credited. Thank
you. Jesse Sola is the man behind Numina, a floating
ambient project in the style of fellow American contemporaries such as Steve Roach, Robert Rich, and Robert Carty. He specializes
in luxurious floating soundscapes that conjure up images of deep space and abstract paintings, music suitable for inner or
outer exploration. Jesse recently sent me three CDs reviewed below, all of which I believe are currently still available at
www.hypnos.com if you want to check them out. Numina “Eye of the
Nautilus” (Hypnos, 2005) 9 tracks, 73.55 mins Numina is back with a strong follow up to his well received Hypnos debut Sanctuary of Dreams. Once again,
he creates beautiful paintings, using sounds as color, using synths, samplers, and guitars as his brushes. “Drift Catalyst”
is a rich textural piece that combines its layers into a wall of sound that ebbs and flows. Though Numina often reminds me
of Steve Roach, this piece has a smooth silky quality and a somewhat brighter tone that is more reminiscent of Robert Carty’s
space music. “Secrets from the Flame” features Rudy Adrian as a guest, and though Jesse doesn’t tip his
hand as to what Rudy contributes, there is a bright shimmering quality that I associate with his work. Tribal drumming picks
up the pace a bit midway through, blending into the synth textures extremely well. The intensity builds and crests before
a long slow fade. “The Thirteenth Moon” is full of bright choirs and silky pads. It sounds like heaven. Drums
return on “New Lands Approach,” adding vibrancy and vitality. “The Nautilus Chamber” swooshes by like
the wind. After a lot of velvety smooth sounds, “Sundrown” takes a more abstract turn with clanging bells, eerie
strings, and things that go bump and thump in the night. Something like Japanese koto or hammered dulcimer appears for contrast,
and works to great effect here and in the closing track, “Return to the Crystal Temple.” In between are a couple
other ambient morsels for you to sample on your own. There is a nice balance between pure ambient tracks and those with more
rhythmic elements. Put it all together, and it’s another Numina winner. Numina “Sanctum Sanctorum” (Self released, 2001) 10 tracks, 72.05 mins Sanctum Sanctorum give us
a glimpse into some of Jesse Sola’s earlier work, still very much in the already established Numina style of silky floating,
perhaps a shade darker than his later releases on Hypnos. “Recluse” reminds me that good drifting ambience distinguishes
itself in the indescribable details. I can’t tell you why this is better than other ambient music that sounds similar
– but it is. The notes hang just right, the flow is there, the feeling is relaxed but not too pretty. Everything is
in balance. “Luminous Form (Fading In)” is quieter and softer, with just a bit of an unsettled edge to it. “Dimly
Lit Hallway” adds haunting female choirs for an eerier effect. After three virtually formless pieces, “Tattered
Illusions” drapes just a bit of substance over the free floating. There is still no rhythm or melody to speak of, but
the textures have shifted from liquid to gelatinous. A wisp of rhythm finally takes hold on “Thorns Upon the Throne,”
a subdued backdrop to bright metallic shimmering sounds. “Wilted World” marches slowly into dark mists, the plodding
beat keeping pace throughout. Every track seems to have both dark and light aspects to it, such that the mood of the piece
could strike you totally differently on two different listening occasions – although it strikes me that the tone does
gradually brighten toward the latter tracks, closing with a brief “Angel’s Sigh.” Sanctum Sanctorum
flows smoothly, enjoyably from beginning to end. Numina “The Haunting
Silence” (Self released, 2005) 10 tracks, 74.46 mins Numina specializes in silky smooth ambient textures, and “Sothis” starts The Haunting Silence
so smoothly it seems as though we’ve walked in on the middle of the disc. It fades in and gets right to work, though
it floats so effortlessly by that it hardly sounds like work. The music swirls in a circular drift, perhaps three or four
main atmospheric parts folded gently over one another. The first three tracks glide along in similar fashion, followed by
deep resonant booming in “Searching Above for Reasoning,” although familiar soaring synths rise over the top.
Next is the thoroughly chilling “Unfolding the Soul,” complete with restless water, clanking noises, and dissonant
drones. Dare to listen to this with the lights out. Fortunately, this is followed by perhaps the lightest number, “Elsewhere
and Here.” “Canicula Brighten” has really cool pulsing electronics and sparse beats. It reminds me of a
couple of mellower tracks by Global Communication, whom I wouldn’t normally associate with this subgenre of ambient.
As such it’s a standout, possibly my favorite. “A Silent Haunting” is much less scary than “Unfolding
the Soul,” another particularly quiet piece, quite relaxing. In fact, The Haunting Silence is so relaxing that
one of the tracks, “Asleep Before the End of the Story,” is liable to aptly describe the lovely soporific effect
this disc will have on listeners. Artist Spotlight #2: William Edge William Edge is a space musician from New
York with a great sense for what pure space music should sound like. Much like
fellow American synth maestros Jonn Serrie and Robert Carty, Edge’s music evokes images steeped in science fiction,
astronomy, and various deep space phenomena. William contacted me a while back and sent me his three CDs which all reach for
the stars. Together they form a space trilogy, which we’ll cover in the order of the story. See Bill’s home page for more details on his music. William Edge “Edge
of the Universe: Discovery” (Sounds Blue Music, 2004) 14 tracks, 71.53 mins “Reflected Light” jumps right into the space theme, and would be suitable as planetarium music or
simply imagining your living room has become one. “Spectrum” expands on the motif a bit with light percussion,
although the soaring synth pads are still pure space music. A lilting melody weaves seamlessly into the rest, very pleasant.
“Discovery” starts like gentle radar blips. A British woman gives a narration about the state of things in the
year 2211, then the year 2250, and so on. Soft liquid keys are very much like Jonn Serrie, and there is a very nice floating
quality about this one. The narration stays in the background, but becomes too talky for me as it goes. “Fragments of
Time 1” centers on piano along with some outer space sounds. This has a bit more of a new age feel, though thankfully
not nearly to the extent that Serrie did on albums like Midsummer Century and Ixlandia. “Return of the
Ardent” is a natural progression, continuing the piano but adding more synth elements that work quite nicely. Plinks
of water drops, then rainfall, then crashing waves begin “Memories of Water.” The water effects are nice, as piano
and strings lend a new age feel, which is not my thing but is very well done. “Solar Wind” could pass as a good
Software track, another soft floater. “Energy Form 1” has cool sound effects and nice backing rhythms that fade
in and out. “Infinite Horizon” is a little on the cute and quirky side, though it finishes strong with flowing
synth strings. “Epilogue” ends the disc with more narration and deep space transmissions. William Edge “Journey
to the Edge: 76 Lightyears” (Sounds Blue Music, 2004) 9 tracks, 46.53 mins Aggressive rhythms and a rocking bass line on the opening track “Doppler Efx” make me think more
of Yes’ “Roundabout” than space music. It’s actually pretty cool but unexpected, and takes a moment
or two to get used to. “Radial Velocity” immediately brings us back to mellow realms of new age and space, with
percussion that gives it a tropical or lounge flavor. “Animation Suspended” shimmers brightly at first, but an
odd mix of piano and heavy slow beats don’t seem to fit in. It works best when it is content to float and drift as it
does at the beginning and in the midsection. “Captain’s Log” follows the pattern of “Discovery”
from that album, with British female narration. It works okay on one album briefly; twice it feels contrived (actually three
times – see below). By and large, 76 Lightyears seems to just miss the mark, needing to trim cute excesses or
avoid certain clichés that keep it from rising to the next level. However, Edge recorded this disc first, and planted the
seeds for the two solid follow-ups that form the beginning and ending of his space trilogy. William Edge “Beyond
the Edge: Into Infinity” (Sounds Blue Music, 2004) 13 tracks, 63.11 mins “Ianus” has the same woman’s voice as in William Edge’s other two albums, but is very
brief. The rest of the track is pretty cool space sounds and some relaxed guitar playing. “Dark Matter” has an
appropriately ominous beginning, although Edge has a consistent lightness and optimism to his music that keeps it from being
too threatening, a nice atmospheric number. “Into Infinity” is a variety of classic space sounds blended together
effectively, again quite soothing. “Dance of Lost Souls” is loaded with synths, thoroughly electronic, and that’s
always a plus in my book, with some nice sequencing to boot. Even better is the drifting sounds of “Unfolding Sphere”
and the bright rapid tinkling synths of “Infinitas Perieritus.” There is a playful quality to the music, and you
can always tell that Edge enjoys making this music. Even the darkest track, “Levels of Consciousness – Sleeping,”
has brightness to it, although not as evident as on the other selections. The disc ends unevenly, my favorite track “Levels
of Consciousness – Enlightenment” followed by easily the worst, “Destination of Prayers.” Disturbing
twisted narration, moaning, and other eerie sounds are woefully out of place to the rest of the disc. Except for this aberration,
Into Infinity is my favorite of William Edge’s three CDs, followed relatively closely by Discovery, both
of which I would recommend for fans of light, positive space music. All reviews © 2005 Phil Derby / Electroambient
Space. Any reprint in whole or in part must be
appropriately credited. Thank you. April 2005 Best Live EM Albums The Beyond_EM list on yahoogroups
has been debating this, as have the writers for E-dition magazine. So I thought I would jump into the fray with my own take
on the question: What are the best live e-music albums? Glancing at my collection, the standouts were easier to spot than
I imagined. Though I expected the older classics to come to mind, a number of recent live albums made the cut as well. So
here they are, in alphabetical order. I love them all, but I’d be lying if I said I didn’t have a favorite. It’s Ricochet, hands down.
I used to say that my favorite TD period was the Schmoelling era, and that Logos was my favorite, but over time I’ve
come to agree with the old-timers who swear by Peter Bauman’s influence as forming the band’s creative peak.
1. Airsculpture
– Europa An amazing raw live recording, Europa really captures this improvisational band at the top of their craft. Great sound
quality, great performance. 2. Airsculpture
– Quark Soup Quark Soup is a masterful, epic work. Culled from a couple of different shows, it feels a bit more polished than Europa,
but is no less genuine or passionate. 3. Ron Boots
& Friends – Livelines Just plain fun, this
one. From the rocket countdown at the beginning to the screaming girl to the sizzling live version of “Desert Clouds,”
everything on this disc just feels right. 4. Free System
Projekt – Atmospheric Conditions The best 1975 Tangerine Dream recording that they never made. That, and FSP’s Protoavis as well. 5. Radio Massacre
International – Upstairs Downstairs 6. Radio Massacre
International – Solid States Several of RMI’s discs are live, and I like them all, but these two are the ones that are the cream of the crop.
Upstairs Downstairs has wonderful sequencer passages, and Solid States perfectly captures the essence of RMI’s
first (and to date only) U.S. tour. The live version of their first-ever track, “Wrecks,” is awesome. 7. Klaus Schulze
– Live Forget all those bootleg quality live recordings from The Ultimate Edition, even though there are gems to be
had there. This was KS’ first live recording. At the time, he said he shunned live albums and that there would never
be another one. I can do without Arthur Brown’s vocals, but this double disc set is worth the price of admission for
“Sense” alone, all 51 glorious hypnotic mellow minutes of it. 8. Spacecraft
– Hummel Recorded at Hummel Planetarium, this disc has the best Spacecraft track ever, the title track. It is one of the best
EM tracks of the past decade, for that matter. There are great highs and lows, a nice variety here. 9. Tangerine
Dream – Ricochet 10. Tangerine Dream – Encore 11. Tangerine Dream – Pergamon 12. Tangerine Dream – Logos 13. Tangerine Dream – Poland It’s really hard not to pick so many TD albums for this list, so I didn’t even try to limit myself, ending
up with 5 of my baker’s dozen coming from them. I don’t care what people say about Livemiles (so-so) or
220 Volts Live (crap), the Schmoelling and Bauman era live recordings are the only ones that measure up. And forget
about the eternal debates about how retouched these may or may not be. Their source and inspiration was live, and the end
result is, in my opinion, inarguably great. My three favorites are Ricochet, Logos, and Poland, the latter
of which I don’t hear nearly enough good things about. That’s my list, so there. ♫ Redshift “Redshift” (Champagne Lake, 1996) 4 tracks, 64.16 mins The one that started it all, what can you say? Redshift is a perfect marriage
of new ideas and vintage sounds. Take the very essence and spirit of Schulze’s Mirage, Tangerine Dream’s
Ricochet, distill it into Mark Shreeve’s own vision, add his talented cohorts Julian Shreeve, Rob Jenkins, and
James Goddard, and the end result is nothing short of magical. It’s fair to say that Redshift has redefined retro, setting
the bar so high with this one nearly a decade ago that it has scarcely been touched. For over six minutes, “Redshift”
explores dark nooks and crannies, then a simple but fantastic sequence and haunting choirs fill the air. The lead synth comes
forth very assured, just right in the mix. It sounds so much like TD’s Ricochet or Rubycon, and yet it
is new, fresh, vibrant, as exciting as those were the first time we heard them. Listening to it again now, my enjoyment and
appreciation of this stellar debut has only increased over time. It’s not overstating it to say that Redshift transcended
the sound they were paying homage to; when you hear any Redshift album now, it has “the Redshift sound” –
not TD, not Schulze, but Redshift. The debut disc features two long pieces sandwiched between two shorter ones, “Spin”
and “Shine,” which are perfectly concise packages, each a perfect balance of hypnotic rhythmic sequencing, cool
synth effects and sounds, and memorable lead lines, especially “Shine,” which seems gone too quickly but that’s
part of its appeal – it goes in for the kill and dashes off, leaving you in awe. I still don’t get the 10 minutes
of near silence during “Blueshift,” and would like to edit it out, but that’s the only thing keeping this
disc from absolute perfection. Redshift “Ether” (Champagne Lake, 1997) 4 tracks, 65.04 mins For many, this is the pinnacle. My favorite review of
Ether was written by Graham Getty at SMD, who said, “I think it was the "review of ‘96" article where I said Redshift’s music
was so far up my street that it was sitting in my living room with its feet up watching TV. Well, Ether is actually
wearing my slippers, drinking tea and eating biccies!” Now, I have no idea what “biccies” are, but I know
exactly what he means. This music is comfortable; it’s like coming home. It is everything we love about EM, it’s
why we listen to it, it’s why the musicians make it, and it’s why people like me write about it. The sequencing
on “A Midnight Clear” takes a while to arrive, but once it does it grabs hold and simply won’t let go. Constantly
shifting, always energetic, full of rich resonant bass tones, it thoroughly satisfies. Shreeve and company pattern this CD
after their debut, with two lengthy improvisational pieces surrounding two shorter more structured ones. And yet, the end
result is distinct, and even a touch better than the original, which is saying something. “Bombers in the Desert”
is one of the best EM tracks ever, probably Redshift’s greatest achievement. Then there’s the surprise of the
lengthy fuzzed-out guitar section to open “Ether,” making it sound more like a Pink Floyd concert than Redshift.
But as usual it comes back to brilliant choirs, sequences and lead lines, a beautiful oboe synth taking center stage on this
one. A more playful guitar solo occurs at the end, sweetly ringing out alongside more choirs. A perfect ending. The perfect
CD? Redshift “Down Time” (Champagne Lake, 1999) 7 tracks, 60.31 mins Over the course of their first two CDs, Redshift had already gained almost legendary
status among many fans of the analog retro movement. It’s no surprise, then, that some have expressed disappointment
over Down Time, because Mark Shreeve and company decided to toy with the formula a bit. Though there are still juicy
sequencer passages, particularly on the fantastic opener, “Nails,” there is more to Down Time than this.
I, for one, am thrilled that the band has pushed the envelope just a bit farther to see what they can do. “Nails”
and “Protoland” deliver for sequencer addicts, but there are also haunting guitars on “Ultranaut”
and “High Noon.” The guitar playing is superb, perfectly restrained in balance to the dark synths and choirs.
But what really clinched Down Time for me is the phenomenal “Mania,” almost certainly my pick for best
song of 1999. Redshift pulls out all the stops here. Like Shreeve’s “Ride the Lightning” from Nocturne,
I defy anyone to sit still while listening to this. It is an effective contrast to most of the material, which tends toward
darker realms. Haunting echoes and sequencers blend together to perfection in the title track to close a very satisfying sonic
journey. Down Time is a great CD from start to finish. 2000 © Phil Derby / Exposé Magazine Redshift “Siren” (Distant
Sun, 2002) 9 tracks,
58.12 mins After a long hiatus, Redshift released three discs simulataneously – Siren,
Halo, and Wild. Two of the three were new recordings. The third, Siren, was a live recording from the
Alfa Centauri Festival in April 1999. Though the tracks have original titles, several numbers have their origins in previously
released material. For example, the sequencing in the middle of “Bleed III” comes from “A Midnight Clear”
and “Bleed V” is the guitar solo at the end of the title track from Ether. And “Siren II” is
a variant on Down Time’s “Ultranaut” if I’m not mistaken. But that’s not to say that
Siren is a token album or a retread, not at all. It’s more like familiar themes and sounds weaving their way
in and out of new musical ideas, blending them together in an imaginative, creative manner. And there are large sections of
Siren that I cannot definitely place as being from a particular previous release. “Siren I,” for example,
features some stunning Melltron flute that I don’t immediately recognize. Perhaps some of the familiarity comes from
the fact that they have so clearly cut a path of their own, such that you can always tell a Redshift release. And that’s
not a bad thing. Redshift “Halo” (Distant
Sun, 2002) 9 tracks,
58.12 mins Ok,
so this is an almost too-obvious choice for one of my top EM albums of 2002. After all, it’s Redshift, one of the most
highly admired bands in the Berlin school retro genre, and a personal favorite of mine. Add to this the long dry spell between
albums to increase fans’ hunger, and that this is all-new studio material, and it becomes a no-brainer. Oh, and did
I mention that it’s fan-effing-tastic? “Leviathan” starts with low atmospherics and a single steady pulse.
The first sequence comes in before the first minute is up, and it’s a lovely one – not too energetic, not too
laid back, just right for an opener. These guys are confident enough not to give up all the goods in one go, content to let
this be a restrained yet awesome beginning, trademark Redshift. Vintage sounds galore build in volume, layers, and intensity.
The subtle shifts in the hypnotic loops are magnificent. Witness, for example, the changes in timbre of the sequence that
unfolds across the 5:00 mark. The pace remains the same, but the sound keeps evolving and then turning back in on itself.
Sublime stuff. Next, you gotta love a tongue-in-cheek title like “Rhode Kill,” a short sweet little number that
lulls you into a false sense of security before “Panzer” comes in for the brisk attack, along with edgy distorted
guitars. Like tracks from Down Time, this is more structured, full of great retro sounds and sequencing, but with a
definite melodic theme amongst the great textures and effects. “Different Light” is a more downbeat affair, with
night sounds and sparse electronics. The album is full of wonderful little bridging pieces like this. The title track is the
longest, beginning with shades of vintage Schulze in the form of a crystalline cascade of notes. The sequence is allowed to
play out virtually unadorned for the first couple of minutes, allowing for full appreciation of its elegant touch. It builds
and builds and builds until it crescendos just past the 9:00 point, rapidly falling off into a dark brooding section that
teases with only a brief reprise of the original sequence before a segue into “Savage Messiah.” You begin to wonder
how many variations on first-rate sequencing there are, as this is yet again spot-on. A chugging low sequence is set off by
strong lead synth lines. As this one fades, really cool sound effects pop up, sometimes sounding strangely muffled or twisted,
or even looped backward, but it all works beautifully. A real standout is “Turbine,” a great twist on Berlin school,
quite different than anything Redshift has done before. It still has their stamp on it, but the sonics employed are unique.
That’s really the very best thing about this CD. It is undeniably Redshift, but it is something very fresh and new,
a remarkable feat in this age retro EM nearing its saturation point. One of the best of 2002? Absolutely. © 2003 Phil
Derby / Electroambient Space Redshift “Wild” (Distant
Sun, 2002) 4 tracks,
35.47 mins This
disc was a collectible for those who came to see Redshift perform at Hampshire Jam 2, never available for sale after that.
That’s a pity, because music this good should be available to all Redshift fans, especially considering that many of
them, including yours truly, live thousands of miles away and couldn’t possibly have made it to the show. But enough
editorializing, this is a worthy addition to any Redshift fanatic’s collection if you can get a hold of one. “Red
1” is understated but with the usual brilliance and panache we’ve come to expect. A midtempo sequence carries
this one along nicely. “subEther” is a solid variation on themes and sounds from Ether. “Vega” takes
things in a new direction, soft, ethereal, and a bit sad but also quite majestic. I would imagine a cross between Redshift
and Vangelis would sound a lot like this. This short disc closes with “Jupiter Collision,” a fantastic original
number that follows the path of more structured pieces like “Shine” and “Bombers in the Desert,” and
successfully so. It builds to a crescendo and brings the disc to a sudden and winning conclusion. Please see the Reviews page, January 2005, for reviews
of the last two Redshift releases, Faultline and Oblivion. All reviews
© 2005 Phil Derby / Electroambient Space unless otherwise specified. No reviewed may be reproduced in whole or in part unless appropriately credited. Thank
you. Rogue Element “Premonition” I knew early
on in 2004 this was the one to beat. Nobody did. Vintage synths done right. Fanger & Schönwälder “Analog Overdose The Ricochet Dream Edition” Although
I just said that nobody beat Rogue Element, this disc is a virtual tie for Best CD of 2004. Simply fantastic blend of Berlin
school and chill-out music. Free System Projekt “Protoavis” TD improvisation
circa 1974-75, done perhaps even a half-step better if that’s possible. Radio Massacre International “Walking on the Sea” One of their
very best, and that’s saying quite a lot. Remy “Different Shades of Dust” I want to
see Remy and Schulze play on the same bill, then I can die happy. A great musician gets even better. Various Artists “Ricochet Gathering Mojave 2003” Disc 1 is
fantastic classic Teutonics, Disc 2 branches out into other areas without straying too far. Redshift “Faultline” Great capture
of their Hampshire Jam 2 show, all original material. Redshift “Oblivion” New studio
recording, their first as a trio, solid Redshift sound. Radio Massacre International “People Would Really Like Space Rock…” At first
I knocked this for RMI’s deliberate attempt to try to rock out, but the drums mostly behave themselves, and the sequencing
is fantastic. This one grew on me quickly and I’ve played it a lot. Gert Emmens “Live – A Long Way From Home” Even better
than the studio versions of the source material from two other albums, and the best tracks from both are included here. VoLt “Star Compass” A strong
debut is followed by an even better sophomore release. Best New Group:
Rogue Element Best New Solo Act:
Create Best Reissue: Bas B. Broekhuis “The
Escher Drawings” Best Compilation: “To
the Sky and Beyond the Stars: A Tribute to Michael Garrison” Best 2003 CD release that I didn’t hear until 2004:
ESP “The Gate”
– this probably slipped under most people’s radar, but if you like 1980s TD you absolutely MUST get this CD. I
was blown away! It has been in my player almost non-stop for the past several
weeks. Go to www.syngate.net right now and get it, you won’t be disappointed. Spelerei & Mantacoup
“Wichman and Other Pieces” Best Ambient
CD of 2004, with occasional Berlin school touches thrown in for good measure. Steve Roach “Places
Beyond: The Lost Pieces 4” Best of The
Lost Pieces series, among the best of 2004. It flows unbelievably well for a compilation of unrelated tracks. Steve Roach with Bryon Metcalf,
Mark Seelig “Mantram” Fantastic
floating meditation music. Robert Rich “Calling
Down The Sky” His
best subtle ambient work in years, possibly since Trances/Drones. Chad Hoefler “Twilight
in the Offing” A stunning
debut in the style of Robert Scott Thompson, Steve Roach, and other greats. Zero Ohms “Spatial
Glacial Nebulous” A deep outer
space journey, subtle and amazing. Dwight Ashley “Discrete
Carbon” Great musicianship.
Dark, intelligent, wonderful. Sylken “Dreamlife” Pure space
music. Lammergeyer “Borrowed
Time” Each Lammergeyer
release is better than the last one. Oöphoi “The Dreaming
of Shells” A master
of minimal drone music, this is another solid outing. Best New Group:
None - seems like everyone in ambient was solo or duo in 2004 Best New Solo Acts:
Chad Hoefler, Ben Fleury-Steiner Best Compilation:
“Distant Friends” and "Bibimap" (tie) Best Reissue: Oöphoi "Three Lights at the End of the World" January Feature #2: A compilation of compilations
2004 was seemingly the year of the compilation - tons of them. Here's reviews
of 10 of them.
Various Artists “Ambienism: Volume One” (Spiralight
Recordings, 2004) 9
tracks, 73.54 mins The
Spiralight label is a promising new label that offers a cool variety of ambient electronica, as evidenced by this first-rate
collection. Zero One’s “Dreamworld” is not unlike Saul Stokes, with punchy bass and beats surrounded by
very synthetic sounds. The lead synth solos are not unlike Paul Ellis on his Into The Liquid Unknown CD – very
active, constantly shifting. Mystical Sun’s “Something Very Pure” is very enjoyable ambient electronica,
quite accessible with a catchy tune and beat. Bluetech takes the energy down a notch with “Elementary Particles,”
perfect for just chillin’. Magic Sound Fabric’s “Cosmic Consciousness” is another piece that goes
down easy and smooth. Distant vocals are appropriate to the mood. Spyra and Pete Namlook’s styles are in the neighborhood
of this, good company to keep. The next four tracks have familiar names to many ambient fans. “Another Time…Another
Place” is the first of two tracks by Alpha Wave Movement, from his Drifted Into Deeper Lands CD. Richard Bone’s
“Stillness Repeating” has a simple effective bass line and soft synth sounds that float along nicely. Dino Pacifici
follows with “Clouds Drift,” an apt name for this atmospheric breather. A Quiet Invocation” is the second
AWM track, this time unique to this compilation. This is beautiful space music in the style of Jonn Serrie. Fortunately, Cyberchump’s
contribution “Abstract Air” is far better than the band’s name. It forms the leisurely end to a soothing
ambient outing. Various Artists
“Bibimbap” (The
Foundry, 2004) 8
tracks, 51.41 mins Bibimbap is a Korean meal, and this intriguing title was chosen for two reasons. One, the musicians met over
this meal often, and two, the meal involves a mixing process, putting in a little of this and a little of that into a bowl
mixed with rice. In this case, the bed of rice is an ambient foundation, and the blend of ingredients are whatever the individual
artists had at their disposal – their synthesizers and samplers, their moods, but most of all their ideas. In an added
twist, the musicians took each other’s musical scraps and threw them into the stone pot. Ben Swire starts with “Amalgam,”
a tasty treat of crisp percussion and beats, with atmospheric tinges of darkness to offset the energetic rhythm. Imagine an
amped-up Biosphere and you wouldn’t be far off. Saul Stokes’ “Cyclops Afternoon” pauses to take a
breath and kick back a little. Although Saul’s characteristic bleeps and other unique sounds are there, this is a surprisingly
mellow melodic composition. Ideal for a compilation, it’s a touch different than his other material but much too good
to be left on a hard drive of unpublished material. Forrest Fang offers “Filling the Bowl,” and you can almost
visualize it – the emptiness of the bowl with only rice in it, waiting for more; the music brightening as a medley of
fresh ingredients gets poured in; the flavors blending together into an invigorating mix. Like the dish, the ingredients used
here are fresh and varied. My favorite title has to be M. Bentley/eM’s “The Twilight Pageant of the Bibimbots.”
Sparse resonant bass is fused with a unique subtle rhythmic element at first, giving way to a more steady beat with a light
melodic component for a very pleasant effect. Earwicker’s “Entrée” is the musical equivalent of the mix
being complete – settled, calm, ready to eat. The music evolves as the guests around the table dive in to the meal.
The quirkiest morsel is Chris De Giere’s “Kimchi Tastes of Summer,” a smattering of unsettled rhythms jumping
about restlessly. As the meal winds down and things become more social, Thermal’s “Muse of Expiration” conjures
images of relaxed banter and the buzzing undercurrent of side conversations, both at the table and by neighboring patrons.
The final contribution, by Dean Santomieri, is shorter than its title, a brief burst of static, buzzes, and general experimentation.
Sounds a bit like post-meal indigestion to me. The rest of Bibimbap is a perfect evening of ambient listening. Various Artists “Distant
Friends” (Ambient
Circle Music, 2004) 6
tracks, 63.14 mins This
compilation of all previously unreleased material is the brainchild of Brannan Lane, who plays on every track with the likes
of vidnaObmana, Amir Baghiri, Robert Carty and others to form a very cohesive sampler that flows easily from one musical thought
to the next. Beginning with “The Forth Zone,” vidnaObmana and Brannan Lane show they are still comfortable collaborating,
as they did on their Deep Unknown CD. It reminds me of Steve Roach’s Slow Heat CD, as high-pitched metallic
synths circulate. Next is another familiar collaborator, Zero Ohms, with the clever title “Watch This Space.”
Relaxed drones flow over the sonic landscape like waves. “Dark Vessels” is immediately more organic and textural,
featuring Amir Baghiri. However, it too takes a shimmering soft turn into reverberant ambience. “Unforgotten Dreams”
is a beautiful piece by Brannan and space musician Robert Carty. Slow and subtle, it sets a perfect mood and holds it for
16 minutes. It reminds me more of James Johnson than either Lane or Carty. Biff Johnson contributes to the haunting track
“Waning Moon,” with a midsection that vaguely resembles a train in the background, lending a unique compelling
effect. “Weeping Willow” closes with the longest track, and the only name with which I’m not familiar, Silvercord,
apparently one Geoff Nostrant who formed the band with other Detroit natives but now lives in Seoul, South Korea. This one
has a more minimalist, almost modern classical approach to it. Silvercord’s influences include not only Steve Roach,
but also Dead Can Dance and Black Tape For A Blue Girl. The end result is a different twist on ambient, enough to be interesting
without distracting or out of place. I like it. Various Artists “Eintrittskarte” (Manikin Records, 2004) 9
tracks, 78.49 mins Manikin
seems to release especially good compilation albums, notably 2003’s Liquid Sounds Volume 2 and Manikin The
First Decade from 2002. Add Eintrittskarte to the growing list of excellent collections from the label. “Loondermolen
#21” grabs attention right away with a contagious beat and a sequencer loop that is a perfect hybrid of vintage and
modern. Broekhuis, Keller & Schönwälder are always a good combo, and that certainly holds true here. Next is a rare treat
– you’ve heard of Fanger & Schönwälder, Fanger & Kersten, even Fanger & Siebert – but never
just Fanger solo. He presents “Live in Vienna,” and shows that though he is a great collaborator, he definitely
can hold his own. Beautiful mellotron flutes keep the melody going, surrounded by crisp percussion and hypnotic sequencing,
sounding a bit like Spyra. After two very energetic numbers, Bas Broekhuis’ “The beauty of the beast” mellows
things considerably, a well placed changed of pace. Things get livelier again with Arcanum’s “Killing Dreams,”
a midtempo track that has great drums and percussion to move it along. The synth lead is very sure-handed and reminds me of
Ron Boots. “Nomina sunt odiosa” is next, a beautifully delicate piece by Detlef Keller, among the prettiest he
has done – in a good manly way, I mean. Perennial favorites Fanger & Schönwälder bring us “The trees turn
tangerine.” I still can’t get enough of these guys. Similar in feel to “Killing Dreams” but different
enough and certainly good enough to include in this marvelous set of music. Cosmic Hoffmann’s Eastern mystic touch is
evident in “Timeshift (Live in UK!),” very good as usual. The disc also brings the first new music in some time
for Der Laborant, the effervescent “Speed Dream.” At the risk of sounding the same notes over again – great
sequencing, great beat, great lead line. Finally, we get the awesome foursome of Fanger, Keller & Schönwälder, and Spyra
for “Bad Sulza Rehearsel” (sic), the longest and in some ways the mildest track, chilling things out for a smooth
clean finish. Various Artists “EM Post No. 1” (SynG@te,
2004) 8
tracks, 45.07 mins, + video clips This
is a great sampler that shows off not only some solid music on the SynG@te label, but also some cool video excerpts from a
2004 road trip movie called “Route 66: An American Bad Dream.” The clips are very effective, making me appreciate
ValleyForge’s excellent music even more than when I heard the audio only, and making me want to see the movie as well.
Also, the quality of the music here is consistently higher than on SynG@te’s 2 CD compilation The Collection.
Only “Saints” by the Whitebirds disappoints, a blending of synths and saxophone that reminds me why Tangerine
Dream should not have tried this. I admittedly have a strong bias abstaining from sax in my EM; it’s actually fairly
pleasant if you have no problem with that. The other tracks are sensational. Syn’s “Connected” from his
Orange CD starts the audio portion of the disc (you have to cue directly to track two, as the audio data is on track
one). Sci-fi narration starts it off with “I will tell you what happened on my world,” followed by melodramatic
synth pads and a bass line that chugs along just right. Frank Klare comes next with the strangely titled but very good “Kit
Kat Club: Metallic Men.” The synth sounds and percussion remind me of Tangerine Dream in the early 1980s, say from Exit
or Hyperborea. Der Konig’s “I Feel Free” meanders leisurely along, again with solid bass pushing
it along. Stockman’s “Enriched” is the most structured, with a rock sensibility to the drums. Three ValleyForge
tracks close out the disc, only one of them a repeat from their soundtrack to the “Route 66” movie. Hot guitar
licks come out of nowhere near the end of “Coloured Flowers…,” whose humorous lengthy title you have to
read on the CD to fully appreciate. ValleyForge has a unique style that is part rock and part Berlin school, and I really
enjoy it, as well the rest of this excellent compilation. Jonathan Hughes/Various Artists “Fluidities” (The Foundry, 2004) 2
CDs, 11 + 11 trakcs, 66.44 + 66.44 mins Note
the track listing above – same number of tracks on both discs, same running time. Coincidence? Hardly. Fluidities is
a rare though not totally unheard of concept: compose separate pieces of music designed to be played together. Each track
has a running time of 6:04 (actually, the first and last tracks are 2 seconds longer and shorter, respectively), with the
intent that you can combine each set of 11 tracks in a virtually infinite set of possibilities. The plus side is the disc
allows you to experiment in many ways; the downside is that the choices seem overwhelming, and they don’t always work.
For example, Saul Stokes’ “Summer” is abstract buzzes and bleeps, and M. Bentley’s “April”
is soft solo piano, so together they sound about like you might expect if you combine two songs at random, like a bit of noise.
Most of the tracks are perfectly listenable on their own, if a little threadbare at times. There tend to be two main varieties
of ambience – those with buzzes, clicks, pops and other indefinable noises, and those that are very sparse and quiet.
Many of the contributors are relative unknowns, with names like High Skies, ATOI, and Susanne Brokesch. One surprising exception
is the presence of Ian Boddy. His “Suburbia” track is a cool bubbly experiment, featuring synths that sound like
chirping birds mixed with metallic drones. Eventually it becomes dark and churning. Great stuff. Fluidities offers
many possibilities. Various Artists “Schrittmacher: Tasty Tracks Vol. 1” (Manikin
Records, 2004) 7
tracks, 64.49 mins Manikin
Records has branched out into the world of producing their own synthesizers, namely the Schrittmacher step sequencer. What
better way for the label to demo the new sound than to take a few of their closest friends including the likes of Klaus Schulze
and Ron Boots, and ask them to play around with the new toy and record the results? This CD is the result. Of course, label
founder Mario Schönwälder and his close collaborator Detlef Keller want to get into the act too, so Detlef opens with “Are
we devils?” and Mario answers on track three “We are devils!” I’m not a technophile, so I can’t
really compare the finer details of the sounds or the sequencing abilities of the Schrittmacher, but I can say that both Keller
and Schönwälder were in a dance/techno frame of mind when they recorded these two tracks. Heavy on the beats, these two are
good for turning up while doing housework or driving down the road. To just sit and listen to in my living room, they are
bit heavy-handed. The other musicians demonstrate a wider range of sounds, from the mellow tinkling “Od Ban Ryaah”
by Wave World (with a great vintage Klaus Schulze type of lead line) to the almost funky tempo of Ron’s great track,
“Conjunction.” You can tell he had fun playing with the Schrittmacher, and the result is a new style and sound
for him, one that works well. Klaus gets to have the title track, named simply “Schrittmacher.” It is immediately
recognizable as classic Schulze, as rapid hypnotic sequence gets up and running. In fact, his track more than any of them
demonstrates that the important thing isn’t the music machine, it’s the man at the controls. Nonetheless, it sounds
like all the musicians enjoyed themselves, and we can probably expect to hear more Schrittmachers on future albums by these
guys and others (not to mention Tasty Tracks Vol. 2, coming from Manikin sometime this year). Various Artists
“Syntonic Waves Vol. 9” (Spheric
Music, 2004) 14
tracks, 73.18 mins If
you haven’t heard of the Syntonic Waves series by now, you are probably still getting your feet wet in the land
of EM. There has never been a bad CD in this series of unique tracks of generally upbeat enthusiastic synthesizer music. The
toes get to tapping right away on Skylander’s “Strange Heart,” a light-hearted piece with a Spanish touch
to the synth lead. Previous entries in these compilations have included at least somewhat known names, but the emphasis is
definitely on new musicians this time around. Next up is Startle B with “Hold Your Head High.” The keys on this
one sound straight from 70s pop, with a perfect beat to follow along to. What the disc lacks in new ideas it makes up for
in fun melodies and positive mood. Even bouncier is Miroslow Mirocho with “Nachdenken.” Bright piano blends with
pleasant synths and a steady rhythm. “Bedrock” is a personal favorite, with cool synth pads and a catchy sequencer
loop. The guys behind it, Joh & Marvin, remind me some of Waveshape, whom I like a lot. The beginning of the Alien VS
track “Watching TV (crying aliens)” is a dead ringer for a piece from Jean-Michel Jarre’s Chronologie album,
a low synth note rising with heavy portamento. A few EM artists of late have been inserting political sentiments against the
Iraq war, and this one is no exception. Reuter/Nies have nailed Klaus Schulze’s sound on “Follow Me,” an
interesting cross between his sounds of 1975 and 1985. Excellent sequencing adorns Liese & Kopper’s “Le Rêve
Numerique 22.” Bay’s mellow “Desert” piece is not at all like Steve Roach’s desert-inspired
music, it is more like Tangerine Dream in very relaxed mode, say like their quieter works on Le Parc – although it also
reminds me of Remy and very recent Klaus Schulze. The flute synth is especially nice. Gems like this are what make samplers
so fun to explore. Not every track is a winner, as the kitschy “City Night” can attest, a blend of synth music,
new age and smooth jazz that is too smarmy for its own good. Even worse is the very disjointed “Die Plage,” an
odd conglomeration of sounds. But there are more hits than misses, and plenty new names to be on the look out for. Various Artists “The Collective” 2 CDs, 12 + 12 tracks, 78.48 + 79.41 mins Synrise’s
“Rainfall” starts the disc on a relaxed yet upbeat note, beautiful tinkling sequencing and bright percussion making
for a positive beginning to this comprehensive collection of SynG@te’s offerings. Next is Valley Forge’s “Parking
Lot at SAN (A Different One),” featuring Maxxess’ excellent guitar playing, which sizzles. The narration sounds
like a cheesy French waiter, though. Quirky rhythms on Der König’s “Lift Off” are very cool. Throughout
the disc, the emphasis is on mostly lighthearted melodic tracks with a steady beat. For example, Oliver Ganz shows a deft
hand with composition on “The Castle,” crisp beats accented nicely by synths and guitar. On occasion, however,
as on “Gothic” by Dharana, the music mellows out, this one with an Eastern flair. Wellenfeld’s “Odyssey”
cranks things back up with a dance beat, skillfully blending Berlin school with more modern sounds and rhythms. My favorite
may be “Step Into The Future” by Realtime, exclusive to this compilation. It focuses on sequencing and beats,
with melody also good but almost secondary to the strong foundation it rests on. Occasionally a track gets a little too cute
for me, so I like that this one just sticks to the basics and does it very well. Vintage synth fans will love the lead lines
on Certamen’s “Ozone Zone,” a 10-minute edited version that makes you want to hear the rest of it. Disc
two is equal to or better than the first one. Hardy Kukuk’s “E-Motion” is laid back but has a good beat
to it. Always good is BIOnighT, and “Daybreak RMX” plays to their usual strengths of strong synth solos, tight
arranging, and excellent sequencing. Next is one of my favorite discoveries of 2004, Remote Spaces. “Arpematik Part
1” is on their Silos CD, which I highly recommend. After Nebula Drone’s “Nectaris” from their
very good On CD, a few unforgettable tracks follow – too sweet, too cute, or both. Things improve again when
Mac of BIOnighT returns with “Unbearable Wait” – nothing fancy, but better than much of the material preceding
it. Also good is E=Motion’s “Time Traveller,” another exclusive to this collection of generally solid material.
With nearly 160 minutes packed onto these 2 CDs, you stand a good chance of finding something to your liking. Various Artists “To The Sky And Beyond The Stars: A Tribute To Michael Garrison” (Quantum Records, 2004) 2 CDs, 12 + 14 tracks, 76.21 + 79.37 mins Michael
Garrison passed away much too soon, in March 2004 at the age of 47. A mere two-hour drive away from me, I ordered CDs occasionally
from Mike from his Bend, Oregon location, via his mail order service. Though I didn’t know him well, he was a genuinely
nice man whom I never heard anything but positive things about. And then there was his music – full of optimism and
energy, a true pioneer who started by driving around the state selling cassettes out of the back of his car. Eventually, his
catalog of CDs sold over 500,000 copies. Given his influence, it is no surprise that a tribute album was immediately suggested,
and that seemingly everyone wanted to be a part of it. Some of the best talents in EM are represented on this 2-CD collection,
and it is a fitting tribute. Unique tracks by the likes of Redshift, Jonn Serrie, Cosmic Hoffmann, Rudy Adrian, and many others
are included. Rather than try to re-do Garrison’s work, the artists created new tracks in remembrance of him, sometimes
showing strong influences of his work, other times providing their own style of EM. Redshift’s “Crystalline 94”
is an excellent start, with trademark Redshift sequencing, bass line, and synth lead, but with Garrison’s characteristic
buoyancy as well, forgoing their typically darker approach. It’s an instant classic and a perfect beginning. Erik Wollo’s
“The Flight” is much mellower, a nice contrast. The order as well as the selection of tracks for inclusion on
this set is excellent. Kudos go to Quantum’s Eric Snelders, and to Mike Valant who conceived and headed up
this project, for the superb choices. Next is Jonn Serrie’s “The Star Road,” in his classic planetarium
style. My favorite might be Axess’ “The Pilgrim Soul,” with a particularly strong sequencer and synth string
combo that works wonders, gradually building layers of synths and emotional intensity. Again, sounds used are light in keeping
with Michael’s musical spirit. Next are a couple of laid back smooth tracks that almost seem like EM meets lounge or
soft jazz, Venj@’s “Astral Waves” and Callisto’s “Chilled Naiad,” both extremely pleasant
to kick back to. Perhaps the most moving contribution is by fellow American synthesist Craig Padilla, who used instruments
from Garrison’s own studio to compost “Parallels,” a great midtempo piece that combines elements of Jarre
and Garrison, along with Padilla’s own great synth style of course. Writing about each of the 26 tracks here could fill
pages, but suffice to say that there is amazing consistency here, mostly reflecting the upbeat nature of Garrison’s
spirit and music. However, the tribute has an appropriately somber finish to disc two with the majestic “Requiem”
from Cosmic Hoffmann. A portion of proceeds from the sale of the disc will go to mpower, musicians for mental health. Fantastic
CD, great cause, you can’t go wrong. Easily my pick for Best Compilation Album for 2004. All reviews © 2005 Phil Derby / Electroambient Space. Any reprint in whole or in part must be appropriately credited.
The
Circular Ruins “Land of the Blind” (Databloem, 2004) 8
tracks, 67.03 mins The coolest subtle
electronic shifts and bleeps on “A Storm Of Secondary Things” signify that The Circular Ruins is back with a new
release. Anthony Paul Kerby is well at home creating beautiful soundscapes that fuse the organic and the synthetic. How he
strikes such a perfect balance between seeming aimlessness and deliberate intent still captures my imagination. Abstract sounds
blend together into a relaxing yet complex palette. “Holiday In Reality” is all soft shimmers and lightly pulsing
synths, moving along in a most comfortable mode. “Thought Is False Happiness” is smoother and softer, though this
one does shift into slightly more active territory as it moves along. To this point, there’s really no distinct beats
or rhythms to speak of. The sense of cadence is created by the hypnotic sound loops. “Anamnesis” is particularly
dreamy, a nice floater. The low-key combining of abstract sounds comes forward some at the end, but in no way detracts from
the overall tenor. Perhaps the most relaxed song is “Interior Distance,” with its softly rolling sequence gently
carrying along an assortment of quirky sounds. The abstractness takes over at times, but the gentle sequence always comes
back to smooth things out. “Standing in Violent Golds” is an intense piece of white noise, with a veritable plethora
of odd sonic creations tossed into the mix. Forceful drums begin “A Distant Assembly,” but they eventually fade
into yet another experimental sonic tapestry to close things out. Excellent. Danny Kreutzfeldt “Counterperipheral” (Databloem, 2004) 6 tracks, 70.54 mins Unique samples and beats begin “Timelines,” and for a time
percussion is all that’s there. A drone fills in the spaces a couple minutes in. Oddly shuffling sounds join in, indescribable
on paper. Slowly, beautifully, effortlessly, it builds and unfolds. Pete Namlook, Saul Stokes and others would make good company
for the sounds and the attitude here. The static at the end of “Timelines” sounds just like an old record needle
playing on a dusty or slightly scratchy record. “Modes” is equally abstract, with a bit more outer space sci-fi
quality, though still firmly rooted in modern edgy electronic sounds. It is almost like listening to operating machinery,
but very cool sounding machinery. “Abyss” has a deep almost tribal beat, slightly muffled. The surrounding sound
effects are simple and sparse, but add a lot to the mood, somewhat darker than the first two. Contrast this with “Cloud,”
the longest and most delicate track, though it too eventually drops back into cool slow grooves with just a touch of glitch.
“Chasm” again has a very mechanistic feel, similar to “Modes.” “Channel” follows suit,
the two final tracks forming a 30-minute conclusion that fits well with the rest. Hard to adequately describe on paper, Counterperipheral
is inventive and exciting throughout. Kwook
“Unidentified Feathered Object” (dataObscura, 2003) 6
tracks, 57.09 mins Shuffling lightly
and brightly in, “Dusk Midnight Dawn” is a great unobtrusive way to begin this CD by Kwook from Australia. The
album title is appropriate, as tracks like “Universal Translator” are feather light. The shimmering synthetic
sounds remind me of Kim Cascone’s ambient work under the name Heavenly Music Corporation. “Ice Planet” adds
a low percolating bass line for some spice. Every song seems to be constantly subtly shifting and moving about, restless and
yet entrancing. Some, like “Helix Loop” and “Lorikeet,” are sparse, while others like the aforementioned
“Ice Planet” are fully developed. The disc closes with the longest and most experimental piece, “30 Times
the Speed of Light,” as drones, white noise and other abstractness explores the cracks and crevices for the last 15
minutes. Varied and entertaining, Unidentified Feathered Object satisfies. Lammergeyer
“Blue Oasis” (dataObscura, 2003) 9
tracks, 58.38 mins Blue Oasis opens in restrained fashion
with the low-key “Threshold,” full of bright shimmers and deep swirling synths. It fades seamlessly into “Gravity,”
a richly textured piece in vivid metallic hues. “Plateau” is delicate, equal parts light and dark. Strands of
melody form vaguely, pleasantly around the electronics. Deep bell tones ring out near the end. “Opening” jingles
almost playfully along, though there always remains a subdued character to the music throughout. “Distance” seems
like it should be called “Opening, part 2,” as it continues the theme. APK describes Lammergeyer as more like
soundtrack music than his work as The Circular Ruins, and the subtly symphonic quality to “Pinnacle” supports
that notion, though the sound remains rooted in the ambient electronica that characterizes Databloem’s label. “Headland”
has a cool rapidly spinning pulse. The electronics head off into unusual territory, a somewhat shrill timbre like the synth
equivalent of bagpipes. Add a light, hip beat and it works, one of my favorites. “Horizon” is light and bright,
crystal clear space music. “Harmonic” comes in on the wind, as a clever beat slowly fades in to keep pace for
a time, until the latter part moves into a wistful reverie to bring Blue Oasis to a dreamy finish. Lammergeyer
“Borrowed Time” (dataObscura, 2004) 18
tracks, 66.11 mins Borrowed
Time is a smoothly flowing journey with a singular mood and sound, albeit with enough variety over its 18 tracks to keep
things interesting. Several tracks are in the 2-minute range, and none run into double digits. “Vestige,” at 57
seconds, is a mere wisp of a track that is insubstantial yet indispensable, a part of the overall whole. The third in the
Lammergeyer trio of releases, this is easily my favorite. “Prolegomena” starts the disc inconspicuously, a spacey
sequence lightly wrapped around a few synth keys and atmospheric wanderings. Anthony Paul Kerby has well learned the less-is-more
adage. This track says so much with so little; it is a gem. Some tracks weave so smoothly into the mix that they slide in
beneath conscious perception. So subtle is “Solitary Margin” that I missed it the first two times I played the
CD. I was grooving to “Prolegomena,” then I looked down and I was listening to “Partial Inscription,”
both times saying to myself, “what happened to track two?” The music is wonderfully laid back throughout, easy
to get lost in. Unlike the prior Lammergeyer releases, this is thoroughly electronic, without the symphonic, soundtrack quality
to it – with rare exceptions like “Impossible Expanse,” rich with lush strings. Yet another essential release
from the label. Off The Sky “Cold Distances” (dataObscura, 2004) 9 tracks, 64.54 mins Low drones, soft clicks and occasional static, and echoing atmospheres all come into play
on “A Thousand Year Formation,” the first track on Jason Corder’s Cold Distances CD. Like so many
other releases on this label, it is an understated beginning but holds your attention, enjoying the moment but also holding
an ear out for what might come next. I use the word texture a lot in reviews, and it really applies here. The music crunches;
it crinkles; it stutters. “Morning Thaw” sounds like a slightly mangled source tape, skipping and perhaps playing
backwards. It would be annoying if it ran longer than a minute, but since it doesn’t it forms an interesting bridge
to “Beneath the Ice Shelf,” which in name and in disposition brings forth comparisons to Biosphere and his Norwegian
ice floes. Abstract sounds ping across the landscape, razor sharp and crisp, contrasting the smoother floating music that
forms its foundation. “Light Peaks” has even more static than “Morning Thaw,” and though it’s
shorter it is a little more distracting. “Polar Drift” goes back to dreamy soundscapes with just the right amount
of rough edges. Melody is only vaguely hinted at throughout the disc; the same is true of rhythm. Mostly, it drifts, though
“Cold Distances to a Warm Place” has a thumping pulse to carry it along, as does “Winter’s Torpid
Flow.” Still, this is low-key chilled ambience through and through. Cold Distances is smart, sharp ambient electronica. Spielerei
“Once Upon A Time” (dataObscura, 2004) 9
tracks, 63.52 mins Spielerei is the pseudonym for Databloem
label founder Dennis Knopper. According to Dennis’ bio page, the name Spielerei represents freedom and creativity, and his label as a whole as well as this release epitomizes
that. “1 out of 2000,” is, well, thoroughly Databloem – just the right doses of quirky, cool, and cutting
edge synthetic sounds. “Displaying Movements” is fresh yet accessible, experimental yet pleasant. The rapid soft
sequencing gives hints of Steve Reich, Philip Glass, or even Manuel Gottsching’s classic E2-E4. This is the stuff
trances are made of. Soft flowing textures float in over the top near the end for a nice change of pace. “Kissing Fish”
begins with muted sounds that have an underwater quality, followed by melancholy synth strings. Bright crisp tones are interspersed
throughout, and the track takes at least a couple of distinct twists and
turns. “Incarnation” has a softly stuttering beat and more brightness. The title track is more about textures
and shapes than melodic structure. “Mistaken Identity” adds a sense of drama, the title and the music conjuring
up images of a slick intelligent spy movie. “Spielerei” makes this only the second disc I know of where both the
name of the artist and the name of the CD appear as track titles (Grant Middleton’s rare Under The Dome CDR The Earth
is the other). I call this “Stokes Lite” – the sensibilities and cool grooves of Saul Stokes, with 1/3
less punchy beats – which is fine by me, because sometimes I think ol’ Saul is trying to punch a hole in my woofers.
But I digress. This is a sensational CD of modern ambient synthesizer music. Saul
Stokes “Radiate” (Databloem, 2003) 7
tracks, 69.51 mins Saul Stokes is at his hip, subtle, glitchy best with Radiate, a combination of recent live and
studio tracks. The title track oozes cool as only Stokes can, blending odd noises and buzzes with jazzy notes dropping in
every now and again. Though the familiar Stokes bite is there, the edges are little softer, the tone a bit quieter than he’s
sometimes been. “Wave Image Wave” is a subtle drone piece, with occasional ticks and abrasions to give it Saul’s
signature touch. “Nano Flame” has a nifty clicking sound that is so crisp it is like listening in 3-D. “Oceans
Light The Shore” starts on the abstract ambient side but then develops a bit more structure, at least compared to the
rest. Still, even as it approaches a form of musical cohesion, it is more sound collage than true notes or melody. “Hard
Landing” is an awesome rendering pure science fiction, starting like Forbidden Planet but then moving to quirky
sparse alien sound worlds. Two studio tracks close out the disc in similar fashion, the primary difference being that “Curve
Of Symphony” and “Vast” have a definite beat to them. Radiate is another piece of unique understated
brilliance from the musical mind of Saul Stokes. Subradial
“Bioloophorm : 1” (dataObscura, 2003) 6
tracks, 67.18 mins Bioloophorm
: 1 is another prime example of Databloem/dataObscura having bottled a unique twist on ambient electronica that I can’t
get enough of. Tomasz Szatewicz is the man behind Subradial. Simply titled Parts 1-6, this 67-minute sojourn offers yet another
worthwhile venture into the sonic unknown. “Part 1” is dark and swirling. “Part 2” pulses like many
a cool Biosphere track, although it takes a turn into the murky depths about halfway through. There are at least three distinct
phases to this passage, each more interesting than the last, difficult to describe on paper. Abstract ambient pieces by Pete
Namlook or other FAX artists might give at least a starting reference point for comparison’s sake. “Part 3”
has a simple two-tone phrase that pings along as atmospheric touches echo all around. A wall of white noise builds, surrounded
by dissonant piano and various electronics, which continue after the noise fades. This is daring and exceptional. “Part
4” is subtler and brighter than the tracks preceding it, with distant flutes and water sounds – but then it changes
to a dark synthetic soundscape. “Part 5” combines earthy organic tones with otherworldly ones, dropping into near
silence midway through in perhaps the darkest moments of the disc, although it is so captivating that it is more fascinating
than frightening. “Part 6” is a particularly refreshing light touch after so much darkness, enjoyable as that
was. Lush but simple musical phrasing surrounds a soft regular beat for a nice finish. Subradial
“Bioloophorm : 2” (dataObscura, 2004) 7
tracks, 62.21 mins Bioloophorm : 2 is another
set of mellow mood pieces from Subradial. “Mazuria” immediately pulls you in with its irresistible loops and beats.
“Dusk” clangs about darkly in the mist, with some mild static thrown in at the end. “Traveling” rides
in on a tribal beat with modern synths shuffling alongside. Didgeridoo joins in for a while, then the tune abruptly changes
to a stuttering edgy beat, the music becoming increasingly abstract toward the end. “Countdown to Freeze” is calm
synthesizers before changing to ticking clocks. A fairly static piece from then on, it is oddly compelling nonetheless. “Conmaje”
clocks in at over 15 minutes, starting with soft white noise and a low shimmering drone. Mechanized voice-like samples dissolve
into the mix indistinguishable. Children are in the background playing, birds are singing, the mood is light. But then the
proceedings turn decidedly dark as the music, children and birds all fade to black, leaving only churning restless wanderings
of sound. Water swishes and tosses about with melancholy strings. The birds eventually return, but the mood remains on the
somber side. The sonic variety entertains as it assembles itself in seemingly patchwork fashion. “Misty Hills/Metamoor”
features nicely layered tribal textures to bring the disc to a close. Waki
“Music for Waki People” (Databloem, 2004) 11
tracks, 66.34 mins Somewhat jarring
off-kilter beats and static begin “Crystal of Water,” the first selection on Music for Waki People. But
as a regular beat surfaces, I find my head nodding right along. Japanese musician
Wakisaka Akifuma melds ambient, glitch, and electronica into a unique melting pot of sounds. “Dreams” has
a softer edge to it as it begins, then a thumping beat drives it along just fine. “Job” has excellent sequencing,
a surprising turn toward the Berlin school sound. “Asia” is
another gem, with just the barest hints of static adding subtle texturing to the mostly smooth synthetic tones. “Submarine”
moves back toward quirkier territory, almost anxious as it propels along. The repetitious musical phrasing on tracks like “City” will either hypnotize or annoy, depending on your mood. “Tapwater”
has crisp samples akin to the sharpest sound imaginable of water pinging against something. Very cool, it works. “Reflection”
and Salvia” both stray back into more traditional sequencer-based EM, well done. “Hotaru” is percussion and samples that sound incomplete, unfinished. The disc closes with the
pop-sounding “Hanshin Kousoku,” cute and bouncy. It seems like Waki is still searching for his voice a bit, straddling
a couple of distinct subgenres in EM that don’t necessarily go together. But he does well with both, and there are certainly
many good moments to be had here. All reviews © 2004 Phil
Derby / Electroambient Space. Any reprint in part or in whole must be appropriately credited. Thank you. October Feature:
Delving Into The Unknowns
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