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October's Artist Spotlight: Airsculpture

Adrian Beasley, John Christian, Peter Ruczynski from Reading, England may not be as well known as, say, Edgar Froese, Chris Franke, and Peter Baumann (or Johannes Schmoelling, take your pick) – but they can put out music that is equally if not more enjoyable to listen to. After four Artist Spotlights in a row on the more ambient side, it is high time to take a look at one of the elites from the Berlin school of music. This month, we take a look at Airsculpture’s entire back catalog.

And watch for Airsculpture on some very good samplers as well. I think “Sargasso Sea” from GoldTri: Volume One is one of the best tracks they’ve ever done. They also have tracks on Neu Harmony’s Harmonized sampler, and Manikin Records’ compilation Liquid Sounds Vol. 2. Most recently, they were part of the Ricochet Gathering Mojave 2003. All of these are well worth owning if they aren’t already a part of your collection.

Airsculpture “Impossible Geometries”

(Neu Harmony, 1995)

3 tracks, 53.48 mins

In 1995, I still had largely only been exposed to Tangerine Dream, Klaus Schulze, and Jean-Michel Jarre. I first heard Impossible Geometries sometime around 1997. A friend in the UK that I met via email was swapping tapes with me to introduce each other to new music. He sent me, among other things, Global Communication’s 76:14 and Airsculpture’s Impossible Geometries. I consider both to be EM milestones. In particular, I was awed by Airsculpture’s ability to capture the essence of Tangerine Dream without copying them. The energy, the improvisation, the easy flow from one mood and set of sounds to another – they had the whole package. In the two-plus years between when they made the music and when I heard it, I had discovered a larger EM world existed, but this one really made me stand up and take notice. I played it often and listened intently. From the slow build-up of “Floe” to the clipped bursts of sequencing on the title track to the soaring bright synth soloing of “Stranger Tractors,” I loved all of it. My love affair has waned little since then.

Airsculpture “Attrition System”

(Neu Harmony, 1996)

8 tracks, 71.29 mins

The follow up to Impossible Geometries was a collection of outtakes, if you will, from sessions around the same time. Instead of allowing a long time for tracks to develop, these play more like excerpts, mostly in the 8- to 10-minute range. As such, the flow isn’t quite as smooth here. This is my least played Airsculpture CD, although there are good moments to be had. For the most part, the emphasis is on atmosphere over energy, such as the dark textural piece “Void.” Although “Gegenschein” and the title track have some good sequencing, the tone is restrained. That said, the laid back “Malebranche” is excellent, and “Counterglow” makes for a dreamy finish.

Airsculpture “Europa”

(Neu Harmony, 1997)

6 tracks, 73.49 mins

Europa is one of the best live EM performances captured on disc, showing Airsculpture at the height of their craft. Simply titled parts 1 through 5 (track 1 is actually indexed as two separate movements), this is equal parts cool atmospherics and stunning sequencing. The synth soloing is especially good on the first track (“Part 1a”), acting almost as a guitar solo, and the energetic looping is mesmerizing. “Part 1b” does seem distinct from “Part 1a,” as it downshifts into a moody section, though it isn’t long before another hypnotic sequence comes in, along with synth choirs. Drums add extra kick, along with more fine soloing. Any energy that was lacking on Attrition System is more than made up for here, as every track finds its groove and then cooks along. A modern classic.

Airsculpture “Thunderhead”

(Neu Harmony, 1998)

5 tracks, 74.46 mins

This was the first Airsculpture CD that I reviewed in print. Here is a slightly abridged version of my original review:

On Thunderhead, a dizzying array of technology is combined to make pulsating, rhythmic sequences of sound. If you love long sequencer-based pieces that slowly swirl around you and float you off into faraway places, you will be right at home here. This is classic electronic music, done very well. The pace varies from moderate (“Dark Design”) to slow and swirling (“Aerostatic”) and rapid, pulsating sequences (“Pogofish”). I especially like the energy of “Pogofish,” though the track ends just when it seems to really start cooking. I’d like to hear where this could have gone next. “Polarvoid” is a surprisingly formless mass of ambience, devoid of the sequencers that typically predominate the band’s music. Dark yet surreal, it is a nice counterpoint to the rest of the CD. (Note: the titles for “Pogofish” and Polarvoid” were switched on the track listing on the cover). The half-hour title track is a good closer, though it does require perhaps a little patience. It takes over fifteen minutes for the first sign of a beat or a sequencer to appear before launching into more familiar territory. “Thunderhead” then builds to a crescendo before drifting off for the final four or five minutes, bringing the listener back down from an enjoyable ride. Thunderhead is another great contemporary variation on vintage electronic music. © 1999 Phil Derby / Wind & Wire

Airsculpture “Fjord Transit”

(Neu Harmony, 1999)

3 tracks, 73.02 mins

My review of Fjord Transit was apparently good enough to be considered worth plagiarizing by someone who shall remain nameless. Here’s what I said then:

These guys just keep getting better and better. Fjord Transit is just what I’ve come to expect from this talented trio, a smorgasbord of long live improvisations, courtesy of their gig at the 1999 Eurosonic festival in Valö, Sweden. Those signature warm analog sounds blended beautifully with delightful pulsating sequencer rhythms just make me sit back, sigh and enjoy. The CD is their main set from the concert, three very long tracks in the best tradition of Tangerine Dream, but with their own distinct sound. Like Radio Massacre International and others, Airsculpture has helped shape and redefine the Berlin school sounds of the 1970s into their own musical identity for the 1990s and into the next millenium. You might think that a band that bases its music on live improvisation would tend to get stale as they grow and mature, but there seems to be no danger of that happening here. The title track is nearly 35 minutes of excellence, beginning with floating, drifting sounds which then give way to Airsculpture’s trademark, strong sequences with lots of fun layers mixed in. Much more into the realms of outer space is “Traditional Folk Music,” which is nothing of the kind. After a jolting beginning off the launch pad, a variety of cool effects give way to an even cooler organ lead line, harkening back to classic krautrock like Popul Vuh or Ash Ra Tempel, if just for a few moments. The sequencer appears late here, but oh, what a sequence it is, with Schulzian choirs chanting in the background. Add the 22-minute closer, “Gloria Mundi,” and you have the perfect synthesizer/sequencer experience. If you like this style of electronic music, I can virtually assure that Fjord Transit will thrill you. © 2000 Phil Derby, as written for Groove Unlimited’s website.

Airsculpture “Quark Soup”

(Neu Harmony, 2001)

2 CDs, 4 + 2 tracks, 63.47 + 65.02 mins

Airsculpture’s improvisational style reaches its peak on this 2-CD release. As the band puts it, the “fun, fear and feedback” of the live setting seems to bring out the best in them, and no one could argue that on this excellent set. Disc one is 1999’s E-Live festival in the Netherlands, and disc two is at England’s Jodrell Bank Planetarium in May 2000. “Bock” starts things out soft, slow, and spacey. It is raw and edgy, but also relaxed. Halfway through its 14-minute course, the first sequence arrives, with cool synth strings hanging back to give it body. The sequence is punchy and hypnotic, and the audience shows their enthusiastic response at the end. “Dubbel” has watery sound effects and an organ, lending an almost stately feel. Once again, sequencing pops in at the midway point. A synth lead mimics a guitar solo, and the feeling is very RMI. Extraordinary piece. Plinking keyboards dance lightly on “Tripel” as a bass line forms a stuttering sequence of sorts. Entering the eleventh minute things become abstract, like deep space transmissions. Very trippy, very cool. The sound eventually coalesces and solidifies back into a semi-gelatinous state. Out of this a simple bass sequence is overlaid with a brighter classic Berlin school reference and we’re off and running. This track runs nearly half an hour, and it seems to go by in the blink of an eye, it’s that good. “Shoarma” closes out disc one with a brief track that sounds like some great undiscovered TD selection from the Baumann era. I’ve already gone on a great deal, and said nothing yet about disc two. Does it matter? Go buy it already if you haven’t.

Airsculpture and others “Okefenokee Dreams 2001”

(Neu Harmony/Quantum Records, 2002)

7 tracks, 68.24 mins

This disc is actually a collective effort, with no credit given as to who did what track, but as I said in this Exposé Magazine review from 2002, it often sounds like an Airsculpture recording:

For a disc that turns out to be one of my favorites of 2002, it certainly has a strange beginning, downright bad actually. Random vintage synths are overcome by loud snoring, only to be replaced by something worse. A sound clip of someone saying “that was just an example of some of the wildlife here at Okefenokee” repeats ad nauseum. So, we have three minutes of snoring, five minutes of this guy saying the same thing over and over again, and very little else to recommend it. But before I can torch the CD, some really good music rises from the ashes, not only rescuing it, but also allowing me to recommend it wholeheartedly. Like its predecessor, the latest incarnation of Okefenokee Dreams is a stellar display of how Berlin school can still entertain and delight, whether it’s Bill Fox’s sizzling guitar in the stronger moments of “Wildlife at the Okefenokee,” or the wonderful brooding atmospheres of “Road to Nowhere” and “Tannic Tonic.” The line up this time again includes Free System Projekt (Marcel Engels) and Dave Brewer. John Christian and Peter Ruczynski of Airsculpture give an added punch. In fact, at times I swear I’m listening to an Airsculpture record, but the FSP influences are definitely there also, as on “Five Sisters,” with energetic sequencing and mellotron flutes sounding much like Pointless Reminder. The disc ends on a silly note again with 30 seconds of “Feedback,” but by that time I don’t even mind, I’m won over. © 2002 Phil Derby / Exposé Magazine

Andreas Akwara “Solar Eclipse”

(AA Music/Groove Unlimited, 2002)

8 tracks, 61.45 mins

Cool space scenes adorn the booklet. The music conveys similar space images. A low-key affair at first, the electronics are content to meander about for the first couple of tracks. The first part (the tracks are simply named “Solar Eclipse Part I” and so on) has some light percussion, bright piano, and a variety of soft electronic sounds that play very nicely. I hear perhaps a bit of the space music feel of Jonn Serrie, some of the majesty of Vangelis, even some modern influences like Pete Namlook in the form of the shuffling beats on “Part III.” But when it comes right down to it, what I like most about Solar Eclipse is that it doesn’t sound quite like anybody else in EM that comes to mind. A variety of moods and tempos are explored, and there is very much the feel of storytelling in the music as it passes. “Part IV” has a great beat that moves things along. “Part V” is very dreamy and spacey. The only track I didn’t quite like was “Part VI,” as a stuttering synth loop just ratchets up and down a scale, changing little for much of the ten minutes. But this is a temporary diversion, as “Part VII” is a favorite, with a catchy rhythm much like “Part IV” and a very good sense of how it wants to unfold. The last part reaches a majestic conclusion, repeating and enhancing familiar themes preceding it. Andreas Akwara is one to watch.

Mike Andrews “Retrospective”

(Invisible Shadows, 2002)

15 tracks, 72.52 mins

As he did on Time and Science, on Retrospective Andrews gives credit to Vangelis and Jean-Michel Jarre as major influences. “Science & Fiction” kicks things off gloriously, in the grand theatrical style of both of these EM giants, with perhaps a touch of Andy Pickford as well. This generates excitement early, the longest track on a disc of pop-length tunes. “Paradox” begins with crisp, bright sequences like one might expect to hear on Pickford’s disc Symbiont with Ian Boddy. Once the drums kick in, it really opens up the throttle. In “Synthopia,” the synths are light at first, but drums and a soaring synth lead take over toward the end in dramatic fashion – a bit over the top for me though some listeners may get chills. “Song of the Spirits” is all sweetness and new age light. “Nikki’s Tune” is a guitar-synth melodramatic number. Sci-fi themes return on the two-part “O2-2001.” The first part drifts out into space, while the second is another Jarre ringer, with a playful beat and strong synths. “Aura” goes back to a sweeter sound, though guitars come crashing in at the end, again a bit excessive for my taste. “Just A Love Song” is great Vangelis-like track, starting in love song mode but with great musicianship and all the right touches of melody, percussion, and pace. “Wind Off A Butterfly’s Wings” shows Andrews’ penchant for distinct themes and melodic structure. Something about these more pop-oriented tracks doesn’t quite do it for me. The drums, in particular, remind me of the weak drum programming that has plagued Tangerine Dream’s output of the last 10-15 years. On the other hand, though “FINalism” is also on the cute side, it really works, again in Jarre-like fashion. Sometimes sentimental, sometimes grandiloquent, sometimes hitting the mark dead on, Mike Andrews has a lot of talent. With proper restraint, he can really shine.

Current “Musik”

(Origo Sound, 2001)

14 tracks, 69.25 mins

This disc slipped by me unnoticed when it was first released, but I’m glad to have recently discovered it. Current is Robert Solheim, and these 14 tracks are a cool assortment of melodic electronic music. “Robin” is named for the little girl speaking on it, as light synths bounce around and get the disc off to a low-key but effective beginning. Punchy bass tones lend a dance sensibility to it. “Ships In My Backyard” has a shuffling backbeat and more hip synth tones. Virtually every track is very relaxed and mellow, but even the most atmospheric tracks like “Stellar” and “Carpet Magic” have some kind of a beat running through them. Each piece is a gem, carefully conceived and orchestrated. “Unknown Destination” has a steady rhythm and bright piano and could pass as a melodic Spyra track. “Brightness” is just that, with a light sound and an upbeat mood and pace. Sparser, shorter tracks like “Beginning To End” and “Still Waving” are equally good, the former sounding somewhat like fellow Norwegian act Biosphere. There is an engaging playfulness and yet thoughtfulness throughout. No particular track stands out, but the sum is greater than the individual parts. Musik is a solid collection of very good melodic EM.

Dystopia “The Second Dawn”

(Origo Sound, 1998)

14 tracks, 73.59 mins

Music with a message, Dystopia is a musical and political statement about the dangers of nuclear power. Pertti Grönholm and Ismo Virta have created a dark but thoughtful work, often taking the form of a sound collage. For example, “Destroyer” and “Core Melt” barely register on the sound meter, having a minimal, steady beat and an array of voice samples, some intelligible and some not. The tone is appropriately ominous to the subject matter at hand, as technicians talk about a problem and operating blind. Suddenly, at the 4:00 mark of “Core Melt,” the music swells in dramatic fashion. Water and other sound affects adorn “The Chamber,” again a rather abstract but fairly interesting piece. “Breaking News” is a 30-second piece that immediately recalls to mind Orson Welles’ classic radio piece “War Of The Worlds.” Next up, “When The Wind Blows” has a girl speaking in a Slavic language of some sort perhaps. The synths are surprisingly light, but the drumbeats are full of portent, and are not unlike more dramatic moments from Klaus Schulze when he is in full-on classical or operatic mode. Pizzicato strings add to the Schulze-like feel. “Technocracy” is icy cold with crisp crystalline synth leads. “The Dice” warns not only of nuclear dangers, but also of drugs that modify personality, machines that run our lives, and so on – all in the span of 99 seconds. Though this is music with a serious message, it is also engaging to listen to. “Sands Of Sinai” has a big, full, majestic sound, thanks again to some strong rhythms. The eerie “The Unforeseen” and the very slowly building “Into The Deep” take us further into the maelstrom, the latter concluding that man has failed in his quest for science over nature, leading us into the sparse desolate title track. The end as we know it should sound so entertaining as this.

Jeff Greinke “Wide View”

(Hypnos, 2002)

48.27 mins, 9 tracks

After a few acclaimed ambient discs, Jeff Greinke explored other forms of musical expression, following his muse. Now he returns to his ambient roots, if you will, with Wide View. An interesting panorama of silky soft textures, this is easily the most accessible Greinke sound to date. Best described as melancholy new age with an ambient bent, the moodiness lends to it a more masculine quality than most new age. Though hints of Budd and Eno can be heard, it seems more brooding. Whereas Eno intended some of his ambient music to be sonic wallpaper, there is a sense of deliberation here in Greinke’s work. Each of the nine brief tracks has something specific to say, and one must listen closely to discern the message. The musical structures are hard to describe. Though it does have an ambient feel, elements stand out as if trying to give it form, such as the bass notes on the title track. Delicate melodies emerge at times, but they come and go throughout. “Glide” has gentle piano, strings, and soft synth atmospherics. “One September” is my favorite, an attractive mélange of tinkling bells and reverberating ringing sounds. Credit is also given for guest Eric Cooley on guitar, but it is so subtle my untrained ear can’t pick it out in the mix. After a couple of somewhat brighter sounding pieces, “Cloudburst” is slow and sad, suitable for rainy day listening. The musicianship is top notch throughout. For a very mellow laid-back listening experience, this is a good way to spend a lazy morning, afternoon, or evening.

Harald Grosskopf “Digital Nomad”

(AMP Records, 2002)

7 tracks, 49.57 mins

Perhaps known more for his drumming with Klaus Schulze, Harald Grosskopf has made a few CDs of his own, including his latest and perhaps best effort Digital Nomad. Featuring Steve Baltes (recently of Ashra), the two combine to form a series of fine melodic tracks that tap into a variety of influences. “Gamma Knife” starts with chanting and reminds me of some of the African-tinged music on Paul Haslinger’s World Without Rules CD. “Sea Of Tranquility” dips into much mellower waters. This free-flowing affair is serene and perfectly put together, my favorite on the CD. It builds at just the right pace, with slow sequencing, sparse synth leads and percussion appearing only long enough to bring it to its peak. It then drops back into floating space music as one of the most famous spoken passages of the past century is featured, from the landmark first moon landing. Fantastic. “Cryonic Suspension” continues the science and science fiction theme, again with nicely layered electronic textures and just the right touches of percussion and sequencing. It goes from spacey to danceable with ease. This is one to really crank up while driving down the highway. “Come Pass The Gate” continues the trend toward more beat-oriented fare, the melody taking a backseat to the driving beat and almost techno feel. The mix of traditional Berlin school techniques with more modern synth sounds and beats really succeeds. “Diving At The Reichstag” has a very synthetic sound, right down to the robotic voice samples, almost like the Cylons from the TV show Battlestar Galactica. The multi-layered sound continues as “Urban Glamour Zone” shows Grosskopf and Baltes to be gifted tunesmiths, crafting catchy numbers that you can’t help but tap your toes to. “Alien Inspectors” is the longest track, and makes a solid closer.

James Johnson “Linger”

(AtmoWorks.com, 2003 reissue)

5 tracks, 59.18 mins

This reissue of an mp3.com CD has been repackaged into a nice CDR in a DVD case, with beautiful black and white abstract photography in soft focus, characteristics that also describe the delicate music within. The new version of the CD boasts a new track, “Twilight Impressions,” which replaces “Floating and Dreaming” from the original version, forcing completists to purchase this even if they own the original. Of course, a plus is that this release is without the mp3 format with sound compression, though my ear is rarely keen enough to discern those differences. The title track is equally quiet and pretty to the original. No distinct differences are noted from the original. Linger has always been one of my favorite James Johnson releases, and that hasn’t changed with this reissue. The new track is wonderfully ethereal, perfectly carrying the eased mood that began with the title number. It fits in no better or worse than “Floating and Dreaming” did, it is just a different way of carrying the mellow feel along. Occasional bells and guitars add to the ambient layered textures. “Riding the Fog Line” starts equally ambient, but a light beat does carry it along quite effectively. “Siren Song” is the obligatory strong piano piece, as a James Johnson CD wouldn’t really be complete without one. Calm and reflective, this a very nice piece. “Frequency Shift” brings more deep floating, with rich tones in the higher register to keep things bright. Overall, Linger is a delicate work of subtle ambient beauty that must be listened to to truly appreciate.

James Johnson “The Butterfly Chamber”

(Hypnos, 2002)

59.45 mins, 7 tracks

Johnson inevitably gets compared, favorably so, with ambient greats like Harold Budd and Brian Eno. This is almost inescapable given his deft touch combining traditional instruments like piano and guitar (courtesy of Christopher Short from Ma Ja Le) with gentle atmospheric electronics, much like Budd and Eno have done in the past. “The Citadel” features Short on acoustic guitar, but is full of additional textures and treatments. It has an ethereal feel, one of the more beautiful pieces Johnson has done, which is saying something. “Hall of Radiance” adds violin to the mix, for a somewhat somber but very elegant number. The music throughout seems to have a distinct sense of purpose, even seriousness about it. “Through the Resonance Field” is full of bright shimmers, like the glowing white butterfly on the inside of the CD case, though it seems a bit sad. “Incensario” feels like ambient cavern music, with lush organic echoes reaching into the darkness. Crickets build a transition into “Tepantitla,” a sparse piano piece with rain as a perfect backdrop. Violins appear again here. The title piece carries the mood into similar territory, blending a wandering piano into a sonic tapestry of bright ambient electronics. “House of Mist” brings back the crickets, rain and other night sounds. This one has an ominous, almost sinister feel despite birds and such, and makes a very interesting way to end the disc. If you favor serious ambient music that avoids the pitfalls of most new age music, you would do well to check out The Butterfly Chamber.

Frank Klare “Berlin Parks”

(SynG@te, 2003)

6 tracks, 71.21 mins

The Berlin school theme has been a recurring one for Frank Klare, and has turned up of late in his titles. Taking this concept a step further, Berlin Parks is a not-so-veiled reference to Tangerine Dream’s classic 1985 CD Le Parc. Rather than song titles named after world parks, Klare has kept within the confines of Berlin. And that is appropriate, given the music is strongly rooted in that style. “Grosser Tiergarten” is a lengthy hypnotic sequencer piece. A single intricate musical phrase is repeated throughout, with the exception of key changes from time to time, and mild shifts in the variance of the notes toward the end. Punchy drum machines thump along in parts but not through all of it. The drums are a touch on the thin side, but otherwise this is great vintage stuff in the style of Schulze and TD. “Victoriapark” starts with heavy beats and sequencing together. The drums sound better here, and there is a nice lead synth line that goes through a variety of classic sounds such as Mellotron strings. “Treptower Park” is a touch moodier, in a good way. The sequencing here is a little TD like but actually reminds me, just a touch, of The Who’s classic song “Eminence Front.” The track is a bit more low key than the first two, and that works to its favor. “Shlosspark Charlottenburg” is beautiful, with flowing synth pads and really nice piano by Klare, a strong composition. The diversity from one track to the next is a real plus, and makes Berlin Parks more and more enjoyable as you delve deeper into it. By “Britzer Garten,” I am totally hooked by the great blend of synths, sequencing, and melodies. “Mauerpark” closes things out, the longest track. The drums are too heavy-handed and the sequences don’t change enough for this to work as the big epic finish that is apparently intended. Still, there is a lot to like about this disc. Some of Klare’s works from the eighties and nineties were a bit too cute for me, but I think his recent releases have been stronger, and I would certainly count this among his better ones to date.

Lammergeyer “Birds of Prey”

(dataObscura, 2003)

10 tracks, 59.31 mins

Lammergeyer is a side project of sorts for Anthony Paul Kerby, the man behind The Circular Ruins. Anthony explained to me that this CDR didn’t really seem to fit his normal subgenre of modern ambient sounds. He calls it “orchestral electronica,” an apt name for this mellower version of his usual sound. An homage to birds, it is divided into ten “thermals.” “Flight” is a semi-somber low-key beginning, with elements of Kerby’s usual tapestry of sounds. It slowly takes gradual twists and turns, then suddenly fades. “Atonement” begins beautifully, with a delicate flute hanging in the mist of ambient textures. The melancholic tone continues and I’m reminded, emotionally speaking, of sadder works by Schulze, though compositionally it is perhaps a distant cousin. Like Schulze, this is heady stuff, having a serious feel that isn’t always present in synthesizer music. “Void” is a short, bridging piece, with a dramatic, thick synth lead that very much conjures up images of the opening moments to Tangerine Dream’s classic Ricochet. “Memory” is also fairly short, and the subtlest piece so far. “Transformation” sounds a bit like quiet machinery, though a dramatic synth passage again ensues. Kerby says he envisioned this as music for a possible film; there is an epic feel to many of the numbers, and you can imagine accompanying visuals. “Estranged” is the longest and the quietest piece, delicate and adroit. Things stay quiet and dark for most of the remainder. “Release” approaches the realms of atmospheric ambience by the likes of Steve Roach, full of drifting deep echoes. Only the closing track, “Gyre,” picks up the pace and the mood a bit, with a pulsing mechanistic phrase that drives it along to the end. Though I favor material by The Circular Ruins, Kerby’s Lammergeyer project is a worthy diversion.

Brannan Lane “Escape Velocity”

(SpaceForMusic.com, 2003)

7 tracks, 59.30 mins

“Homing Frequencies” is a good indicator of the depth and variety of sounds on Escape Velocity, which is saying something when you consider that this track is nearly silent. And yet changes are readily discernible, enough so that you know when it flows into track two, “Magnetic Wind.” The sounds change from metallic, abstract deep space to foreboding organic drones. The tension is palpable, and not at all unwelcome, similar in tone to Steve Roach’s classic The Magnificent Void. Although Escape Velocity is largely devoid of structure, toward the end of “Magnetic Wind” a tribal beat appears, as well as a quirky little sequence that plays alongside it. A classic deep space motif marks “Alien Desert,” with wonderful array of textures and sounds. Drums return again in “The Search Module,” which is the most energetic track, at least at first, though it has at least three distinct passages, the latter two growing progressively softer. “Previous Life Forms” is perhaps the most abstract, with assorted electronic sounds interspersed with floating synths. The title track is indexed as two separate movements. The first part floats darkly about, with rain sticks and airy synth pads. The second part has tribal beats and deep male choirs, fading as the disc draws to an understated close.

Stephen Philips “Reflections In Water”

(Dark Duck Records, 2002)

6 tracks, 71.47 mins

“Stream of Consciousness” gives the feeling of a space voyage into the outer reaches of the galaxy, encountering totally unknown worlds and life. This could easily slip into TD’s Zeit disc and feel right at home. In a catchy double entendre, there is indeed a “stream” of consciousness, as the space sounds give way to bubbly, gurgling depths. However, it evokes feelings a shade darker than a lovely babbling brook or stream. “Heart of Darkness” is similarly constructed, but more brooding and intense. Coarse, grainy sounds scrape against the water as the music dives into the ocean depths. “Alone Again” is ambience in its truest form, nearly inaudible for several minutes, hovering between the conscious and subconscious level. Philips mixes it up a bit by adding beats and grooves like “Trickle,” a very cool number not unlike the Perimeter CDs by James Johnson and Vir Unis. It gains intensity then levels off before fading into the 18-minute epic “Reflection.” Sounding very much like a groovy clock to begin with, it turns downward toward the dark waters before reaching the halfway point. The churning sounds continue in a dense fog to the end, until we hit “At The Bottom,” which pick ups where “Alone Again” left off, sounding the deep trenches of the ocean floor. It will take some time to decompress and return to the surface after being on the other side of Reflections In Water.

Robert Rich “Shamballa”

(SpaceForMusic.com, 2002)

7 tracks, 58.57 mins

A very mellow Robert Rich is captured in the live element, May 20, 2000 in Costa Mesa, California. “Guitar Harmonics” is just that, playfully plucking the strings and coaxing interesting noises out of them for the first eight minutes. Next, “Nada” is beautiful crystal clear flute, wafting into the crisp night air. “Cloud Relapse” wails almost mournfully, slightly reminiscent of some of the Kevin Braheny pieces with Steve Roach on their classic Desert Solitaire disc. “Lapis” starts low, with the coolest swirling drone, then more flute followed by tribal percussion. This is so full of imagery you can see it as well as hear it. The rhythms and the sounds are constantly shifting in a wonderful mélange. Still tribal but darker and more minimal is “Submission to Pele.” At first sparse, the percussion folds in a few additional layers, eventually forming a fascinating blend of sounds, full of Robert’s famous “glurp” element. “Synergistic Perceptions” is other worldly, echoes of the future and the past in an eerie setting. It fades to water and animal sounds as it concludes, flowing into the last track, “Demilitarized Zone.” All the components come together here – the guitar, the tribal beats, the wailing synths from “Cloud Relapse,” and more. It makes a fitting finish. Good stuff.