October 2005 Reviews

Dwight Ashley “Four”

(Nepenthe Music, 2004)

11 tracks, 54.46 mins

Dwight Ashley is near the top of my list of lesser known ambient artists whom I think richly deserve more notoriety. Quietly releasing fine work on his own Nepenthe Music label, Dwight creates unique ambient soundscapes that are at turns accessible and challenging. Four opens with the somewhat dark but ethereal “I Saw A Thousand Swallows.” The predominant synth sound brightly shimmers, and this very much has the feel of a beautiful Brian Eno track from the height of his ambient period. It is emotive and delicate, but without saccharine – just as it should be. “Machina Ex Deus” starts with softly grinding gears and murky sounds giving it a more industrial feel, literally. The coarse gritty texture of this one is an excellent counterpoint to the opener. A single reverberating drone starts “Stranded (No. 2).” This is a rich, expansive piece, somewhere between the first two, at turns dark and light. Brighter is “The Art of Standing,” though we still explore largely formless strands of sound, this time with a swirling, circular quality to it. Alien noises and occasional plinks of a metal hammer signal the beginning of “Holes Within Holes.” It starts with a more experimental bent, then becomes more symphonic, like the dark soundtrack to an indie film. “I Swallowed a Thousand Saws” (note the pun in relation to the first track) is brooding, even menacing. Booming tympani is a surprise in “Best of Times,” fading to be replaced by melancholy strings and pads, but it returns at the end. The touch of bombast gives it the unexpected flavor of Klaus Schulze. A brief bonus track, a solo piano piece, makes a touching epilogue to this excellent, mature work by Ashley.

Ashley + Story  “Standing + Falling”

(Nepenthe Music, 2005)

10 tracks, 69.41 mins

Dwight Ashley and Tim Story have collaborated on and off for 15 years, and this album is very much a history of their combined efforts, eight years in the making. On some tracks they combined their skills more or less in real time, but others required passing the music back and forth over a period of time. The result is Standing + Falling, a cohesive release showcasing these two synergistic talents. “Obstinato” is a deceptively simple piece, a two-note bass pulse capturing not only the meter but the feel of the song as well. “Weights and Measures” wanders the darkness aimlessly, restlessly, and a tad ominously. The subtle layering here is superb. “Poppies (for Irene)” previously appeared on the now out-of-print Soundscape Gallery 3 sampler, a dark beauty making a welcome return, fitting well thematically. “Chicken Pot Pie” is apparently the Ashley/Story take on comfort food, and it is as about as accessible as they are likely to get as quirky synths amble along. “13th Station” is a fascinating abstract sonic collage. “Wax Staircase” is a bit eerie. Each track has its own mood and little collection of sounds, bringing its contribution to bear on the artistic whole. Mostly a free-floating affair, the disc does give in to a bit of rhythm on the title track, with a unique hybrid of tribal and synth percussion that works as well as anything else on the disc. As good as the rest is, it is just a taster assortment leading up to the main course, “Dysnipsia,” a 20-minute epic organic ambient saga. Subtle nuances are exhilarating to explore, on this track and throughout Standing + Falling.

Astrogator “The Darkness Between”

(Self released, 2005)

3 tracks, 58.17 mins

Astrogator is the new project of two up-and-comers on the UK EM scene, Jez Creek a.k.a Modulator ESP and Steve Humphries a.k.a. Create. Separately, they make solid Berlin school recordings, so it’s no surprise that together they are equally good if not a shade better. Three lengthy space music tracks offer plenty for retro synth fans to enjoy. Steve’s affinity for Airsculpture immediately comes to mind on the 27-minute opening track. A long floating section of pure atmospherics expands the mind for several minutes. Approaching the sixth minute, piano that was hiding subtly in the background moves to the fore, and a steady beat gradually emerges as well. A couple minutes later the first sequencing emerges, sharp and crisp, moving at a slow to moderate tempo. Airsculpture has been pretty quiet the last couple of years, and this track by Humphries and Creek makes a welcome substitute. A Jarre-esque synth lead softly floats in and out of the mix. Even if it never went past this section it would be good, but toward the 20:00 mark another hypnotic sequence gets rolling, resting on a bed of wonderful string synths as the rhythms get a bit more intricate as well. At this point I lean over and ask my 9 year-old daughter if she likes it, and she bops her head along in approval. “Part Two” is nearly 15 minutes of drifting and swirling – no rhythm, no melody to speak of, just loads of space sounds layered on top of one another. Saw waves figures just a tad too prominently but otherwise this is another good one. “Part Three” takes us back into the stratosphere with equally good atmospheric and sequencer-based sections. I often find that the first album of a group has a certain magic, a sheer enjoyment in playing and creating, with just enough raw edges to lend a genuine freshness that makes it special. The Darkness Between is such an album.

Paul Ellis “Silent Conversations”

(Groove Unlimited, 2005)

9 tracks, 76.30 mins

Paul Ellis has definitely come into his own with the rich tapestry of songs that form Silent Conversations. We begin with “The Only Known Photograph of God,” slowly fading in on dreamy wisps of sound, followed by light crisp hypnotic sequencing. Steve Roach and Jeffrey Koepper add their own special touches to this complex yet comfortable piece. “Trillium” features beautiful fluty synths that playfully bounce up and down the scale. A cool resonant bass line enters the scene, again with some fine sequencing, clear and bright. Some downright funky rhythms emerge near the end, and then it all gently falls back in upon itself. “Peripheral Vision” begins as an eerie floater, but then easygoing keys lightly play through the midsection, echoing back and forth. Paul is always one for fun song titles, and “The Wind-Up Synthesizers of the Glass Reich” certainly falls into that category, with references to two of his key influences. “Trance Figure” is proof of the “less is more” adage,” a simple repeating phrase used to great effect. Ellis plays guitar on this one, strumming in relaxing fashion. “Continental Drift” is probably the closest Paul gets to classic Berlin school, but it still has his unique musical voice, always in motion. Cool bass and percussion form the backbone of “The Dumb Angel’s Periscope,” as a variety of electronics run through it, another one of four tracks including Steve Roach. This low-key affair builds a nice bridge to the title track, a unique blending of synths and cello, lending a strong classical feel. Alison O’Connor’s wordless vocals remind me much of Diane Timmons’ vocal enhancements of Spacecraft’s music. A cool bonus cut is Paul’s arrangement of his collaboration with Steve, “Dialing In The Sun,” a variant of the track “Sundial” that appears on Roach’s Life Sequence CD. It is familiar but quite distinct from the original version, a worthy inclusion and conclusion. Highly recommended.

Jeff Greinke “Soundtracks”

(FWD Records, 2004)

6 tracks 66.54 mins

By inference, these six pieces are apparently soundtracks to various short films, hence the name of the CD. Greinke has experimented with a variety of sounds over the years, from dark ambient to rock and seemingly everything in between. Here the emphasis is on soft delicate textural pieces. “Gradual Motion (dream)” has strings, sparse piano, and an oboe-like synth. The strings in particular set a melancholy tone. “Oil and Water” is by far the longest track at nearly 27 minutes, and is well worth every minute. The musical canvas paints a pastoral serene picture, perfect for quiet reflection or just taking it in as it comes. A certain dark ambient edginess churns things up just a bit in the middle, and this mood deepens as the piece develops, though it turns brighter again toward the end. “Closing” is barely there at 1:44, a pretty flowing track with piano and atmospheric synths. The understated piano playing is excellent throughout, somewhat like Harold Budd, Brian Eno or A Produce, but with Greinke’s own take on it. “Foster Island” floats and swirls in dark misty pools, again a touch on the sad side, beautifully rendered and yet quite masculine, not even close to new age fluff. Darkest yet is “Over Water,” with a drone that breathes in and out as its foundation as subtle synth sounds come and go. Lastly is “5,000 Falling Souls,” the lightest and most structured piece, as bell tones gently ring out a soft melody, though there is still plenty of open space for the other sounds to explore. Soundtracks is all about picture music, well done throughout.

Tom Heasley “Desert Triptych”

(FARFIELD Records, 2005)

3 tracks, 66.41 mins

This live CD from a 2003 concert shows a different side of Tom Heasley, “that ambient tuba guy.” Actually, it shows three different sides – didgeridoo, voice and electronics. That’s right, he put the tuba away in the closet, at least for this set. Desert Triptych demonstrates that Heasley can sculpt hypnotic ambient soundscapes out of whatever raw materials he chooses. “Joshua Tree” is the “short” track at just under 17 minutes. Starting with soft didgeridoo alone, a cool meditative mood is immediately set. The slightest strands of other sounds are gently weaved in throughout, such that it is often hard to tell which source is electronic and which is vocal. Although there is one point eleven minutes in where the vocal adds a particularly haunting effect. There is no beat, no melody, just pure atmosphere throughout. The didgeridoo starts with a low growl to begin “Solitude,” but mostly it stays with subtle electronics and processed vocals to set a relatively eerie tone, similar in feel to some of Robert Rich’s work. If anything, “29 Palms” is a shade darker still, such that the overall effect of listening to Desert Triptych is like slowly descending into a dark cave; it’s a bit scary, and yet you just have to say, “cool.”

Cosmic Hoffmann “Electric Trick”

(Heart & Mind, 2005)

9 tracks, 69.19 mins

Klaus Hoffmann-Hoock stays quite busy under his various recording names but it has been, unbelievably, five years since his last Cosmic Hoffmann release, Shiva Connection. Thankfully, the void has been ably filled by Electric Trick, another great blend of future and past, of cosmic spacescapes and psychedelic rhythmic pieces. From trippy “Indian Bliss” to rocking “Timeshift” to dreamy “Sehr Mystisch,” the sounds shift with ease from 1978 to 2003 and back again, a quarter century seamlessly held together by the music. As on past Cosmic Hoffmann excursions, the crew includes Stephen Parsick and a guest appearance on “Space Pioneers” by Ron Boots. This track starts with space transmissions and voiceovers, then launches headlong into orbit in typical Cosmic style, wonderful stuff. “Floating in Time” sounds like you might expect, sweet vintage synths playing over the top of sonic drifts. Even spacier is the soothing sound of “Nebelwald,” a pure floater much in the style of “Wanderers of Time” from the debut Cosmic disc Beyond The Galaxy. Speaking of that album, “Further Beyond The Galaxy” comes next, starting slow then really cooking as it jams along, propelled by chugging synths and rhythms. The beauteous “Carina Cygnus” brings us to a mellow close. The Cosmic Hoffmann sound is first-class retro, familiar and yet like no other. 

Na-Koja-Abad “Black Serpent Dreaming”

(Gears of Sand, 2005)

1 track, 62.47 mins

I first wrote about Na-Koja-Abad when I raved about his Fleeting Glimpses CD in the August issue of EAS. Black Serpent Dreaming shows that this strong showing was not a one-time wonder. This time, a single track of dark organic ambience meanders its way through an hour of subtle twists and turns. Instrumentation is wide ranging, from wood, rocks, rattles and bottles to vector synthesis and algorithmic soundscaping. Things go bump in the night, or ring out shrilly above the rest, or part murky waters, or float serenely by. There is a constant ebb and flow to it, a restless churning of sounds that manages to be simultaneously disturbing and yet soothing. This is heady stuff for deep exploration inward, though it could also serve as background music with a bite. No detectable melody appears, and although there is no rhythm per se, the richly organic sounds have considerable substance, such that the floating and drifting has rough edges to it. Water is a recurring theme, and it is the last sound left as the disc fades. Black Serpent Dreaming will take you to faraway exotic places – all without leaving your living room.

Patrick O’Hearn “Slow Time”

(www.patrickohearn.com, 2005)

8 tracks, 44.17 mins

Slow Time will certainly do nothing to dissuade passionate Patrick O’Hearn fans from continuing to pledge their allegiance to one of the pioneers of the new age movement. “Music for Three Vibraphones” is beautiful in its simplicity, a true pleasure to listen to, an appropriate tribute to Frank Zappa, as O’Hearn briefly but emotionally notes in the booklet. The title track has a circular quality, as unique sounds wrap around each other. The bright and bubbly “Lets Move On” is next, with a layered approach more reminiscent of his past work. Swirling synths and soft percussion begin “I Could Live Here,” followed by that familiar piano, sparse and reverberant. Drums and bass eventually come full forward in the mix, lending a surprising cool ambient dub groove. This fades smoothly into “Where We Once Stood,” the softest track juxtaposed nicely against the busiest. O’Hearn again uses the piano so effectively, so frugally, in a way similar to Budd and Eno and yet a signature sound all his own. “I Remember Now” starts with something akin to a gong run through an effects processor. The music flows with such ease throughout that one might overlook the amazing breadth of sounds he creates. The mood here is darker than the rest. Popping pulsing tones start “A Welcome Sight.” Plinking piano is again present, this time sounding as if the microphone is inside the piano, so that you can hear every detail as the wood hammer comes down on the strings. Shakers add a nice light touch of percussion. This is classic Patrick, a moody piece of organic ambience. The disc closes with “Still Standing,” which can certainly be said of O’Hearn as well.

Robert Rich “Open Window”

(Soundscape, 2004)

8 tracks, 64.21 mins

Robert Rich has explored a considerable range of styles in instrumental music, from nearly silent works like Trances/Drones and Sunyata to meticulously created albums like Geometry. Still, it comes as a bit of a surprise that he chose to explore solo piano. For those who love the adventurous nature of Rich’s past work, this one may take some getting used to. It is as far from Bestiary as the east is from the west. But as for me, I’m left all the more impressed with the depth of Rich’s talent. Tracks like “Corners” and “Parallel Horizons” are simple yet intricate. And while these two are relatively buoyant, others like “Insular” are considerably more introspective, a bit more what I would expect from what I know of Robert’s musical personality. The title track is particularly spacious, often allowing the notes to hang in the air and fully exhale before continuing. The last notes of “Punctuation,” in particular, are allowed a long slow fade to black to bring the disc to its conclusion. If you like solo piano music, you will love Open Window.

Robert Rich “Echo of Small Things”

(Soundscape, 2005)

9 tracks, 61.14 mins

Inspired by the photography of David Agasi, whose sultry sepia tones adorn the booklet, Robert Rich brings us Echo of Small Things, his latest musical exploration of the human element. “Pathways” sets the tone early – introspective, minimal, muted. Footsteps crunching in the soil. Feathery light synths. Birds chirping in the background. Dark underpinnings of otherworldly sounds. Metallic drones. All at soft levels and subtly blended together into a unique sound world, the kind that Robert seems to create regularly with ease. The mood darkens as it fades into the next track, “Fences.” A mournful wail, probably from his lap guitar, adds to the somber proceedings. “Circle Unwound” rumbles like thunder, crashes like rain, crackles like fire, and generally captivates. “Passing Terrain” swirls in a vertiginous manner before settling out into a smooth floater as low drones lay across bright trills of sound above. Each track creates its own little sonic universe, usually with a key element or two that defines it, such as crickets and flutes in “Scent of Night Jasmine.” Rich does a wonderful job of keeping the overall tone low key, the timbre soft, the feeling just a bit on edge. Echo of Small Things is a brilliantly understated work full of nuance.

Steve Roach “Possible Planet”

(Timeroom Editions, 2005)

3 tracks, 73.20 mins

As adventurous as Steve Roach has been over the past two-plus decades, I was still wholly unprepared for the brave new trail he blazes on Possible Planet. Done entirely on analog modular instruments, with no keyboards, no midi, no soft synths, Steve has created a singular vision, an oozing, organic biography of a truly alien world never before seen or heard. The unusual, vaguely unsettling photography by Michele Wortman is a perfect parallel to the music contained within the strangely compelling packaging. Three long tracks meander through murky tunnels, damp musty corners, and bubbly green-black pools. “First Murmer” is loaded with deep resonant drones than slowly expand and contract. Eerie clicking sounds mark the transition point to track two, “Gestation.” The clicking reminds me of the frightening invisible alien from the movie Predator, hiding among the trees in the jungle. The drones go deeper and take on a more metallic timbre as the ominous clicking resurfaces. It is like a stark nightmare version of The Magnificent Void. But sometimes when we wake up from a nightmare, instead of being frightened we can say, “wow, that was really cool,” and we are more excited than afraid by the stirring of our imagination with bold new images. Such is the case here. “Cell Memory” is a little brighter, more electronic than the very organic sounds preceding it, although the gurgly clicking remains. As the swirls of pure space sounds emerge, we move closer into familiar space territory, similar in feel to Michael Stearns classic Planetary Unfolding on the mighty Serge modular synthesizer. It becomes more relaxed and once again organic in the final floating minutes. It is exhilarating exploring Steve Roach’s Possible Planet.

Steve Roach “New Life Dreaming”

(Timeroom Editions, 2005)

5 tracks, 68.48 mins

New Life Dreaming is a wonderfully accessible journey into deep space. The deep reverberations of “Perfect Dream” get us started, slowly breathing in and out for a nearly 16 minute journey of bliss. Steve was inspired by the drifting sounds of Dreamtime Return as he remastered it, and as evidenced by the same silky flowing quality here. “Where I Live” continues the pure floating into the outer realms, pillow soft and feather light. “The Ancients’ Way” is next, meandering through the mist. Soft tribal beats are added in the midsection, again reminiscent of Dreamtime Return, with hints of Well of Souls or perhaps Mystic Chords in tone and feel. For me the pinnacle is track four, “Deep Sky Time,” quite possibly the best piece of pure space music I have ever heard. It explores a place so dreamy, so luxurious, and so warm that you may never want to return. Ethereal tones abound throughout, finishing with a flourish as the soft voice of Jennifer Grais adorns “In the Eye of Noche.” Whereas she added an ethnic touch to Fever Dreams II, here she adds an extra dash of faraway reverie to bring New Life Dreaming to an ethereal conclusion. This disc has been on almost constant rotation at Electroambient Space since receiving it – an instant classic.

All reviews © 2005 Phil Derby / Electroambient Space. Any reprint in whole or in part must be appropriately credited. Thank you.

September CD Reviews

9 new full reviews this month, plus check out the Features page for several more "mini reviews."

Max Corbacho “Moontribe”

(ad21 Music, 2004)

6 tracks, 67.38 mins

The deep dark churning ambience of “Suntribe” sets Max Corbacho’s Moontribe in motion. I’m expecting a short intro but there are two printing errors on the cover where a “1” was left off the running time – “Suntribe” runs 12:47 and “Moontribe” runs 19:59. When I think “Suntribe” is going to end its dark journey, it’s just getting started, and shifts into a deep tribal mode. Ethereal shimmers float over the top as it then moves into a different rhythmic section, though still brisk and tribal. The synthetic and organic sounds are perfectly mixed together, energetic and yet dark and brooding also. Moontribe is a set of compositions from collaborations that did not happen, plus two new creations. It’s like having an assortment of good chocolates to enjoy – some light, some dark, some smooth, some with texture. “Out of Nothing” has a punchy little synth sound that percolates along, like “Suntribe” a good mix of futuristic and primitive elements. “Distant Dwellings” is a tribal-infused groove for the first half, and then floats about with quiet wanderlust for the latter half, perhaps going spelunking. “Unknown Radiance” is perfectly named, a growing evolving piece of white noise that does indeed radiate outward from places unknown. It transitions into “Across the Spectrum,” which quickly brings back the rhythm that had taken a momentary respite. The title track takes up almost a third of the CD, ending things with a deep dark meditative portion of ambience. Except for a brief tribal section toward the beginning, this track is all about the floating. Max Corbacho scores another win with Moontribe.

James Johnson “Cube 1: Music for the Working Space”

(AtmoWorks.com, 2005)

1 track, 60.48 mins

Also known as Environments 2, this disc and James Johnson take minimalism to the next level. A variety of ambient noise creates a personal listening space, a cube if you will, perhaps even a work cubicle. Things rustle, crunch, hum, and so on. As much as I’ve compared Johnson to Brian Eno in the past, I think he’s really nailed it this time, but not in terms of sound. Rather, he has reached the same level of bold experimentation with sparse sounds that Eno so bravely explored on such classics as Neroli and Thursday Afternoon – pieces that go nowhere, and yet go everywhere. I’ve played this in the morning, afternoon and evening – listening intently alone, or hearing it in the background over dinner with friends. It works every time; sonic wallpaper beautifully rendered. The humming noise is just a bit disturbing, restless, a counterpoint to the rest which is largely soothing. Things take a slightly industrial turn in the middle, just to churn things up a bit – still quiet but more mechanistic. And yet, it retains an organic quality throughout as well. Quintessential chill music.

James Johnson “Cube 2: Stillness”

(AtmoWorks.com, 2005)

1 track, 74.46 mins

Cube 1 was Environment 2; Cube 2 is Environment 3; Environment 1 wasn’t a Cube at all. The naming convention may be a bit confusing but the principle remains the same throughout the Environment series – cool background music and sound that is the very definition of ambient. Whereas Cube 1, “Music for the Working Space,” was more of an abstract sound palette, Cube 2, “Stillness,” has more music in it. That’s not to say we are talking about ordinary music here, not at all. A female voice softly sings, people speak in the background, and soft bass and bell tones ring out. Melancholy strings enter the picture a few minutes in. Yes, there’s a bit more for the ears and the brain to wrap around musically speaking, but it’s still a fair distance from melody in the conventional sense, though notes are discernible, even a key signature perhaps. Still, it’s more about the mood than the structure. 75 minutes pass softly, pleasantly by before you know it. 

Klaus Schulze “Body Love”
(Inside Out, 2005)

4 tracks, 75.00 mins

Klaus Schulze “Dune”

(Inside Out, 2005)

3 tracks, 79.53 mins

Klaus Schulze “Audentity”

(Inside Out, 2005)

CD 1: 3 tracks, 74.16 mins

CD 2: 8 tracks, 79.45 mins

Klaus Schulze “Miditerranean Pads”

(Inside Out, 2005)

3 tracks, 71.51 mins

Here we are again, four more reissues of classic Klaus Schulze albums, beautifully packaged with nice booklets, photos, background information, and bonus material. At least one disc from each set of reissues, up to now, has been plagued by sound engineering problems. So how does the latest set fare? Well, disc one of my copy of Audentity is unlistenable, it is so marred by distortion at several points on arguably the best KS track ever written, “Sebastian im Traum.” Happily, I can assure you that the pressing number on my CD does not match the copy that most people hold in their possession, and those listeners tell me they have no such flaws on their disc. Apparently, despite claims to the contrary from the label, I’ve been given a bum copy. If that is true, and if the copies now available are clean, then you should by all means get this disc, because the bonus track “Gem” is just that, nearly an hour of a gem of classic Schulze music that no KS fan should be without. The liner notes say this music is from the Australian movie “Next of Kin” from December 1982. As such, it fits quite well with the rest of the music here, being of the same era. The first section, “Gem,” is a dramatic piece with gorgeous vintage synths, very powerful, almost as if Klaus is attacking the keyboard. The next section, “Tiptoe on the Misty Mountaintops,” jumps right into a percussion section much like the computerized drums used throughout Audentity. A rapid, hypnotic sequence follows – heaven. The remaining sections are really quite similar, but no less enjoyable.

The other reissues are, to my ears, flawlessly reconstructed. Body Love features amusing photos from the soft #### film of the same name, and a bonus track apparently recorded but never released on either Body Love volume. A warbly synth begins things, going solo for several minutes before more familiar elements from the film emerge, silky dark pads and soft drumming. Then the Moog solo arrives and this is a perfect companion piece to the rest, as if it belonged there the whole time.

Miditerranean Pads is virtually untouched from the original, no bonus track, so there’s really nothing to say about it, assuming most KS fans already own it. That leaves Dune, which I somehow missed when I bought everything Schulze as it came out in the late 70s and early 80s during my high school and college days. It is interesting hearing it now for the first time. The half-hour title track is dark and brooding, and not surprisingly has some similarities to “X” in its blending of synthetic and symphonic sounds. “Shadows of Ignorance” is an acquired taste due to Arthur Brown’s narration. I would prefer it without, but the music is excellent, the crisp rhythm sounding more forward looking to the Audentity period. “Le Mans” is the bonus track, a live piece from the Dune tour in 1979. The quality is along the lines of live recordings from The Historic Edition, that is to say, only so-so, but the music is good, and collectors will no doubt want to get their hands on it. There are wild Klaus solos with great energy, and lots of variety in moods and tempo.

So there you have it, four more reissues, and with the exception of Miditerranean Pads you best buy them all if you are a Schulze completist.

Smoke & Mirrors “Dieties”

(Aural Fixation, 2004)

2 CDs, 11 + 11 tracks, 72.25 + 71.45 mins

Somewhere between the progressive ethnic-influenced rock of Ozric Tentacles and the lighter eastern influences of Jade Warrior comes Smoke & Mirrors, featuring Spider Taylor on guitar, bass, and sound effects, and featuring Michael Ely on synths and samples. Like the Ozrics and Jade Warrior, there is a very organic feel to this music despite the array of electronic sounds used. Picking a song at random, such as “Garuda, the Wings of Vishnu,” finds accomplished restrained lead guitar, soft percussion, and a light smattering of dreamy effects. Perhaps the wildest assortment of influences is found on the opening track, “Brahma, the Creator.” The first few minutes sound like dark ambient. This then moves surprisingly into a dramatic orchestral section, which gradually segues to world-tinged beats and gonging bells. The track immediately serves notice that this disc is going to explore a variety of musical styles. Taylor and Ely moves with ease from rhythmic pop-length tunes like “Blue Sapphire” to longer contemplative passages like “Peacocks and Swans.” They do a spectacular job of creating a good flow from beginning to end, mixing fast, slow and mid-tempo pieces just right. Disc one closes out with the short, delicate “Lotus Blossom,” once again featuring Taylor moving softly, deftly across his fret board as Ely adds just the right electronics for atmosphere. Disc two provides more of the same, great musicianship and great variety. I particularly like “Parvati, the Powerful” with its cool meandering bass line and softly beating tribal percussion, making a great mood piece. So go figure, a guy like me with very narrow tastes in electronic music stretches his horizons a bit. Give Deities a try.

Tangerine Dream “Kyoto”

(TDI Music, 2005)

11 tracks, 65.31 mins

Lost tapes of Edgar Froese and Johannes Schmoelling from 1983? Is it too good to be true for fans of Tangerine Dream’s vintage period? Well, it would not get mistaken for Hyperborea or White Eagle, but Kyoto could easily be taken for a relatively strong TD soundtrack from the 1980s. The scorching guitar and pounding beats of “Industrial Life” would sound right at home on the Thief soundtrack. The melodic synth chords toward the end of this track are full of optimism and energy. “Chilly Moons,” on the other hand, finds a comfortable middle ground, setting a mood and sticking with it for the duration, stabbing synth chords and drums carving out a sonic space to settle in to. Even more relaxed is “Lizard Lounge,” followed by Schmoelling’s beautiful piano playing on “Cherry Blossom Road,” synths and piano melding seamlessly not unlike 1985’s Le Parc disc. Very similar in timbre is “Craving for Silence.” “Tamago Yaki” sounds more current, like something from the Dream Mixes series of CDs, with its squelchy synths and danceable rhythms, though it changes dramatically in the midsection, like someone leaning hard into the keyboard one chord after another. This one features some really nice sequencing. My favorite may be “Kyoto Sunrise,” with its crisp rhythm and quiet rapidly moving bass line. “Last Train to Osaka” is filled with strings, having a light and delicate orchestral flavor. Kyoto is a solid set, well worth releasing and well worth hearing.

All reviews © 2005 Phil Derby / Electroambient Space. Any reprint in whole or in part must be appropriately credited. Thank you.

April 2005 - 21 CDs reviewed this month

Alidan “Nebulae”
(Margen Records, 2004)

10 tracks, 68.30 mins

Alidan hails from Spain and makes ethereal space music. “Glider” is soft and not overly sweet, floating gently by. More spacious sounds of American synthesist Robert Carty come to mind. “Voyage” travels a similar path, with easygoing sequencing and percussion added in for good measure. Mostly music of the deep space floating variety, tracks like “Flowers on the Wind” skirt along the edges of new age, with pretty piano and softly textured electronics. “Cities of Lights” has light, playful synth flutes and female choirs. Even “Shaman,” which has some tribal touches, stays in a very pleasant relaxed mode. Nebulae is not groundbreaking, but it does go down easy.

Arcane “33⅓ RPM”

(Neu Harmony, 2004)

5 tracks, 60.42 mins

Paul Lawler’s music as Arcane has always been unabashedly retro, and this time the concept extends to the cover art, and intentional vinyl scratches and clicks at the very beginning of the first track, a quaint touch that I really like. “33 1/3 RPM Side One” is a perfect homage to Bauman era Tangerine Dream without blatantly copying it. Both this and “Side Two” take a restrained approach to the Encore period of TD, focusing on the atmospheric aspects for the most part, although a steady beat runs through a section of “Side One” and a nice little sequence gets going on “Side Two,” starting way in the background as a wonderful, soulful little synth lead plays along. The sequencing then steps forward, sounding more like Logos. For the most part, however, these first two tracks remind me of prized bootleg recordings of TD from 1974 to 1977, except that the sound quality is first rate. Each sidelong track has several distinct movements and passages, and like TD did so well the parts are unique and yet connected. Moving ahead to TD circa 1981 is “Dr. Wutzke’s Psychedelic Wonder Machine,” with a rolling pulsing synth line that is straight off of Thief, but with enough of a twist to keep things interesting. Crank this one up while driving down the coast highway! The coyly named “Silent Thief on a Desert Train” is next, with a repeating pulse that is a close cousin to TD’s “Remote Viewing” from Exit, but the music built up around it is quite different. This one builds really nicely, and one has to shake one’s head in disbelief at how succinctly Lawler captures TD’s essence at moments like this. “The Taxidermist” slips back into a laid back sound and feel, a perfect conclusion to an excellent disc.

Binar “Project Poltergeist”

(Bogus Focus Records, 2005)

7 tracks, 58.40 mins

Paul Nagle and Andy Pickford have quietly been making a new name and creating a new identity for themselves over the past couple of years. Their collaborative musical clarity is evidenced in increasing fashion from Ramayana through their latest, Project Poltergeist. “The Truth Sets Us Free (Part 2)” jumps right into things, a brief atmospheric section opening up to bright sequencing and a steady beat. The hypnotic loops are layered one over another keeping a moderately brisk pace that lightens toward the end, flowing into the dreamy intro for “Reflected Opacity.” A beautifully restrained lead line, bright piano, and a simple cadence lend themselves to the relaxed mood. Both Pickford and Nagle enjoy dropping occasional vocal samples into the music, and they appear briefly in several tracks, including the end of this one and the beginning of the next, “The Cosmic Void,” which kicks off with a really cool sequence that sort of growls as another solid rhythm gradually takes hold. This is another nicely layered piece with just the right blend of textures and sounds. A classic synth lead that I’m sure I’ve heard Chris Franke employ on Klemania, appears and is put to good use. “The Hidden Meaning” has a deep pulsing yet playful bass line that drives it along. The piano melody is perfectly placed. “Remembering Giants” has a subtle majestic touch. The title track puts all the elements together into a fine 11½-minute package. It doesn’t try to hit one out of the ballpark, it finds a groove and feels right – just like the rest of the disc.

Circular “Glass Darkly”

(Origo Sound, 2004)

17 tracks, 66.39 mins

Circular’s Nanotopia release is among the strongest to come out on Norway’s Origo Sound label; so it was with great interest that I received their latest, Glass Darkly, named after a favorite passage of mine from scripture. “Clay” features coolly shifting percussion and bass, modern synth sounds and textures, and piano that echoes in the background. The piano is like A Produce, the synth sounds are more like Pete Namlook, making for an interesting musical dichotomy. “Titan” continues in similar form, with a percolating little percussive loop that really chugs along nicely. “Time-Slip” is a more abstract work with sonic layers that weave in and out of each other in subtle fashion. This one makes me think of the cool, jazz-infused ambience of Spyra. Speaking of jazz, “Jazz Kid” is next, featuring Circular’s penchant for interesting vocal samples, both spoken and sung. The feminine touch works well, though I can’t understand a word of it. “Spook” is darker around the edges, sparse and somewhat experimental in nature. “Revolved” has a beautiful delicate sequence that carries it. Essentially, what we have here are 17 assorted little sonic gems, each telling its own story with a unique voice. Despite the varying nature of the pieces, they fit together rather well, like listening to a good compilation except that these are all by the same musicians. Throughout, the tone is laid back and cool, case in point being “Bliss,” with shifting light synth sounds and a simple but very effective bass line. If you like material on the FAX or Databloem labels, you should also really enjoy the smart electronica of Glass Darkly.

Jim Cole & Mathias Grassow “The Last Bright Light”

(AtmoWorks.com, 2004)

8 tracks, 73.25 mins

I like overtone singing best when it sounds like a drone, an instrument that blends seamlessly into other ambient sounds. Both Jim Cole’s and Mathias Grassow’s voices do just that on The Last Bright Light, as Mathias Grassow’s formless textures surround them and the listener. Though the mood is somewhat dark, there is a shimmering brightness to it as well. The music goes very deep, and would be perfect for meditation or possibly even to affect dream states during sleep. “New Beginning” starts with a higher tone than the opening title track, but is similar in character, very soft and extremely soothing. “Starlit Shadows” is aptly named, a hybrid of light and dark elements. No one does drones quite like Grassow; the entire CD is a slowly shifting evolving sound palette. “Flare” is the darkest, stripped down but with many subtle shadings to the drones. “Fell Radiance,” is the brightest number, again classic Grassow perfectly enhanced by vocals that only come forward on occasion, but are likely there throughout. “Fusion” is the lengthiest track and a beautiful combination of vocal treatments and instrumentation. I would be hard pressed to identify a synth versus a voice versus a violin-zither or an Indian harmonium, just to name a few that are used here. But the end result is indeed a great fusion of all these elements for a cool drifting experience.

Dac Crowell “Harmundum”

(Suilven Recordings, 2003)

1 track, 56.41 mins

What to say about a nearly hour-long recording of a simple chord progression stretched into a single piece of music? In a word, amazing. Totally captivating, American ambient artist Dac Crowell takes his training from Karlheinz Stockhausen and converts it into something that’s a delectable cross between Steve Reich’s Music For 18 Musicians and the single tone poems of drone artist Jliat. Like Jliat, the music goes for long stretches with little changes, except that the mind hears subtle colorings that may or may not actually be there. Like Reich’s masterwork, the music has a definite progression, belying the seemingly static nature at any given point. The result is completely hypnotic, causing you to, as Crowell puts it, “listen within.” Words like mesmerizing, alluring, compelling, entrancing, they really don’t do Harmundum justice, so strongly does it pull you in to its unique sound world. Be prepared to be drawn in fully, not wanting to leave.

© 2004 Phil Derby / Exposé Magazine

Dac Crowell / Kurt Doles “Dac Crowell / Kurt Doles”

(Suilven Recordings, 2004)

3 tracks, 64.55 mins

This disc is actually one Dac Crowell solo piece and two collaborative efforts. Crowell’s “Yankee Ridge” starts with a low hum that reverberates as it swells in and out. Bright and beautiful, the nine minutes passes by all too quickly. Released 10 years after it’s creation, I’m glad it sees the light of day here. The centerpiece is the 46-minute “Rain Temple Garden, with nature sounds and a deep pulse that sounds like some sort of giant generator at a commercial facility or perhaps a utility company. At higher volumes it could give speakers and subwoofers quite a workout; no doubt designed for lower listening levels, it is suited to deep relaxation or passive listening. “In Midsummer” is a highly structured piece by comparison, though in actuality it too is quite minimal. It is also very lovely. The first and last tracks are by far the strongest for listening. I will need to spend more time using the lengthy middle track for medicinal purposes before fully passing judgment.

Deep Chill Network “Cyber Sleep 5”

(Dark Duck Records, 2004)

2 tracks, 59.29 mins

Cyber Sleep 5 is two exceptionally soothing half-hour tracks, each floating delicately on wisps of ambient softness. “Suspended Angel” is beautiful, with soft synth pads ebbing and flowing just right, threatening to but never quite becoming completely silent as the next sound smoothly fades in on top of the one just ended. Sometimes a track this long and this subtle grows old; sometimes, like here, it becomes a warm place you don’t want to leave. “Hovering Above Fear” is just a strong, similar yet distinct. This one is more like Steve Roach’s classic Structures From Silence, as the gaps between ethereal notes are longer. Sometimes silence in this sort of music can be a bit jarring, interrupting the flow and the mood; here it works to a tee. The character of the music is a shade darker than on “Suspended Angel,” but this is only by a matter of degrees. The changes are perhaps a bit more noticeable with the passage of time, but still quite gradual for the most part. Perfect for unwinding at the end of the day. You will likely find yourself asleep before reaching the end, and I mean that as a compliment.

M Griffin “Sounds Are Hidden Inside Objects”

(Hypnos, 2005)

4 tracks, 69.57 mins

Mike Griffin kicks off his Hypnos Secret Sounds sublabel, featuring limited CDR pressings of 200 or 300 copies, with his own release. Sounds Are Hidden Inside Objects features four lengthy dark textural pieces of first-rate drones and other atmospherics. Though it has been years since his last solo release Sudden Dark, Griffin seems to pick up very much where he left off. This stark ambient music conjures up images of wind-swept desolate planets or a lonely sojourn into the outer reaches of space. “Iyon Aaz” is filled with metallic resonant drones and deep swirling echoes of sound. Melody is neither implied nor intended. “Ido Ereme” delves deeper still into hazy sonic reverberations. Low rumbles are ideal for testing your stereo system, experiencing the music by vibration instead of by ear. “Ixe Om” combines the metallic quality of the first track with the deep expansiveness of the second. The result is a not so distant cousin to Steve Roach’s The Magnificent Void. Last up is “Inye Adieme,” easily the brightest of the bunch. Ethereal soothing tones fade in, and although restless underpinnings remain, the mood is just a touch more relaxed throughout. It is safe to say, however, that the new age label will never apply here. And that is a very good thing.

John Lakveet “The Force of Reason”

(Groove Unlimited, 2005)

8 tracks, 69.40 mins

The Groove site describes The Force of Reason as “versatile melodic sequencing.” Versatile is a perfect description of this excellent release. Yes, the classic Berlin school touches are there – great synths and sequencing and all that. But what really satisfies is the varied moods and sounds employed so effectively throughout. The centerpiece is “Nihil-ibuster,” an amazing feat for the usually concise Lakveet. This epic musical concept stretches over nearly 25 minutes, unheard of for the man who, like fellow Spaniard Dom F. Scab, specializes in pop-length synth tunes. It is a daring, experimental piece for Lakveet, and he pulls it off beautifully – a piano section here, a flute section there, a smattering of atmospheric sounds and effects, and perhaps most surprising of all, no sequencing until almost 17 minutes have gone by. If you prefer his more melodic composed works, you will still have plenty to choose from. The lead-off track “Leibniz and contingency” is first and foremost about the bubbly sequencing, which starts from the word go. But even this track is a tale of two halves, the latter being sparse tinkling electronics and light lead lines amidst a backdrop of various synth textures. I never cease to be impressed by great sequencing, and the middle of “Checkmate to B. Russell” is an excellent case in point. The bright shimmering tones of “Copleston aperture” focus more on atmosphere than melody or sequencing, although an energetic rhythmic passage ensues later on. The catchiest number is “In-Kant-able,” trademark Lakveet with tight sequences, infectious rhythms, and memorable melodies. Highly recommended.

Magic Sound Fabric “Freedom Star”

(Spiralight Recordings, 2004)

9 tracks, 69.40 mins

This label continues to impress me with their ability to create accessible electronic music that carefully straddles subgenres including ambient dub, electronica, and others. The title track moves in a light, shuffling groove, a soft synth lead playing a pleasant melody as the bass and the beats add punch and kick. Water and Colleen Lanza’s captivating speaking voice adorn the chilled sounds of “We are All Connected.” “Cosmic Consciousness” takes it down one notch further in the early going, and even when it picks up the pace a touch, it stays pretty relaxed. Cameron Akhunaton, the man behind Magic Sound Fabric, sings just a bit in the background, though it sounds like a cross between singing and chanting. It fits the mood well. “Suns of Sun” has the coolest sounds, great modern electronica. “Flight of the Purple Energetics” has really nice touches with the percussion, with another solid bass line to carry it along as well. Throughout, the music is down tempo, but is upbeat and optimistic. “I am the Wave” borders on cute with its bouncy synths. “Perfect Light” reminds me of Wolfram der Spyra, another guy who knows his away around cutting edge electronics infused with good melodies. “Risen City of Electro,” both in name and in sound, calls attention to the importance of machines in making this music. Fortunately, though, the music never loses sight of the importance of the man controlling those machines. Great stuff.

Mind Over Matter “On the Wings of the Wind”

(Heart and Mind, 2004)

5 tracks, 64.30 mins

This Klaus Hoffmann-Hoock project was inspired by his travels via hot air balloon. Not surprisingly, the end product is largely a floating, drifting affair. As usual with his Mind Over Matter moniker, there are tinges of eastern influences, most notably the beautiful recorder playing of Volker Kuinke, who is also a world-class balloonist. Kuinke’s recorder is prominent early on, as the dreamy “Crossing Jamuna River” opens the CD. Adding more ethnic influences is Indian tanpura. It is a subtle, dreamy way to start the disc. “Mountain Thunder” starts as you might expect, the thunder rolling in. A low drone hangs in the air, the wind whooshes by, and tribal percussion is gently folded in. A variety of synth textures are also added. This is a great mood piece. Softly rolling waves begin “Journey To Brittany.” The centerpiece of this one is wordless vocals by Josef Götz. Crickets signal the arrival of “Fullmoon Desert,” musical impressions of Volker’s moonlit journey over the deserts of New Mexico a few years back. Similar in feel to the rest, this one is perhaps the most ethereal, and may be my favorite, though the whole disc is very good. “Cloud Ghosts” is the quietest and make a soothing relaxing finish. Of special note is the beautiful 16-page booklet with essays about the background of each song in German and in English, as well as stunning photography of ballooning. An essential purchase.

N-Tribe “Tower of Power”

(Groove Unlimited, 2005)

4 tracks, 54.25 mins

Named after a modern art show in 1998, Tower of Power was previously only available to attendees of the show as part of the events catalogue. Thankfully the general EM-buying public can now hear this very good music by Steve Baltes and Harald Grosskopf. Four lengthy sonic excursions are allowed room to grow, starting with the rhythmic gyrations of “Space.” Modern and edgy, it’s a little hard to describe, straddling the borders of trance, techno, Berlin school, and prog rock, not necessarily in that order. Mainly, it’s about beats, but there are times that the synthesizers are permitted center stage to float about. I can think of nothing to compare it to really, and I love it. Great energy, great sounds, great music. “Speech” starts with rapid-fire clipped vocal samples, literally going “dop-dop-di-da-dop,” or something along those lines. This phrase becomes a mantra, melding with the rest of the percussion. Again the sound is much more forward than retro, and the rhythms are practically the lead instrument. Amusingly, “Speed” moves along at a leisurely pace, at first quite formless but Baltes and Grosskopf can never leave the beats behind for long, and they pound forcefully along, occasionally dropping back to allow the electronics to play and stretch a bit. “Questions” sounds very much like “Crazy Snake” from Four Times Three with Baltes, Grosskopf, and Heilhecker, without the screeching lead synth line, thankfully. Again the rhythm is king, and it carries through to the end.

David Parsons “Vajra”

(Groove Unlimited, 2004)

6 tracks, 63.03 mins

David Parsons has a distinctive sound that is immediately recognizable on “Cloud Gompa,” the first track on Vajra. The soothing, relaxing tones conjure up Asian images in a manner similar to a variety of his other works, Himalaya coming to mind. New age, world, and electronic music blend seamlessly together into the inimitable Parsons sound. As is typical for him, the music moves patiently, leisurely yet with intent. This is music that is equally effective for intentional focused listening or as background. “Other Realms” is particularly spacious, perfect floating music. “Masked Dancer” changes tone considerably, with a variety of percussion. The lead instrument is perhaps a violin or a synth facsimile. Most of the music has a more primitive quality, but a fair amount of electronic sounds are weaved seamlessly into the mix as well. A deep resonant drone begins “Above Clouds,” signaling that we are back into drifting mode. Wind whooshes by as the drone swells and slacks. Parsons doesn’t tip his hand as to what instruments he uses, so I’d be guessing at what some of the other subtle sounds are that he employs here. Suffice to say, it all fuses into an ethereal mixture. “Kangra Yatra” moves back into a more active place, with world beats and an unusual vocal effect. Parsons’ juxtaposition of primitive and modern instruments seems incongruous but it somehow works, as this mostly tribal beat-laden number is laced with squelchy synths here and there. The title track ends by taking us to the mountaintop to breathe in the air and take in the expansive view. Sit back, relax, and enjoy.

Daniel Patrick Quinn “Jura”

(Suilven Recordings, 2003)

1 track, 60.50 mins

Suilven Recordings from Scotland seems to relish longform works that are either very minimal, very slow to develop, or both. This particular release is a 61-minute track consisting of synth, trumpet, and church bell sample, combining to make a very hypnotic piece of music. The drone reminds me a lot of Jliat, who composes single tone poems that seem to swirl in a circular pattern as the brain wraps around them, causing the listener to imagine various colors in the music that may or may not be there. The extra sounds that come in sparsely around the main drone add interesting textures. Presumably the trumpet is the source of the drone though I can’t be certain. Light tinkling notes that arrive and depart may be the synth or the church bells, though I suspect the bells are a slightly discordant note that comes in now and again. It is clear that samples are manipulated at will, and skillfully so, such that the end product is a unique sound creation. Though this music likely appeals to the intellectual musical elite, there is plenty for ambient and particularly drone fans to appreciate as well.

Nunc Stans “The Cerulean Suite”

(dataObscura, 2005)

4 tracks, 55.39 mins

This is northern Canadian music served chilled. Newcomer Nunc Stans creates four minimal long-form works that excel at transporting the listener to crystalline ice floes and other places real and imagined. “Endless In Itself” has a drone with a symphonic quality, along with abstract sonics that go brushing by. Water flows through it, followed by high crisp bell tones and sharp staccato percussion to great effect. The music flows smoothly and changes very gradually yet distinctly. Water sounds resume on “A Logic of Dissolution,” with layers of electronic atmospherics. A vague semblance of melodic structure is hinted at, never quite coalescing into corporeal form. At the halfway point the music literally churns as if stirring up a cloud of dirt from the ocean floor. The journey through the dark mist is stirring. “It Passes Before You” includes sound samples of astronauts speaking perhaps, a cool effect. The longest track at 17-plus minutes, it is a first-rate excursion for minimal ambient enthusiasts. At times, both here and on the other tracks, the music seems to move very slowly, but at others there are deliberate shifts from one discrete theme to another. “Plane of Similitude” is in some ways the most abstract of the four tracks, with buzzes and other artifacts overlying the drones. In other respects, it is the most structured, as a regular beat pulses through much of it, leaning ever-so-slightly away from ambient into a more Berlin school style – emphasis on slightly. Databloem’s website likens Nunc Stans’ music to Biosphere and Oöphoi, a valid comparison. It is a little more developed than most Oöphoi and a little less than most Biosphere, finding a comfortable middle ground in good company. I’m going to spend a lot of time enjoying The Cerulean Suite.

Various Artists “Collection 3: Blending”

(Databloem, 2005)

11 tracks, 69.08 mins

I usually find compilations a mixed bag, but every once in a while a label shows a real knack for doing it right, for example the long-defunct Lektronic Soundscapes label with its excellent Soundscape Gallery series of three CDs, all of them first rate with no filler whatsoever. I would definitely put Databloem’s Collection 1: Opening, Collection 2: Moving, and now Collection 3: Blending in that same category. Even with ambient electronica such as this, it’s nice to start a disc with some energy, and Waki delivers with “Norders,” scratchy glitchy fun with a strong backbeat. Jason Corder’s “Steam Tunnels” bubbles and percolates, eventually forming a steady rhythm as well, though a bit more low key. This one develops particularly nicely, smoothly exploring a variety of layers in a short time frame. Mellower is “Die Reflection” by Krill-Minima, marked by unique sparse panning percussion and soft edges. This sets and maintains an extremely pleasant mood, thoroughly relaxing and cool. Next is “New Morning” by Lingua Lustra (Albert Borkent), a unique blend of structured and abstract that is hard to describe. Then comes the first-ever music I have heard from Venezuela, ambient or otherwise, courtesy of Mendigo (Renzo Peressi). He says he gets his musical inspiration from everyday sounds and the result, while somewhat spartan, is fresh and inventive. I could spend many more words writing about the other excellent musicians that comprise the rest of this CD; suffice to say it is all the same high-caliber cutting-edge ambience I’ve come to expect from this label, with a variety of familiar and new names from around the world. By the way, I already have a name for Databloem’s next set – Collection 4: Excelling.

Vir Unis & James Johnson “Live Transmissions 2, Disc 1”

(AtmoWorks.com, 2005)

6 tracks, 79.55 mins

Cool grooves, glitches and beats adorn Live Transmissions 2, Disc 1, picking right up where Live Transmissions 1 left off, not to mention the five discs in the Perimeter series. This is active, contagious stuff, synthetic but accessible. The beats are not the in-your-face approach of techno, but they are an important integral part of the music. All six tracks, like Live Transmissions 1, have abstract titles that look like something that needs a spy decoder ring. Track one builds and builds before dropping off into a collage of voices. The theme for the second track starts 10 to 20 seconds before the index point, again with a steady solid rhythm that keeps the toes tapping. The music swirls and swells with very modern synth sounds. The music seems like it could have been made by computers or robots, but it isn’t the toy-like quality of Kraftwerk’s “Pocket Calculator” or something of that nature. It is intelligent, forward-looking EM. The third track slips into a slower, almost funky groove, with more voices in the background. The beat disappears as the voices come forward, the words occasionally understandable but the meaning unclear. Still, it sounds cool, as a deep groovin’ bass line rounds out the piece. The pulsing gets more hypnotic on the fourth track, reminding me of one particular section of the second part of Tangerine Dream’s Logos CD, more in terms of the effect than the actual sound used. At 20 minutes this is the longest track on the disc, and it goes through several sonic gyrations, some with beats and some without. Slightly more relaxed is track five, and then we downshift into total chill-out mode with the last track – no beats, sparse bass, and nearly silent for the last couple of mellow minutes. Vir & James have their trademark sound down cold, and for now at least it never gets old.

Vir Unis & James Johnson “Samovar: The Live Transmissions 2, Disc 2”

(AtmoWorks.com, 2005)

5 tracks, 61.19 mins

At first I wondered why discs one and two of this set were packaged separately, but once I heard them I knew why. Other than both being ambient electronic CDs, they are as different as night and day, right down to the cover art. Disc one features blurred rectangular images and a futuristic font, and disc two is labeled in a cool, gently curved font, shows a pair of hands holding pottery, in images of muted green and other earth tones. In this case you really can judge a book by its cover, as this second disc is warm, organic and tribal. James’ delicate piano playing, missing from most of this duo’s collaborative works, makes a welcome return on “Samovar Part 1.” The tribal drumming is light but insistent and ever present once it makes its appearance. This one develops really nicely, slow and deliberate. “Part 2” strips most of the elements away, leaving a couple of light atmospheric sounds and occasional footsteps. Just before the halfway point it sounds like some overtone singing may be going on. It becomes a touch unsettling with the repeating phrase sounding like an alien moaning of sorts. On the other hand, the shifting rhythms really take off nicely here. Like disc one, voice samples are used, several of them at the transition between “Part 2” and “Part 3.” This time the conversation is very clear and understandable, though we seem to arrive in the middle of it. This track is very light and bright, the lead synth not unlike a muted version of Kevin Braheny’s work with Steve Roach and others on Desert Solitaire. “Part 4” blends tribal and modern beats very much like Roach does so well, as does “Part 5,” which comes full circle back to the synthetic sound of the prior disc, though tribal elements remain the predominant theme throughout Samovar. My personal preference is disc one, but there is plenty to recommend disc two as well, and if you prefer more organic ambience this will be your clear favorite of the two.

Viridian Sun “Live, Paris Theater”

(Hypnos, 2005)

1 track, 78.33 mins

The exciting thing about live recordings is how they capture raw and often special moments that otherwise would not happen. This spontaneous long-form work is brimming with intensity, even in the nearly silent opening moments. The undulating, pulsating quality of Viridian Sun’s earlier releases is still there, but laid bare, stripped of any studio trickery or enhancements. The result is minimal but also daring. Occasionally the music seems to be taking on a more solid form, as in the drifting layers approaching the 20-minute mark, but the emphasis is clearly on unstructured experimentation, largely consisting of drones of various timbres and colors. Many an ambient track can be described as building slowly, but I can scarcely recall one as effective as this, taking full advantage of the 68-plus minutes to ever so gradually ascend, with occasional peaks such as between 35 and 40 minutes, leveling off to quieter passages as we head toward the 50-minute mark. Incredibly haunting sounds mark the time just past 60 minutes, something like a strangely distorted alien female choir. The music then slowly disintegrates into a dark blizzard of white noise, seeming to consume matter like a black hole in the frenzy that is the stunning conclusion. The audience must have been stunned into silence from awe, fright, appreciation, bewilderment, or all of the above.

Terje Winther “Trespasser”

(Bajkal Records, 2004)

6 tracks, 80 mins

Trespasser is Norwegian Terje Winther’s entry into the Berlin school. “The City of Cruithne” starts with a variety of cool space effects. A light, bouncing bass line appears, building on itself until it develops into a full-fledged sequence. The lead line plays a bit loose, seeming out of balance with the sequencer at times. The music pulses along insistently, then a sudden shift at 8:45 pays homage to early Jean-Michel Jarre, moving at a more leisurely pace. A distant drumbeat marks the segue into “Wishful Drone Around Midnight.” A meandering vintage synth solo explores nooks and crannies along the sonic landscape. Devoid of loops and beats, it is somewhat haunting and very good. “Waiting for the Next Wave” is sure to please sequencer fanatics as it gyrates and mutates its way along. This number is truly based on pure sequencing, with virtually nothing else going on, yielding very positive results. “Running through the Edge” is a 23-minute piece of pure Teutonics, very much like Klaus Schulze circa 1975. The mood, the synth sounds, and once again the sequencing are all very familiar and well done. Drums appear later, and are simple but effective in setting the tempo and building the intensity. The main theme is steady going, but there are enough twists and turns to keep the interest level high. It gets a little wild at the end, shifting into prog rock mode with cymbals and organs joining the fray. Abruptly we jump headlong into “Essinc,” which eventually winds down to dark choirs. As sequencing again joins in, we’re transported to Tangerine Dream’s seventies sound. “Jumpgate Shores” ends on a different note, moving in fits and starts as if catching its breath. It’s a bit odd, but I like how it takes a different path to end the CD. With this strong debut, Winther is definitely one to watch.

All reviews © 2005 Phil Derby / Electroambient Space unless otherwise specified. Any reprint in part or in full must be appropriately credited. Thank you.

Alpha Wave Movement “Cosmology”

(Groove Unlimited, 2003)

9 tracks, 64.55 mins

 “Prologue Sequence” starts with dreaming and drifting, although it then shifts into high gear with a brisk energetic sequence and a pounding steady beat that kicks it up a notch. Gorgeous shimmering pads and a vintage wavering synth lead float over the top to complete the heady brew. This one is much like an earlier Alpha Wave Movement CD, Concept of Motion. We settle back down to pure space floating with “Teutonic Voyage,” a blend of vintage Jonn Serrie and Klaus Schulze. A low steady sequence comes forward in the mix, surrounded by bright synths and beats, building just right. “Sailing Orion” has a great flow to it, and could easily pass for an early Ron Boots track in the style of Ghost Of A Mist. Next is “Celestial Mechanics,” a mover and a shaker with dance and techno influences. “Rendezvous” takes a turn toward Jonn Serrie’s more romantic sound, never popular with me. “Deep Outpost” is pretty self explanatory, another space journey done well. “Astral Navigator” flirts with the cheesy sounds of “Rendezvous,” but stays just clear of it enough to be a reasonably passable diversion. The disc is stronger when it sticks to the space realms, as on “Distant Edens,” again full of the flavor of classic Serrie. “The Far Side of I.O” adds a dark dramatic flourish at the end. Recommended.

Arcanum & Friends “Klang-Raum-Wort X”

(Manikin Records, 2004)

2 CDs, 12 + 8 tracks, 73.45 mins + 63.12 mins

This is a wonderfully unique project, part concept album part compilation album. Bernd Braun (Arcanum) plays on all tracks on disc one, but is also joined by several guests, including Bas Broekhuis, Keller & Schönwälder, Rainer Klein (Otarion), and a couple unfamiliar names to me, Udo Mattusch and Mandy Klinksiek. Disc one is an epic tale told to music. Upbeat tracks alternate with soft flowing ones, with occasional dialogue in German. I wish I could understand it, and the beautiful booklet with extensive liner notes on the players. “Ende der Tage” sounds like it could be from Tangerine Dream’s Le Parc until the narration begins. The talking is extensive at times, normally a put-off for me as I’ve said many times before. Perhaps since I can’t understand the words, it is more art than distraction. Disc one runs through a variety of excellent highs and lows, great melodies and wonderful classic electronic sounds. Disc two is equally good, as Bernd defers to the other musicians, letting each one contribute a solo track (including himself). Udo Mattusch’s “Silent Waves” is a beautifully laid back opener, with a light bouncy sequence and a strong synth flute lead line. Otarion is next with “Back to earth,” very much in his usual style of strong melody and sequencing with a flair for the dramatic. Vangelis-like synth leads conclude the piece. Bas Broekhuis’ “The beauty of the beast” is available here and on another Manikin compilation (Eintrittskarte), relaxed ambient music with a slight lounge flavor to it. Detlef Keller’s “Questionmark” is a subdued piece of night music in Klaus Schulze mode, with lovely sequencing and synth choirs. Mario Schönwälder’s contribution “Am Anfang” is a bit surprising by the inclusion of synth sax, but it really works, blending smoothly into the rest of the soft soothing music. The more relaxed feel of disc two continues with Bernd’s number, “Satin whale (Petra’s theme),” a romantic piece that avoids being too saccharin, very pleasant. After a strong showing through most of the 2-CD set, it unfortunately ends with the two weakest tracks. Mandy Klinksiek’s “Ich liebe Dich” seems like it would be more appropriate to a Norah Jones record or something of that nature. Digital Mechanics’ “Jitter frei” has a mechanized “do do do, do do do” that makes me think of Max Headroom or a poor imitation of Art of Noise. Skip these last two and you have a very good change from the ordinary compilation album. Recommended.

Ron Boots “Different Stories and Twisted Tales”

(Groove Unlimited, 2004)

7 tracks, 75.08 mins

Aside from remastering, this is a straight reissue of the original 1993 CD, with slightly revised cover art, no bonus tracks. If you already own the original there is little need to get this unless you are a completist collector. But if you never grabbed this one the first time around, by all means you should absolve yourself of this heinous crime by picking up a copy. The epic17-minute “Twisted Tales” chugs along, riding wave after wave that crests, falls, and rises again. “Amor Facit” is a mellow dreamy floater reminiscent of Boots’ prior CD, Ghost Of A Mist. “The Call” has a soft little sequence and ethereal synths. Majestic drums arrive, followed by sizzling guitar licks from Klaus Hoffmann-Hoock. The intensity builds gradually yet forcefully to a wonderful crescendo. “Cuivienen” defies conventional EM wisdom by being neither ambient nor Berlin school, yet it fully entertains with subtlety over its 15-minute course. The synths are simple and low key, the drumming sparse and straightforward. Settle back, relax, and it just soaks right in. “Gwahir” is more dramatic, with a symphonic sound and feel, though it also features excellent sequencing and synth soloing toward the end. “Omnus Mundi” features Guido Negraszus on drums adding just the right soft tribal touches. “Different Stories” completes this set of audio tales with wonderful pads, a variety of other cool subdued electronic sounds, and the usual Boots panache.

Ron Boots & Bas Broekhuis “Hydrythmix”

(Groove Unlimited, 2004)

8 tracks, 79.01 mins

Recorded in 1989, released on CD in 1996, reissued in 2004. Some discs are worth being resurrected, and Hydrythmix is one of them. The powerful classic Berlin school sequencing grabs you immediately on “The Rising Sun,” more than strong enough to carry the rest of the track on its back. Bubbly little effects shine brightly in the mix, and soaring synth strings bring it home. “Floating” is appropriately named, as light keys and occasional clicking drumsticks play off a cat-like main synth phrase that seems to expand and contract. “Rivers” is a well-known track from Ron’s Dreamscape CD, pulsing steadily along with swelling grandeur. Water bubbles up from “The Well” amidst light percussion and fluty synths, ending with a Japanese flavor. Bas’ quiet but powerful drums are featured in “Meadow,” joined by Ron’s great synth work. The tropical if slightly misspelled “Malibou Beach” is suitably warm and soothing. “The Escher Drawing” is a fantastic track in the grand style of vintage Klaus Schulze, a precursor to Bas’ excellent solo disc by the same name. Hydrythmix ends with the 21-minute “Ocean Tale,” which plays as one piece but has three separately titled unmarked pieces within it. “Shoreline” is very mellow and a touch melancholy, then “Fast Wave” clearly picks up right at the sequence that starts at 8:15, which adds drums, bird calls, synth pads, and cool bell tones. It all drops off rather dramatically as “Landsight” picks up at the 15:20 mark. A metallic, hollow tone rings out, a few other electronic dabbles, then a ticking clock and a steady bass pulse. Hints of soft melody try but never quite coalesce from the mist, and the disc fades quietly and coolly away. Sublime.

The Circular Ruins “The Alchemy Concert”

(Databloem, 2004)

8 tracks, 69.20 mins

This June 2004 recording is direct from Anthony Paul Kerby’s studio, originally performed as a live web concert. The resulting spontaneity is evident in “Affinity construct,” a bright bouncy piece that skillfully weaves a variety of synth sounds into a masterful tapestry. The low bell tones in the latter half really draw attention, a beautifully unexpected counterpoint to the rest. “Their subtle purpose” is classic TCR, ambient electronica that is both abstract and active. A chugging little synth phrase pulses through very nicely, gradually fading away until only soft, playful drifting remains. “Calibration,” like the other tracks, is layered with various synthesized electronics, all with a futuristic edge. Occasionally a brief vocal sample appears, such as a girl saying, “It is wonderful, isn’t it?” Yes, I usually find vocals hokey or distracting in my EM, but I like it fine here. “The circle of life” and “Exclusion” are semi-dark atmospheric numbers with touches of grainy texture added to the floating, cool stuff. Sci-fi pulses return on “Changing the world,” as does another brief vocal sample, perhaps movie dialogue. “The flame’s shadow” features two atmospheric slices, one dark and organic the other bright and metallic, sandwiched around a percolating midsection that hypnotizes for several minutes. “Alpha and omega” is a brief lighthearted selection to finish the disc just right.

DAC Crowell “04 – 83: a retrospective of works by DAC Crowell”

(Suilven Recordings, 2004)

2 CDs, 3 + 3 tracks, 64.09 + 60.08 mins

This surprisingly cohesive collection of songs spanning a 21-year period provides an interesting glimpse into the body of work by DAC Crowell from Indiana. Minimalist drones float on the 34-plus minute “Untitled.” Undulating tones turn gradually brighter and more structured during this live radio recording. The floating softness is ever evolving and shifting, though subtly so. “The Dark Corridor” is brooding and churning, with a unique blend of organic and mechanistic musical states. “Ahnomia” ventures back into lighter atmospheric realms. Gently repeating musical phrasing is reminiscent of Phillip Glass or Steve Reich. Though this track is from 1989 and “Untitled” is from 2000, they have a similar feel and sound. However, both are excellent and worthy of inclusion here. Softly rolling sounds begin disc two with “Rising Invocation,” from 1983. Low surging tones are joined by brighter timbres, the juxtaposition of seemingly disparate elements working quite effectively. It changes little but the effect is hypnotic. “Rhapsodic” stands out as the only selection with a beat, and a heavy one at that, arriving at the midway point and staying nearly to the end. On first listen I felt this one stuck out like a sore thumb, and though I quickly learned to appreciate the contrast it offers it might have been better off without. The collection finishes strong with the 32-minute “November Light,” the subtlest and quietest of the six pieces. Highly recommended serious ambient music.

Darkness Within Darkness “Darkness Within Darkness”

(Chillfactor10 Records, 2002)

6 tracks, 36.48 mins

Music by a mysterious person known only as Enque, this bills itself as “Aztec beats ambient music.” Whatever that is, it’s some pretty good music. “Summers” has some fine low-key guitar playing, soft sparse beats, and floating synth atmospheres. The beats and guitar fade, leaving only smooth soft electronics to carry the track home, which they ably do. It’s a slightly different take on ambient music, with touches of more structured instrumental music just barely peeking around the corners – it’s not rock, it’s not new age, it’s something vaguely more accessible and composed than “traditional” ambient. The unique mix works surprisingly well. “10,000 things” makes me think of mid-period Cocteau Twins, say Victorialands or something equally pillow soft. I absolutely love this one. “Chant” is the same track title as on Igneous Flame’s Oxana disc on the same label, but neither one has chanting. Both are subtly layered dark ambient works. “Voodoo” has birdcalls along with silken synths – another really nice floater. “Deep Trances” goes back to a bit more structure, the guitar this time sounding more processed, to the point it could be a synth for all I know. I really like the mood this disc establishes, which it maintains throughout. It is not too light and not too dark (despite the name), and it seems very sure of itself and where it is going, though it has a carefree quality to it as well. It all ends too soon.

Dreaming the Seed “Liquid Vision”

(dataObscura, 2004)

13 tracks, 56.43 mins

The variety of sonic terrain covered on Liquid Vision is exemplified within the first two tracks. “Catacoustic” is a brief quirky acoustic guitar piece, perhaps tweaked just a bit through some sort of effects processor. This flows into “Subharmonic Aviator,” a decidedly non-acoustic dark synth piece. This one defies easy description or categorization; imagine a melancholy score to an independent film or something of that nature. A richly textured drone swirls seemingly endlessly. “Leviathan” begins with assorted sounds bumping and crashing to and fro. Part murky and part light it meanders easily along. Then it’s down periscope for “Evasive Manouvres” as sonar pulses bounce off shifting electronics. Haunting echoes ping back and forth beneath the surface. “Systaltic Soul” offers up a playful counterpoint, with a bouncy bass line and tinkling bell tones. “Fresh from the Void” doesn’t do a whole lot, but it sounds cool just the same as it floats by. “A Morsel of Sanity” is a good microcosm of the whole disc – the music is structured but not necessarily melodic; it is ambient but usually doesn’t sit still for long; it has elements from other music but stands well on its own. Explore and enjoy.

Igneous Flame “Intox”

(Chillfactor10 Records, 2003)

15 tracks, 67.42 mins

Where Igneous Flame’s Oxana is as smooth as silk, Intox goes for an edgier approach. “Obsidium” is filled with grainy textures that border on the edge of abrasive, though swirling dark drones take the edge off midway through. In another contrast, “Once the damage has been done…” has occasional snatches of odd percussive sound effects, whereas Oxana had no semblance of rhythm at all. The dark abstractness has a slight sci-fi edge to it. “Nebullar” is filled with shadowy ominous drones. “Thula” is a shade more dramatic, equally dark. Things go bump in the night on “Sub-Vert,” another one with a bit more to grasp on to, though the music on Intox never fully coalesces into something solid. The emphasis is on the spooky and experimental side of things. Even when things smooth out as on “Shift” and “Airottivia,” the brooding overtones remain. One of the best selections is “Core,” dreamy eddies of sound that seem to resonate to infinity. The latter half of the disc seems to have more of these softer boundaries, although churning rumblers like “Veil” and “Host” keep things intentionally unsettled. “Norden” makes particularly effective use of white noise that chills the bones as the volume increases. If you like your dark ambient dark, you have to check out Intox.

Igneous Flame “Oxana”

(Chillfactor10 Records, 2004)

14 tracks, 66.22 mins

Sometimes the circumstances make the music. Such was the case when I recently spun Oxana. I had been watching the growing news story about the devastating tsunami. Right before going to bed, I was praying for all those affected by the tragedy, while listening to this music with headphones. I won’t use the cliché that it was a religious experience, but it did greatly enhance the moment. This ambient music was the perfect accompaniment to the moment. Emptiness, darkness, fear, sprinkled with touches of warmth and glimpses of hope – as all these things were present in those I prayed for, they were also present in this excellent music. “Glacia-Tor” is representative of the gems to be found here – spacious, using silence as well as sound to create art. The music is amorphous, abstract, and compelling. Bright and dark elements combine together to great effect on “Novar.” The disc reminds me of another of my favorites, Robert Scott Thompson’s The Silent Shore. Both offer several small slices of soothing sounds, in various dark hues. Whether using rumbling drones or high shimmering tones, Oxana is ethereal throughout.

James Johnson / Vir Unis “Easting”

(AtmoWorks.com, 2004)

1 track, 58.50 mins

Dark and rumbling, Easting begins with a sense of foreboding. Drones churn and resonate. Crickets chirp and rustle in the background. Washes of synth sounds hang in the mist then fade away. A few spacey electronics are added, but mostly it sounds primitive and organic. The lush dark tones are very similar in character to Robert Rich’s Fissures CD – with one exception, and that is the appearance of what sounds like an upright bass, with very low tones being plucked, reverberating into the air. The entire disc is subtle, moody, loaded with atmosphere. Changes are gradual but discernible. Though I’m a big fan of both Johnson and Unis, this one doesn’t quite catch with me. It would make a fine track in the 5- to 10-minute range, blended with other ambient material, but Easting doesn’t hold my interest for the duration.

Redshift “Faultline”

(Distant Sun, 2004)

6 tracks, 74.19 mins

Equally at home live or in the studio, this is yet another powerful live set from these gents, Hampshire Jam 2 from November 2002. The title track is a grabber, starting with loads of sonic textures that set a dark mood. Redshift is great nighttime music, for driving down a dark highway or kicking back at home, and this track would certainly fit for either. The sequence is straight ahead, no-nonsense. Guitars from Rob Jenkins add sizzle. “Chrysolite” has some oddly captivating effects, including vaguely vocal-like samples. It is relaxed if a little unsettled. “Pyro_Gen” is such classic Redshift that it sounds very familiar but not at all unwelcome. They continue to excel at the art of sequencing as king, the lynchpin of this piece. On the other hand, “Aquamarine” shows they can do just as well without, a dreamy spacey number that is a touch lighter than Redshift’s norm. “Quenzer” starts with a slow stepping up and down pattern but then picks up speed and we’re off to the races once more. Jenkins’ guitar work is again a welcome addition for extra bite. Stuttering light sequencing in the seventh minute is brilliant. The audience roars their approval, leading us to the marathon finisher “Praetorian.” This one puts it all together, the complete package of all things EM should be. In short, exactly what you expect from Redshift.

Redshift “Oblivion”

(Distant Sun, 2004)

6 tracks, 53.20 mins

And then there were three. Rob Jenkins has regrettably left Redshift, but the spirit lives on with Mark Shreeve, Julian Shreeve and James Goddard. The title track begins with typical Redshift haunting echoes of sound, then a classic Mark Shreeve riff with pulsing bass and a dirge-like processional. Intensity ebbs and flows, hitting a crescendo then laying back, then peaking again, another Redshift trademark. It’s an auspicious beginning, with the promise of even more good things to come. “Leave The Light On” tells you what it’s about – dark atmospheric touches that are perfect for Halloween or just spooking yourself for fun. If the title track sounds like an ARC piece, it’s because Ian Boddy makes a guest appearance. This one percolates along with just the right amount of tension and release, again with a beautiful bass line and top-notch sequencing as expected. “Under The Sun” is more abstract and in a way darker than “Leave The Light On.” This flows effortlessly into “Runes,” the longest and possibly best piece. Node fans will like this one a lot, as it has the same industrial edge to it. Male choirs dominate “Small Bright Light: Gone Out.” Mellotron strings also make a strong showing, creating an appropriately melodramatic closing. Redshift continues to show why they are head and shoulders above most of the competition.

Steve Roach “Places Beyond: The Lost Pieces 4”

(Timeroom Editions, 2004)

8 tracks, 72.36 mins

This fourth edition of The Lost Pieces immediately stands out as my favorite of the series so far. It is a blissful ethereal mix of soothing sounds, full of richly textured atmospherics and hip fractal grooves. “Distant Signals” appears for the first time uncut, from the Light Fantastic period, a wonderful floater. “Trancefusion” is its antithesis, rhythmically active and complex, from the Blood Machine period, sans Vir Unis. It is peaceful and meditative despite its brisk pace. “Serpent’s Birth,” another Blood Machine outtake, with Vir this time, falls somewhere between the first two, slowing things down but retaining a steady cadence. The fractal grooves grow in volume and complexity, very hypnotic. The tribal ambient piece “Resolution Point” hangs on gossamer strands of cobwebs in the mists of dark caverns. “Calm Before the Storm” is an organic collaboration with vidnaObmana recorded in his Belgian studio, devoid of percussion with the rare exception of some rainstick-like sounds. From this point forward the disc moves outward into deep space. Next is “Slow Rapture” from Mirage’s sampler The Ambient Eclipse. Even softer is “Contained…Sustained,” a melding of two desert-inspired tracks recorded a couple of years apart. This flows seamlessly into the final track, “Light of Day,” a mystery piece that Steve discovered. Swirling and spinning into outer space realms, it ends the disc serenely, beautifully.

Sgnl_fltr “Vebra”

(Databloem, 2004)

10 tracks, 64.59 mins

As explained on the CD, Sgnl_fltr is the “rhythmic alter ego” of Danny Kreutzfeldt, whose excellent Counterperipheral CD was reviewed on these pages in November. Sure enough, “Nomo” jumps right in to a stuttering rhythm and heavy punchy bass. Very modern and edgy stuff, yet altogether accessible. “Pranka” slows things down but remains firmly rooted in synthetic electronics, with soft shuffling percussion and more bass. “Empak” is a brief abstract piece with little clicks and wind-like synths whooshing by. “Glacion” has an appropriately chilly feel, a la Biosphere with sparse drones and effects. “Run-Ra” stomps steadily along with a nice bit of crunchiness, for lack of a better word. “Lono” moves semi-spastically along, with quirky pulses carrying a wide variety of sound samples along for the enjoyable ride. It is equal parts Spyra, Pete Namlook, and similar sources of intelligent electronica. Each track is an experiment, a blank canvas to which a sonic abstract painting is applied. “Nkuh” saves the best for last, moving at a moderate clip in a cool groove, abruptly bringing Vebra to its conclusion.

Sylken “Dreamlife”

(Sylken Music, 2004)

11 tracks, 63.12 mins

Space music doesn’t get much better than the silken tones on Sylken’s Dreamlife CD. “Night Wings” floats in just right, light airy wisps of synths combining perfectly with a bubbly bass line that softly carries the track along. “First Light Falling” is softer still, feathery-light strands of sound that hold together beautifully. As I write this I’m enjoying a bright, crisp winter morning with my cat sitting beside me, and it fits the mood perfectly. “The Ocean of Dreams” features a really cool synth sound at the beginning, and trumpet by guest musician Wally Jericho adds extra depth and feeling. “In Astral Flight”continues the strong demonstration of first-rate music suitable for deep space dreaming. The disc has a very similar feel to the pure space sounds of early Jonn Serrie. Ethereal tones and gentle melodies evoke visions of distant star systems. “Here and Now” remind me of the way Tony Gerber’s project Spacecraft uses gently played guitars to enhance the spacey sounds of the synths. The pulsing, circular sound that begins “Sings the Heart” is reminiscent of American space musician Robert Carty. Temperate sequencing and a bright synth lead propel this song along perfectly. Track titles like “Adrift in a Sea of Light” accurately depict the musical vision throughout. Dreamlife is first class space music in its purest form, a style not heard often enough anymore.

All reviews © 2005 Phil Derby / Electroambient Space. Any reprint in full or in part must be appropriately credited. Thank you. 

NOVEMBER CD REVIEWS - 30 NEW CDs reviewed this month

Akikaze “Aquarius”

(Quantum Records, 2004)

16 tracks, 64.52 mins

A reissue of a 1990 cassette release, Aquarius begins with “Fin de siècle I - Storm cloud” as a blend of classical and synthesizer music in the style of Tomita and Synergy. Bouncy rhythms and catchy melodies lend a light pop feel at times. The sequencing is fantastic in tracks like “Crisis” and “The Rapid.” Though often bright and cheery, there are downcast moments as well. Accomplished piano playing forms the basis for “Consequences,” not electronic in the least but dramatic and very very good. Even though there are occasional tracks like “The Good Old Times” that seem a bit overly sweet, they come out genuine and well done. “Between The Wheels” starts with a sense of grandeur from an organ, but then jumps back to a light frolic. Drumming is sometimes a bit thin, but most synth music composed 15 years ago sounds similar, and it’s much better than Tangerine Dream’s lifeless beats from that same period. Next up is the 5-part suite “Sunrise In Futuria,” beginning with “In Search Of Deeper Truths.” It is full of synth sweeps and strings, not unlike classic Schulze though perhaps a bit warmer. “The Visionary” continues in a similar mode, melancholy and yet temperate. More excellent sequencing ensues as “Chains Of The Mind” begins, and the album really finds its stride across these three parts of the suite. Also excellent is “Fin de siècle II – Awakening,” again with strong sequencing, plus great synth flute and other goodies. Organ music returns on the bonus track “Dimona Blues,” recorded last year. It fits in well with the rest and wraps proceedings up nicely.

America Inc. “Amerika Recycled”

(SpaceForMusic.com, 2004)

1 track, 48.40 mins

What to make of a disc that starts with loud crashing samples of orchestral music falling all over itself? Well, once the dust settles, it actually sounds quite like one might expect from Hans Joachim Roedelius, an abstract painting of various things ambient, a collage of sound and silence. America Inc. is a collaborative effort between Roedelius and the U.S. band Spacecraft, along with pianist William Wilson, with whom I am not familiar. Sounds saunter by almost carelessly, in the meandering way that characterizes Roedelius’ music as one half of the German duo Cluster. Like Cluster’s music from their U.S. “first encounter” tour that I witnessed in 1996, the emphasis is on music that is quite sparse, and nearly silent most of the time. This is “heavy” ambient music, serious stuff that is going to appeal to a more intellectual listener, or at least a more daring and adventurous one. If you like Berlin school sequencing, you are liable to be quite bored. On occasion it does approach early atmospheric improvisational experiments by Tangerine Dream, but it usually doesn’t manage even that much musical structure. Dare to be different.

Dwight Ashley “Discrete Carbon”

(Ashley Media Corp, 2004)

11 tracks, 59.08 mins

Dwight Ashley first caught my attention from his two tracks on Soundscape Gallery 3, the excellent compilation from the (sadly) now-defunct Lektronic Soundscapes label. His collaboration with Tim Story was beautiful; his solo piece from that album, “Denial,” appears again here, an eerie, stark work that shows a different but no less engaging side, and it is indicative of the material found throughout Discrete Carbon. Ashley explains that he made music strictly for himself, for the cathartic effect; he never intended nor expected others to listen to it. Though it can be described in terms like minimal ambient, drone, experimental, and the like, Ashley has a distinctive musical voice that must be heard to be appreciated. There are hints of Budd and Eno on tracks like the delicate opener, “Eightfold Way.” Others, like “Katalepsis,” are unique. White noise skips and breaks up over beautiful expanses of sound, an odd juxtaposition that is surprisingly effective. Though dark tinges are present throughout, beauty is evident also. “I Thought It Was There” drifts and shifts just so, conjuring up images of water, caves, and the night. Considerably more chilling is “Eat Me, Drink Me,” a quiet cauldron of blackness. After track 10, tracks 11-14 are brief silence to separate a bonus track, a short piano solo. Much lighter in mood than the rest, it actually is a composition performed by Ashley’s wife. Their kids are bound to be gifted musically. From shimmering bright highs to churning dark lows, Discrete Carbon is appealing on all levels.

Axess “Chamaeleon”

(Invisible Shadows, 2003)

6 tracks, 69.54 mins

The second solo effort from Axel Stupplich of Pyramid Peak, Chamaeleon serves up nearly 70 minutes of active sequencing and good melodies. “The Alien” starts quietly but quickly picks up pace. Percussion pings from side to side as a strong sequence ensues, followed by a steady beat and a slightly cute but generally effective synth lead. The beat drops out in the midsection, allowing the layered electronics to play off of each other before the beat picks up again. A key change lifts things up a notch. “Desire” opens with classic synth choirs. Then a pulsing bass line enters, followed by a perfectly restrained sequencer line. “Floating” plays like a laid-back dance number with favorable results. The 20-minute epic title track starts with deep space sounds and warm string pads. A percolating sequence catches the groove, a steady beat joins in, and a classic vintage synth takes the melody. It then glides easily into a completely different section nearing the 7:00 mark, a cross between space music and whale song. Later, a melodic synth lead emerges which is easily recognizable as a Pyramid Peak staple. After a brief drop off the most energetic passage ensues, bringing the track to a close. “The Sirius Mystery” starts well but becomes too hectic, not giving the music a chance to breathe. Much better is the closer, “A Dream Is Always A Dream,” a light playful number. First Light was a good first solo effort; Chamaeleon is even better.

Thom Brennan “The Secret Faith of Salamanders”

(mp3.com, 2002)

4 tracks, 59.36 mins

This was on my Best of 2002 list, though it never got a proper review at the time. Long slow washes of sound are beautiful, light and airy. This is an outstanding example of pure relaxing floating and drifting. The music is divided into four lengthy ambient journeys, starting with “The Moss Cathedral,” which has a surreal, almost reverent feel about it as its name would imply. “Strange Paradise” is very similar in tone, at times a seeming continuation of the first track. “A View of Creation” moves into somewhat darker sonic terrain with a low rumbling quality and occasional murky organics, but there remains a sense of relaxed beauty amidst the darkness. The textures throughout The Secret Faiths of Salamanders are pillow soft and feather light. The whole album shimmers with light and life. “Beneath Still Water” has crystal clear bell tones and more bright shimmers, as light reflecting on the surface of the water overhead. Anyone who thinks synthesizers sound cold, precise and sterile would never think so again after hearing this. This is alive and breathing and wonderful.

Can Atilla “Waves of Wheels”

(Groove Unlimited, 2003)

14 tracks, 78.32 mins

This reissue of Can Atilla’s 1996 recording has been remastered, and includes three additional tracks from 1998 and one from 2003. “Torchlight” is so eerily similar to Tangerine Dream from the early 90s that it is virtually indistinguishable from the genuine article, full of synth harpsichord and drums, and even saxophone, courtesy of Meric Demirkol rather than TD’s sexy Linda Spa. The title track is even more a dead ringer, with the staccato playing of the harpsichord, scorching guitar leads, and the same cadence to the synth drums as many a TD track from that era. So the question becomes, do you like 90s TD? I think this is as well done as other synth music I’ve heard, indeed better than some. But it still sounds like my least favorite period from one of my favorite bands, and it’s not something I would choose to emulate. It succeeds on this level, and sometimes rises above it, as on “Love Sequence,” which sounds more like it harkens back to Optical Race, with a mellower lighter touch. In general though, since Can Atilla seems more than able to achieve any musical goal he sets out to do, I wish he had set his sights toward something higher. If you like this period of TD, though, you will find yourself in

Can Atilla “Omni”

(Groove Unlimited, 2004)

15 tracks, 79.15 mins

Turkish synthesizer artist Can Atilla sure can sound different from album to album. He did classic Tangerine Dream circa 1980 to a tee on his Ave disc; he did similar treatment to their 90s sound in Waves Of Wheels; now, with Omni, he sounds like energetic Jean-Michel Jarre with a splash of disco and techno. My 8 year-old daughter is dancing around and grinning while I’m listening. It would be difficult to feel down while playing Omni; upbeat numbers like “Café de la Defense” are too much fun. This one has a cool beat and groove, laid back despite the tempo, where Jarre meets Yello meets Fanger & Kersten. The whole thing plays like one giant dance mega mix, with occasional pauses to come up for air. Brief bridging pieces like “Visions” and “Inside” are full of imagery, with sounds of camera film advancing, railway cars whizzing by, and more. “Madeleine Hotel” gives a brief respite from the pace, again very Jarre-like but this time in reflective romantic mode, including saxophone. “E = mc2 (Einstainiana)” bears an uncanny resemblance to Alan Parsons at his peak, both in terms of beats and the synths used. The dance tracks get awfully cute and bouncy at times (“Avalon”) but they are fine – although the last four pieces are heavy beat-laden “bonus remix tracks” that I could do without. I enjoy the many laid-back numbers like “Chronos,” with its infectious light beat and bright piano melody. Lots to like here.

Robert Carty “Soulscape”

(Deep Sky Music, 2003)

7 tracks, 73.02 mins

Naming instrumental tracks and albums is supposed to be arbitrary, but I don’t think so. Case in point is Ethereal Deserts by American space musician Robert Carty. The title captures the essence of the disc so perfectly that it makes its own two-word music review. Carty’s intoxicating blend of soft synths is indeed ethereal, and full of desert imagery, from the rain sticks and Indian-like wordless vocals on “Skylight” to the light tribal beats of “Thermal Glide.” The latter has hints of Steve Roach’s desert sound, but it is Carty’s own. The synths and beats combine perfectly into a gently percolating, spellbinding piece. As the drums fade away, the reverberating expansiveness that remains is sensational. Signature Carty space swirls, for lack of a better term, fill the air as “Stories Of Ancient Winds” begins. Soaring synth strings bring a palpable feeling of floating. “Electric Skies” has a slight metallic character, along with rolling thunder, another great track. Didgeridoo provides just the right accents to “Dreaming Stone,” another tribal-infused piece to move the mood back from ethereal to desert. The steady beat in the background is simple but very effective in carrying things along. “Life Presence” is full of bright shimmers, and creates a superb wall of sound derived from layer upon layer of atmospheric synths. “Piercing The Blue” is a 17-minute meditative reverie that brings Ethereal Deserts to its dreamy finish.

Robert Carty “Soulscape”

(Deep Sky Music, 1990)

11 tracks, 60.12 mins

Robert Carty recently sent me a copy of his earliest CDR for review. It’s interesting to compare his early work to his current style. Though he was clearly still finding his footing, a couple of tracks foreshadow his later works. For instance, the title track is a prime example of the soothing space music style that is now so familiar, as is the pulsing “Deep Earth.” But on the opening track “Chrysalis,” with a structured melody and steady beat, it’s obvious that this is a different Robert Carty. In fact, this track and others like it give rise to Carty calling this his “rock album,” though I think that’s probably carrying things a bit too far. “Dreams Of Home” actually is a darned good impersonation, intentional or not, of Wavestar. The drum sounds, the pace, the synth lead, they all sound like they’d be right at home on Wavestar’s classic Moonwind CD. The bright mood and developed melodies continue on “Well Of Being” and “Quasar.” “New Lands” follows with a steady sequencer loop, and has a rather majestic feel to it. Though less polished than later Carty, it largely works, only the overly cute “Gaia” not quite delivering. The rest is a worthwhile look into Carty’s first steps into EM.

Dweller at the Threshold “Full Boundary Condition”

(Quantum Records, 2004)

Disc 1: 10 tracks, 54.26 mins

Disc 2: 15 tracks, 53.02 mins

Disc 3: 6 tracks, 65.32 mins

Full Boundary Condition is the most enticing of Quantum Records’ 2004 reissues. In addition to containing Dweller’s first two albums, No Boundary Condition and Generation Transmission Illumination, a third disc includes previously unreleased material from 2001. The reissues benefit from 24-bit mastering courtesy of Giles Reaves. The 12-minute epic “Event Horizon” sounds even better now than it did in 1996, bright, crisp and spot on, building just so and then leveling off as it fades into dreamy reverie. The piano on “Passage To Light” seems more luminous. Vintage synth flutes sound great on “Generation Pt 3,” mellotron strings sound awesome on “Pt 7.” The four-part “Transmission” has always seemed a bit too busy for me, and time hasn’t changed that impression, but the soft floater “Illumination” still works well. Which brings us to disc three, a lengthy excerpt of DATT’s July 2001 show in Portland, Oregon, as well as two live studio pieces created during rehearsals for the concert. Shades of Klaus Schulze’s Timewind are heard at the beginning, then swirling sounds like Tangerine Dream’s Logos, then a perfect sequence surrounded by spacey sound effects. A new sequence replaces the old one, followed by a bass line that rolls up and down. The second section features Paul Ellis crashing through with power synth chords, an active number that segues into the atmospheric third part, drifting easily by until the next hypnotic loop takes hold a few minutes in, again begging comparisons to classic TD circa 1982. Heavenly stuff. The final track, “The Outer Boundary Condition,” is from their rehearsal for the concert, which I recognize as a piece that was played near the show’s conclusion. A stair-stepping sequencer effect works well, eventually fading into a beautiful section of pads and strings as good as any vintage Berlin school showing. Fantastic finish to a great set.

Gert Emmens “Live: A Long Way From Home”

(Self released, 2004)

5 tracks, 72.12 mins

This limited edition of 200 is a recording from Gert’s E-Live festival performance on September 27, 2003. The best three tracks (all but the title track) from his Obscure Movements in Twilight Shades CD are included, as well as two compositions from Return to the Origin featuring Ruud Heij on sequences.  Incidentally, Ruud is one of the most talented and possibly underappreciated electronic musicians working today in the Berlin school scene. He has worked with Free System Projekt and Patchwork and now Gert, and everything he touches sounds awesome. The brisk hypnotic sequencing on “So Long” and “Solaris” are nothing short of fantastic. These two numbers sound a quite a bit like Kubusschnitt, very much a plus in my book. Personally, I find this collection an even more solid set than Obscure Movements, and well worth having even if you already own it and Return to the Origin. If any of the 200 copies are left, snag one. Well done Emmens and Heij.

Ben Fleury-Steiner “…To Reach the other Shore”

(www.gearsofsand.net, 2004)

8 tracks, 48.00 mins

Fans of understated abstract experimental pieces from labels such as Hypnos and The Foundry, would do well to consider investing in releases on the fascinating Gears Of Sand label. Even the packaging is unique, completely clear jewel cases with no conventional booklet; just a jewel embedded in the upper left corner near the spine, and a half-sheet of clear plastic for the front cover art and title. Other credits are etched directly on the back of the jewel case. Ingenious packaging, ingenious music. This particular disc is quiet and subtle. The sound palette is rich and adventurous despite the minimal nature of it. The 10-minute opener “Red Moon Shoes” seems a dead ringer for Geir Jenssen’s work as Biosphere, as ambient drones are fused with soft pulses and occasional odd mechanical sounds. “Glocio” is also quiet and relatively formless, although distant bells do appear. Regular beats and melodies are not to be found, and some pieces are so subtle as to be nearly silent at times, as on “…To Whisper 1,000 Shimmering Births,” although babies can be heard crying in the distant background. Each track seems to go nowhere and yet everywhere, and each is different than the next, such as the fascinating “Tzippor,” which sounds a bit like crickets and someone trampling leaves, but the sound is too regular, too mechanized to be that exactly. Moody with lots of intrigue, …To Reach the other Shore is a great time.

Ben Fleury-Steiner “Chroma”

(Gears Of Sand, 2004)

9 tracks, 57.31 mins

Whereas Ben’s release …To Reach the other Shore is soft and soothing, Chroma is decidedly eerie and unsettling. Dark sounds swirl around echoing voices on “Threadborn in My Eye.” Things turn even more melancholic and foreboding on “An Unspoken Domesticity.” The music is as delicate throughout Chroma as it is ascetic. It plays like the soundtrack to a chilling low-key psychological thriller. Even the more delicate selections like “Moths in a Cube” have a certain uneasiness about them, beautiful though they are. “Paper of Cells” has lightly churning water and loads of atmospheric synth textures emerging from the misty fog. Odd samples toward the end are fascinatingly disturbing, or disturbingly fascinating. Experimentation abounds, as on the brief abstract “Static Quickens to a Flicker.” Water returns on “In Circumstance of Weather,” though low rumbling drones are the main sound. If you like dark organic works by Robert Rich, Steve Roach, Steven Philips, Lustmord and others, you will feel right at home. The “lightest” track is the closer, “A Period Without Words,” but even this merely raises you perhaps halfway up the Marianas Trench, still a long way from the surface. Chroma is certain enjoyment for the adventurous.

Alio Die & Mathias Grassow “Expanding Horizon”

(Relapse Records, 2003)

2 CDs, 8 tracks + 5 tracks, 74.42 mins + 72.23 mins

Another minimal work from Grassow, the able assist this time coming from Italian ambient composer Alio Die (Stefano Musso) who, like Klaus Wiese on Holy Domain, provided the original source material which was then manipulated by Grassow.  This 2-CD set is yet another subtle variation on Grassow’s signature sound, the drone in all its forms. Expanding Horizon is a close cousin to The Hollow, The Lanzarotte Concert, and a number of other Grassow drone recordings, although it also has percussive elements like the recent Holy Domain. “Enchanted Land” has sparse, almost random cymbals and other percussion behind a thick drone wall, along with some water sounds for added atmosphere. “Day of Fulfilment” (sic) has cricket-like synth sounds and other nighttime noises, which move more into the foreground as the track progresses. “Radiant Clearing” features more water, and light tribal beats. Klaus Wiese and Carsten Agthe are again guest musicians; the beats are presumably Agthe. “Organum” combines various elements of the preceding tracks, again in pleasing fashion, and so it goes, sometimes with the drones in front, sometimes nature or water sounds. Sometimes the drone is light, sometimes thick. Occasionally there is distinct percussion, oftentimes there is not.  The mood is surprisingly neutral, neither overly light nor dark. Disc two brings more of the same, although “The Falcon” and others almost form distinct notes from some sort of stringed instrument, perhaps Grassow’s guitar-cither, lending extra depth and an ethnic quality to three of the five tracks. I thoroughly enjoy “Serpent’s Hollow,” a deep booming thunderous piece, by far the shortest on disc two, an intermission of sorts to break up the long meditative pieces before and after. Another first rate ethereal addition to Grassow’s ever-expanding catalog of deep ambience.

Jim Cole & Mathias Grassow “The Hollow”

(Arya/Amplexus, 2003)

7 tracks, 73.47 mins

The Hollow is the musical equivalent of making something out of nothing. Grassow and Cole have both had their turns at making quite minimal ambience, Cole with his voice and Grassow with his instruments ranging singing bowls and synthesizers. As is often the case on Grassow recordings, Klaus Weise also contributes. This disc rivals Grassow’s modern minimalist classic The Lanzarotte Concert, turning ordinary drones into extraordinary music. The music undulates – or perhaps I should say ululates, as in “Ululations Through the Hollow.” A singular drone holds it all together, but sometimes there are drum beats, sometimes there are shimmering harmonics, sometimes the drone carries on unadorned. This is more about form and texture than music in the traditional sense. A notable exception is “Contemplation,” where Grassow, not Cole, tries his hand at singing –not harmonic overtone singing as Cole does, but with real words. This is not a good idea, but it is the only flaw in an otherwise flawless disc with real beauty, from the 24-minute drone world of “Vanishing Flame” to the 5-minute ominous closer “Still, the Water Rushing.” The Hollow is minimal ambience par excellence.

Mathias Grassow, Klaus Wiese & Carsten Agthe

“Holy Domain”

(Arya/Amplexus, 2001)

4 tracks, 66.26 mins

This is Mathias Grassow and Klaus Wiese at their tribal ethnic best. Undulating soft currents of sound are subtle yet penetrating. Crickets, distant water, drones, hints of the barest strands of melody, all combine into something soothing and refreshing on “The Fire Of Holy Eyes.” The predominant beat has a bit of a boinging quality that I found distracting at first, but with repetition it does perceptually blend in after a time. Though largely static, the restrained textures and layers give plenty to appreciate. There is a gradual brightening in timbre near the end of the track. The disc is an example of what vidnaObmana has termed “recycling.” That is, Holy Domain is primarily a Grassow conceptualization, using his own instrumentation as well as source material from Wiese that was recorded at various times over the past 20 years. Grassow uses the term “refreshed” to describe how he melds Wiese’s original recordings into these four pieces. The disc is comprised largely of the first two tracks, clocking in around 20 minutes and 38 minutes respectively. Carsten Agthe adds percussion to the lengthy centerpiece, “Tranceformation – The Deepest Night Of Soul.” Though still meditative, it adds another layer of percussion. I don’t know if Grassow would take it as a compliment, but I sort of envision this as slow belly dancer music. I can picture the percussion being played as little finger cymbals or something along those lines, by a girl slowly moving around the room in a veil and barefoot. Your own imagery may vary, and therein lies the fun of music like this. The nature sounds move to the forefront in the brief “In The Absence Of Restlessness,” though the music preserves the Middle Eastern flavor. “Satsang” has interesting textures like someone tromping along the ground, then shifts to a very subtle, long fading drone to close.

Klaus Hoffmann-Hoock & Friends “Psychedelic Breakfast”

(HEART and MIND, 2003)

7 tracks, 79.42 mins

I love the premise for this CD. Get some friends together to play electronic music – over breakfast! This CD is packed with gems covering a range of styles, all recorded live on the same morning. It starts with the beautiful, relaxed “Paradiso,” a perfect blend of mellow progressive rock and electronic music. The Rhodes piano by Stephen Parsick is so cool, and the Mellotron strings are fantastic. Subtle shadings of other details round it out, including light percussion and spacey slow guitars. “Raga” puts heavy emphasis on the psychedelic aspect, jumping fully into Hoffmann-Hoock on the sitar. Wordless vocals add to the trippy mood. I think George Harrison would have liked this track very much. “MoM-Medley” is an interesting animal, a collection of Mind Over Matter tracks on acoustic guitar, very impressive axe work. Atmospheric electric guitars and synths permeate “Sehnsucht,” a number very much in the more laid back style of Ash Ra Tempel. “Heart Of The Sun” goes into all-out krautrock, spinning wildly out of control in frenetic intensity. It’s too noisy for my taste, but if you like freak-out jam sessions it’s excellent. The last two tracks are similar in tone to the opener, lengthy mellow space excursions totaling over 30 minutes of first-rate psychedelia. These and “Paradiso” comprise over 50 minutes of classic Cosmic Hoffmann space music, and the explorations into other styles are worthy diversions. Highly recommended.

Gustavo Jobim “Round Mi”

(Som Interior, 2002)

6 tracks, 72.43 mins

The title track of this exceptional CD by Gustavo Jobim from Brazil is a four-part suite, beginning with “Floating Tones Around Mi.” It opens with solid sequencing and a great melodic progression, drawing the listener in quickly. “Lament” immediately changes the tone, more reserved. Melodic lines are particularly well developed as a piano deftly maneuvers through synths and the sound of a gentle rain. “Procession” changes things dramatically, with a single pounding tympani-like beat. Organ music adds to the procession as the feeling grows. “Leaving the Atmosphere” changes moods yet again. Throughout “Round Mi,” but particularly so in this fourth movement, I’m reminded of how Klaus Schulze blends classical and modern synthesizer influences, although Jobim’s sound is all his own. If you prefer more straightforward electronics then you may just want to play the 31-minute “Clouds” on infinite repeat. Starting with soft textures and atmosphere, a laid-back sequence starts going into the fifth minute, gradually picking up speed. Jobim then rides this mesmerizing phrase all the way through. Synth oboes are beautifully rendered, very much like classic Tangerine Dream. With only subtle changes over its course, “Clouds” captivates. “Loopsurf – Loopsearch” chugs energetically along in a sequence not quite like anything I’ve heard before, low and mechanical. A brighter hypnotic loop merges over the top. Gradually, more synths are added. It’s a distinctive hybrid between the likes of Klaus Schulze and Philip Glass. After moving briskly along for the first half, the latter half drifts into deep space with bleeps and blips of an otherworldly kind. Round Mi is a unique and excellent take on Berlin school from Brazil.

Maitreya “Telluric Waves”

(Council of Nine, 2003)

8 tracks, 55.31 mins

Maitreya’s debut From The Mothership was widely regarded as a stellar example of floating ambient music. At first, it appears that Telluric Waves is going to go in a different direction, as a deep pulsing beat emerges on “Night Vision.” Synth waves softly float as the beat continues, much like a heartbeat, joined by soft sparse touches of piano. After this, the rest is dreamy atmospherics in similar sonic territory to From The Mothership. “Subterranean” glides effortlessly through caverns, with the coolest little sounds joining an overall ethereal glow of ambient softness. It is subdued without being overly dark. “Sinter” has slightly firmer textures at first, then goes into a pulsing synth phrase that’s a dead ringer for a Biosphere track from Substrata, my all-time favorite ambient disc. “Altocumulus” is an interesting sound collage with bits of static and light synths dancing about. These two very light pieces are followed by the dark, rumbling “Half-Light.” “Lumen” is a cool amorphous slab of sound that coalesces into a gelatinous sonic pool. “We Are Linked” is another gem, a dreamy floater with hints of lightness. Each track moves gently by, fading to make room for the next. As a whole, Telluric Waves reminds me of Robert Scott Thompson’s classic ambient work The Silent Shore, very good company to be in. This should have been on my top ten of 2003, had I reviewed it then, definitely one of the best from last year.

Byron Metcalf & Mark Seelig with Steve Roach

“Wachuma’s Wave”

(Spotted Peccary, 2003)

6 tracks, 73.53 mins

I loved Byron Metcalf’s earlier collaboration with Steve Roach called The Serpent’s Lair, an excellent blending piece of ambient tribal world music. This time Byron teams up with Steve again, as well as Mark Seelig on flutes, overtone singing and chants. There is an almost religious feel about the music, likely intentional given Metcalf’s influences. The title track seems to reverberate into infinity with Mark’s vocals; Bryon’s frame drums and “hybrid tabla groove” further help to set the mood. “Gone…Beyond” starts very faint, coolly floating by. Metcalf’s beats enter now and again, slow and mellow. “Deep Time Dreaming” starts quietly, but revs up the drumming intensity in welcome fashion. Though faster, it is still relatively soft, never dominating the other musical elements. “Last Remnants of Reality,” moves more slowly and deliberately, perfect for deeper trance-like primitive states of mind. The tribal motion continues in “Dance of the Heart Voyagers.” More surreal and spiritual is “Across The Waters,” featuring Metcalf with a sacred chant. Normally I object to vocals in my ambient and electronic music, and even though this isn’t my favorite track the vocals do fit the mood quite well, whispered in a primitive tongue. Fans of ambient tribal and overtone singing should find this well to their liking.

The Ministry of Inside Things “Everlasting Moment”

(Synkronos, 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.

Nebula Drone “ON”

(SynG@te, 2003)

14 tracks, 60.15 mins

ON is a wonderful blend of space music that spans future and past. “Tethys_drone” starts with shimmering tones and cool low-key percussion. “The e – bow” has smooth mellow drones and bird-like synth chirps, then shifts into cool beats with a modern edge. The cleverly titled “moon_down” features delicate sequencing and more fresh sounds. The mood is reminiscent of the hip groove-laden stuff from AtmoWorks.com or Databloem. In fact, this really doesn’t sound like a SynG@te release at all, as the label tends toward more melodious material. But tracks like “phiyang” are decidedly in the abstract ambient camp, quirky but engaging. “Nectaris” is one of the few with a retro-sounding sequence, but even it would be right at home next to Pete Namlook or the like. On the other hand, as you might expect, “phaedra_2_k” is unabashedly vintage in its sound. Modern or retro, it’s all good, and these fourteen short diverse tracks fit together extremely well. Highly recommended.

Par Example “Pharos”

(Quantum Records, 2004)

5 tracks, 54.55 mins

Originally recorded in 1989, I had not heard Pharos until this reissue. “Flarepath” starts with space music full of grandeur as soaring synths roll over one another like crashing waves. A vintage slow-tempo sequencer takes up the bass part, and synth strings form a majestic melody. Drums round out the package, followed by synth lead. The sound is rich and full, evolving at just the right pace over its nearly 10-minute course, culminating with a nice guitar solo at the end. At times, my mind drifts back to instrumental pieces by Genesis. “Cometary Impulse” shifts into deep space mode, full of sounds of the cosmos echoing and whirling about. Later, a regular beat and melody pick up the pace, and it sounds like some of Tangerine Dream’s better soundtrack work. This becomes more like great driving music than space music, but the shift in tone is seamless and the result is impeccable. The beginning of “Pharos – First” is an impressive Vangelis imitation, using that signature synth lead of his, along with other sparse electronics. Slower emotive tracks from Chariots of Fire or Blade Runner come to mind. Sweeping symphonics dominate. Churning machinery begins “Pharos – Middle” along with an alien bird call. Frenetic sequencing circles around, intense but quiet. Birds sing, footsteps crunch on the ground. There is a strong sense of storytelling going on, reaching the dramatic climax with “Pharos – Final.” Slow and majestic, it packs a powerful punch. More sonic images, this time trains, signal a shift to a more Jarre-like slice of melodrama, laden with melodic hooks as it builds to a big finish.

Bruno Sanfilippo “Visualia”

(Neuronium Records, 2003)

9 tracks, 59.39 mins

Visualia is filled with bright swirls of sound, brimming with optimism, full of sonic imagery. Simply titled “Visualia I,” “Visualia II,” and so forth, the listener is able to project their own interpretation into the music and what it represents. Ambient background noise serves as a marker for transitions between tracks – water, people milling about, unidentifiable textured sounds, and so on. After two lighter tracks, the mood turns darker with “III,” as rich drones and soft shakers turn to nature sounds, female choirs, rattling metallic sounds from an unknown source, and strings. Simply beautiful. The disc blurs the lines between dark ambient, world, and new age music. I can’t really compare Sanfilippo to other artists that I listen to regularly, though there are hints of everything from Vangelis to Phillip Glass, Robert Rich, Rudy Adrian and more. “Visualia V” has great spatial effects, as water seems to drip from every corner. After floating abstractly for over five minutes, primitive drums take to the fore in convincing fashion. Water themes continue on “VI,” a delicate atmospheric number. “VIII” even has sleigh bells, but they fit perfectly with the rest. Visualia is all about imagination, music that puts images in your head and then carries you there.

Chris Snidow “Daughter of God: Joan of Arc”

(Self released, 2004)

22 tracks, 48.48 mins

Already by looking at the track index and running time above, you can tell that something is very different about this CD. 22 tracks? Only 48 minutes? What’s up with that? What’s up is a very creative and very different CD. As good as it is, the disc is going to have a fairly narrow appeal, and a different one from the typical EM crowd. While Chris follows a familiar path from his prior CDs in terms of creating strong melodic synth compositions, he takes a very new direction by including French spoken word text, and a strong symphonic quality, being that the music is intended as a soundtrack to the story of Joan of Arc. The music is good, even powerful, but there is not a lot of it, and what is there is part and parcel of the story. That is, if you try to play the even-numbered tracks to hear just the music, you are not only left with only 38:40 of material, it is missing something because the spoken word tracks flow right into the musical pieces, and without them it doesn’t sound right. So you either accept the whole package as is, or you don’t. I admire Snidow’s uncompromising stance, his deep conviction and faith, and his vision. I like the music. The liner notes are well done and very detailed; the artwork is inspired and beautiful. I hope he finds an audience for it, but I doubt most readers of Electroambient Space would count themselves among them.

Saul Stokes “Fields”

(Hypnos, 2003)

7 tracks, 67.38 mins

Billed as Stokes’ most accessible work to date, Fields does have more structured rhythms and – on occasion – melodies. From the man who excels in quirky abstraction, “Noise Coast” does have a steady beat, a wavering loop of sound, and a bass line that threatens to approach conventional musical structure. Still, the unique, punchy timbre is unmistakably Stokes. Then a strange thing happens midway through the first track –piano-like sounds, strings, and drum beats that sound like drums, not odd assorted samples. “Furioso” begins with a progression of bona fide notes. The occasional snatches of more developed structure are almost unsettling coming from Saul Stokes. “This Road Is Glowing” is more typical of his atypical sound. Something like a brief snippet of modem noise moves through a set of crisp beats and unusual textures. “Imiye” goes back to beats that sound surprisingly like drums, as a lead synth sound jumps into the mix dithering about, simultaneously catchy and quirky. The 11-minute title track also works particularly well. Starting with bright shimmers, it glides along as smoothly and as softly as you’re ever likely to hear Stokes sound. His trademark punctuated beats finally kick in after several minutes, with a gentle melody that retains enough of an edge to still be a far cry from anything you’re likely to hear from the new age bin. The closing number is “The Bright Tones (Even Brighter),” again blending the structured and the abstract, the musical and nonmusical, with positive results.

Sylken Ø Pholde “Sculptor”

(freeSpace, 2003)

8 tracks, 55.51 mins

Eric Hopper is Sylken, an ambient composer. Pholde is Alan Bloor, who creates custom-made metal instruments. Together, along with Joe G on synths, they create a unique musical masterpiece that blends unexpected elements. I know few people who share my affection for both Berlin school and more ambient styles, and even fewer who would dare to combine them both at once. After the dark gurgling “Matalon” starts us off, we jump into just such a strangely compelling hybrid, “Call of a Distant Time.” Swirling deep space sound effects get things going, then a lovely light sequence pops in, along with shimmering synths in the higher register. These two disparate themes somehow meld quite agreeably. The metallic character of Bloor’s instruments is evident on “The Eclipse of Mind.” The backing synths are bright at first, but then disappear into the dark corners. This and several other tracks are more about texture and mood than melody. “Object of Desires” has some soft guitar work that nicely accents the melancholic sounds, another study in contrasting styles working together well. Favorite track title goes to “Phasers on Caress,” which presents as an eclectic collection of abstract sonic shapes. Soft percussion at the end sounds just like the backing of many a classic Tangerine Dream piece from the 1970s. Rich echoes form the basis for the epic “Keeper of the Deep,” scary stuff. The brief “Metalons” brings us to the end. Recommended.

Various Artists “Liquid Sound Volume 1”

(Liquid Sound Network, 2003)

13 tracks, 70.43 mins

Distributed by Manikin Records, this is a fascinating journey into a variety of underwater ambience. A lot of it doesn’t fall into neat little packages like Berlin school, dark ambient, or other labels. One of my favorites, KooKoon’s “Der Traum Zu Fliegen,” is largely solo piano, beautifully rendered. The synth textures surrounding it are subtle but add greatly to the emotion. All right, it’s pretty much a new age piece, I love it anyway, so there. And this is just one gem among many, such as Star Sounds Orchestra’s wonderfully dark “Oceans of Mine.” Shapeless sonic shifting moves along in a formless void. Apparently all of these tracks were played in a unique auditorium designed for underwater listening, and this particular selection sounds the most amenable to that, as it truly just floats, aimlessly and yet wonderfully by. Contrast this with the bouncy, soft “Kyle of Lochalsh” by Opera To Relax, a strikingly similar piece to Laurie Anderson’s classic “Langue d'Amour” from her Mister Heartbreak album, from the unusual sounds and stuttering rhythms to the beautiful spoken and occasionally singing words. “When Two Hearts Meet” by Jessica is a fusion of modern classical, new age, and I’m not sure what else. It somehow manages to fit alongside the rest, though just barely. But as with everything else here, I like it. This disc would be a perfectly sneaky way to introduce chilled-out ambient to your unsuspecting friends over evening conversation.