|
 |
|
------Master
Margherita - Mastura |
| STYLE |
|
Electronic
downtempo with hints of dub and psytrance. Mastura delivers
quite a varied sound palette and explores a wide ranging sonic
terrain. There are a considerable range of moods from restful
ethnochill where waterfowl samples and vocal snippets embellish
gentle synthwork to some acidic rhythm pieces where fermenting
arps and gurgling cycles work in conjunction with hypnotic
beats. The album concludes with a drifting soundscape of alien
territory where corrosive pools and liquid luminosities decorate
an undulating plane of drones and swells. There are guitar
lines both electric and acoustic and harmonic plucks, spoken
philosophies and female vocal bytes. Where global instrumentation
is used it is carefully interwoven into the fabric of the
sound - flutes, international drum sounds, didgeridoo - never
just tacked on as a quick bit of colour. |
| |
| ARTWORK |
|
A
green man image of synthetic leaves stares from the front
cover of this digipack. Opening into two panels, the rear
features another leaf design - this time hazy yellow with
a detailed track list accompanied by writing credits and a
bpm for each piece. Inside the hue is verdant once more with
overlaid leafage, veins and twigs. One inner panel contains
extensive thanks - the other, the CD and behind this, contact
info and web addresses. |
| |
| OVERALL |
|
Mastura
is Master Margherita's first Solo album where four tracks
are solo productions (with some instrumental collaboration)
and the rest are joint compositions featuring the creative
talents of such masters of the genre as Electrypnose, Cell,
Flooting Grooves, Morphonix, Tajmahal and Kali-Frogz. Promotional
information explains that Mastura "from conception
to completion has taken three years" all tracks being
finalised during the spring of 2006. The CD is released
via Electrik Dream Records and draws on the mastering experience
of label master Tajmahal as well as Ultimae's Huby Sea. |
| |
|
 |
|
------Mythos
/ M.A.S.S. - Mysteria |
| STYLE |
|
An
impressive three CD collection of melodic electronica with
programmed beats and occasional world elements. Mythos delivers
here a suite of fifteen synthesiser compositions evolved out
of Berlin school origins. The musical approach is dramatic,
energetic and colourful - strong programmed rhythms propel
multi-layered electronic arrangements where imaginative themes
luxuriate among swirling effects, morphing sequences and delicate
textural films. Lending an additional range of expression
there are oriental er-hu violins, emotional female vocal utterances
that suggest the Middle East and a number of other global
influences. The variation here comes primarily from fluctuations
in intensity and layering rather than chordal arrangements,
repetition is well employed and cycling, developing motifs
build into vibrant compositions. |
| |
| MOOD |
|
The mood
here is one of exotic digital professionalism - Kaske delivering
some evocative compositions that wring surprisingly passionate
responses from the wires and circuitry at his disposal. Mysteria
is unarguably synthesiser music in the grand tradition, twinkling
with inviting artificial light and rippling in sequenced regularity
- yet the music here is certainly not mechanical or predictable.
Monumental and imposing at times, many of the tracks have
a regal quality about them as if drawing on a distinguished
and extensive history. |
| |
| ARTWORK |
|
Mysteria
comes in a double opening digipack that unfolds into four
sections. Three hold discs and the fourth pockets a twenty
eight page booklet that charts the history of the Mythos legend.
A series of double page spreads describe the origins of the
band, the development of their sound and the albums that have
spanned almost four decades. Swirling fractal images accompany
the information both within the generous booklet and the digipack
sections themselves. The front cover puts a beautiful computer
graphic to the fore - the words "Music is both an art
and a craft based on acoustic principles yet subject to various
interpretations hence its artistic merit" lurking to
the bottom right. The rear cover contains a track list with
timings and relevant contact details. |
| |
| OVERALL |
|
Mythos
(not to be confused with the Canadian duo of the same name)
was founded in 1969 by the multi-instrumentalist Stephan Kaske
along with Thomas Hildebrand (Drums) and Harald Weiße
(Bass) and was one of the original bands on the famous German
Ohr label. The band gradually slimmed down so that currently
it is a solo project of Stephan Kaske. M.A.S.S. - Mysteria
comes two years after the 2 CD set Edgar Allen Poe ... but
there is a large discography preceding these that points to
a powerful sonic heritage. Promotional material suggests "You
must listen to this music on a SA(SuperAudio)CD-Player to
hear the full range of this melodic, rhythmic modern electronic
journey into sound". |
| |
| WHO
WILL LIKE THIS ALBUM |
|
Mythos
/ M.A.S.S. is an act well known to electronica fans and
this three CD set will doubtless delight those already in
the know. Mysteria is a must for lovers of German synthesiser
music with its roots in the seventies, delivered here with
a new millennium clarity. |
| |
|
 |
|
------Alidan
- Nebulae |
| STYLE |
|
Bright synthetic soundscaping where brassy phrases, programmed
guitars, chimes and sculpted slipstream noise float across
an airy, expansive space. The sound has a new age, ambient
approach for the most part, gentle and clean as if constructed
somewhere high in the stratosphere looking down on the clouds,
bathed in sunlight. At times more upbeat arrangements dominate,
with percussion and sequenced patterns supporting melodic
themes, these also are tranquil, listener friendly affairs
that maintain the almost weightless clarity of the drifting
introduction.
|
| |
| ARTWORK |
|
A
winglike graphic fan of colour fills the front cover in
shades of turquoise and blue - hanging backlit over a black
void. The reverse contains a similar image, this time bathed
in violet - here is the track list along with brief contact
details and web addresses. Inside is a contrast - the booklet
black with a repeated tracklist, the CD support stark white,
a hairline diagonal breaking the flatness. The booklet opens
out to reveal an artist portrait and three lines of text
...." a journey around the universe, a journey across
the stars, a journey into your mind".
|
| |
| OVERALL |
|
Alidan
is a synthesizer player coming from Madrid, Spain. Nebulae
is his third full length album, following up 2001's Noosphere
and Immersion released in 2003. This latest CD is released
through Margen records and comprises ten quite varied tracks.
Not as spacey as the artwork and title might suggest - Nebulae
does have many space music elements, but Alidan presents
these in a more down to earth new age context. The music
here is relaxing and tuneful with some beatless passages
where structure is somewhat looser, edging toward soundtrack
territory. |
| |
|
 |
|
------Loop
Guru - Elderberry Shiftglass |
| STYLE |
|
Psychedelic
sixties montages embracing the spirit of the decade and given
the distinctive Loop Guru treatment. Here are recollective
elements of all sorts - mellotron flutes, retro organ lines,
Sergeant Pepper cellos, dreamy head in the clouds melodies
- like dimly recalled memories, everything is steeped in nostalgic
familiarity. That said, Loop Guru have taken this rich source
and spun it into new life - the trade mark beats and cut and
paste aesthetic maintain the unique identity of their previous
releases, although the global sounds are now mostly absent.
Spoken voices muse between tracks, introducing or concluding
with snatches of thought, puddled in small ambient pools.
Sampled peculiarities and sonic ephemera are woven into the
music in a lush tapestry of borrowings and rampant juxtaposition.
|
| |
| ARTWORK |
|
In
keeping with the temporal context Elderberry Shiftglass is
fronted by a striking piece of op art - purple circles, transparent
circles laid out on purple squares upon transparent discs
- concentric, dwindling into eternity. A fat, rounded sixties
font delivers the main titles - the subtitle 'Soundcakes From
The Universe Next Door' runs vertically down the clear spine
of the casing. On the back we have a James Bond/Tales of the
Unexpected female silhouette alongside the tracklist. Opening
the jewel case we find a three panel fold out where each track
is detailed, on a separate panel are three silk screen type
images of the band and a paragraph of 'shrinic blessings'.
As is their tradition, the guys list their inspirations at
some length - and here we see the raw material for this journey
back in time. |
| |
| OVERALL |
|
Loop
Guru have been around for some time now - their debut album
The Third Chamber appearing in 1994 and their individual take
on electronic music remains distinctive and fresh. Now on
their own label Elsewhen, Elderberry Shiftglass is a natural
progression from earlier releases, the musical collage approach
and bizarre gear lists falling perfectly into this new framewrk.
In addition to the period imagery and associations, the twenty
tracks here are served up as dishes on a sonic table - with
titles like Strawberry Girl, Pineapple Puppets on a Sandy
Shore, Hundreds and Thousands: A Hip Odyssey, Doughnuts for
Da-Da. The suggestion is that everything here is consumable
and temporary, to be tasted and enjoyed as part of a marvellous
musical menu. |
| |
|
 |
|
------
Beta Two Agonist - Zero Point
Field |
| STYLE |
|
Gentle, melodic
ambience with subtle beats, frequently morphing patterns
and fragile rhythm. Attractive sonic mists overlaid with
chiming, dripping or percussive notes hang in the air -
everything crystal clear, moist and buoyant. Dissonant tones
like an overcast sky at times well up and absorb the light,
random variations rolling in altering the mood, introducing
fresh associations. There is a sense of journey about the
construction - the music drifting from one form into another,
at times shifting suddenly, altering like the view from
a train window. Rhythms are set deep into the music, soft,
glitchy affairs, crackling with static, coming and going
- sometimes there without the listener realising. |
| |
| MOOD |
|
Most of
the time Zero Point Field is warm and fresh - lucid droplets
of sound delicately embellishing light breezes and spring
washes. Frequently suggestive of water in all of its forms
- vaporous, frosty, fluid, ice forms, tiny droplets. Atmospheric
with a touch of dawn ambience Beta Two Agonist establishes
beautiful fleeting synthetic environments and then lets them
wistfully drop away replaced by others of equal appeal. |
| |
| ARTWORK |
|
Zero
Point Field travels in a slim line jewel case - a light, uncomplicated
package that seems right for the music. The single sheet insert
is fronted by an image of abstracted cables and diagonals
white on blue grey - broad white borders sanitising, isolating,
framing. On the reverse is a degraded version of the same
image, details falling apart into blobs running into one another.
Here we have the legend - "dedicated to the unbearable
lightness of being...". There are also brief credits
and thanks as well as web site details. |
| |
| OVERALL |
|
Beta
Two Agonist is of Spanish origin born in Barcelona in 1976.
His music makes use of field recordings, percussive objects,
'circuit-bent toys and contraptions', synthesisers, various
effects pedals and software. Zero Point Field is the first
full length album from the project and is released via the
well known ambient label Databloem. Promotional material
from the artist himself explains "My music could be
described as minimal ambient. Minimal glitchy atmospheres
complimented by soft rhythms and gentle, yet moving, shades
of melody". There are samples of the album on the label
site at www.databloem.com. |
| |
| WHO
WILL LIKE THIS ALBUM |
|
If
you enjoy digital soundworlds with plenty of detail, minimal
arrangements and constant variation - this is an inviting
album. Zero Point Field is a bright sensitive album, yet full
of brooding grace. |
| |
|
 |
|
------
Blue Stone - Worlds Apart |
| STYLE |
|
Organic,
electronic blend with abundant layered female vocals and lush
soundscaping. Blue Stone employ synthetic arpeggios, washes
and melodies along with pianos, world touches, rich international
percussion and soft voice effects to create charming arrangements
with a cinematic depth and inviting warmth. Most pieces feature
female vocals - whispered phrases, soaring wordless utterances,
semi-classical performance, complete songs - various well
chosen effects drape the singing in misty reverb, spread a
heavenly gloss or add contemporary twists. The beats are chilled
and restful but with sufficient detail and variation to make
them absorbing rather than simply soothing, ambient interludes
break the melodies open in places allowing the atmosphere
to well up and float heavily into the air. |
| |
| MOOD |
|
Blue Stone
establish a magical, romantic sound of classical beauty that
hangs perfectly in the beguiling twilight between soundtrack
moodiness and accessible downtempo vocal music. With a nod
toward the likes of Delerium, Worlds Apart luxuriates in low
light moodiness, steeped in sonic colour and passionate expression.
This is an album brimming with magical, atmosphere and delicate
beauty. |
| |
| ARTWORK |
|
Thick
shadow and pooled luminosity shroud a crouching winged female
figure, her dress spread wide bringing a pink glow to an otherwise
grey blue gloom. The layered folds of clothing reappear throughout
the package among other strong textures - everything lying
in abundant darkness with sparse lighting effects. Inside
is a generous sixteen page booklet that contains lyrics to
each song along with writing and vocal credits. The last pages
contain portrait photographs of the singers alongside thanks
from the band and from Bob and Bill individually. A tasteful
item overall in keeping with the musical content. |
| |
| OVERALL |
|
World's
Apart deepens and consolidates the sound Blue Stone established
on their debut Breathe. Here though the band brings a little
welcome shadow into their world of magic and sparkle - the
result is breath takingly effective, this album really lifts
this band into the top level of the genre. Producer Robert
Smith and producer/multi-instrumentalist Bill Waters have
worked here with vocalists Sheyenne Rivers, Samantha Sandlin
and Maura Hurley - a collaborative approach that clearly
works well. The diverse delivery of operatic polish, breathy
wisps, sultry pop and catchy choruses shifts frequently
enough to draw the listener deep into the music whilst maintaining
a solid identity that unifies the album tightly. |
| |
| WHO
WILL LIKE THIS ALBUM |
|
Blue
Stone will doubtless delight their previous fans with this
release and will surely win over many more - fans of Sleepthief,
Delerium, Baligomingo and Enigma will probably appreciate
Worlds Apart. Give this one a listen if you fancy a delightful
collection of seductive electronica with just the right blend
of serenity and darkness. A strong contender. |
| |
|
