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Spacemusic Reviews

Klaus Schulze: Silhouettes

Silhouettes

Silhouettes

Klaus Schulze: Silhouettes
Released: 25 May 2018
www.spv.de
www.klaus-schulze.com

It may seem that when Klaus Schulze releases an album the whole history of contemporary Electronic Music lines up behind it. Yet from the audience’s perspective, the pure experience of listening to his music pushes thoughts towards the future. Silhouettes (75’00”) is for people wanting an intelligent, sophisticated production, not kid stuff. Its urgency and subtly heightened, fiercely focussed energies evoke a feeling of somber introspection. Silhouettes deepens quietly, as a deep dark something happens around the edges of its four tracks. With a tug of dire, inescapable gravity the world seems in absolute suspension – nothing moving, everything centered. In brighter passages exuberant harmonic gestures calms the formless questions gnawing at our souls. Where the music is spacious and uncluttered, sustained notes, sustained chords, and progressions of chords speak an utter truth with sound. It is a dense work expanded by inventive scoring and powerful narrative ideas. Light sequencer patterns arise, hurrying the interior current within, adding dancing tones to our teeming, gleaning minds. This kind of music usually benefits from simplicity, a point Schulze understands well. Silhouettes has a weightless allure built out of droning spaces and populated with cloud melodies that float and hover. While not exactly minimalist, because the layers are too involved and full of forward motion, Schulze’s achievement continues to be an assured, calmingly quiet atmosphere, which allows you to escape reality in a way unique to this venerable musician. However, his most enduring effect may be that he made our world appear to be a better place, by helping us keep the outside world outside – as you listen for the infinitely precious sound of the universe rhyming with one’s own brain.

Chuck van Zyl/STAR’S END – 21 June 2018

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Steve Roach: Molecules of Motion

Molecules of Motion

Molecules of Motion

Steve Roach: Molecules of Motion
Released: 1 June 2018
www.projekt.com
www.steveroach.com

Those who have traveled the farthest have gained the most perspective. Steve Roach invites us to listen with him, granting us privileged access to a hopeful view. His work exerts a force on the imagination, and brings much news from a distant corner of life. The album Molecules of Motion (73’18”) feels new and electric. Excitingly alive, this CD finds its dramatic momentum and action situated in Roach’s sequencers. Focused with full-beam intensity he lends musical energy to the language of ideas. Like many armed sparks sequencers issue tones and tumbling grooves break out of the controlled voltages. In an appreciation of complexity wordless structures explore forces – as the circulating fractals of tone patterns embody greater themes: the speed of life passing, the burden of memory. In an apt blend of vigor and momentum we become bedazzled by the sound of echoing synthesized riffs running on beneath swirling textures of atmosphere. Molecules of Motion has its soft spots too. As Roach occasionally idles the engine, late scenes are filled with serene sonic beauty. This taming is a quieter action, a simpler transaction of sound. Falling into infinity, we are unable to name the upper realm. This release rewards the deep diver – as we find the undercurrent of each track includes a whispered confidence shared with every listener. In streaks, flares, and charges in the open air, each of the four tracks transport our thoughts through space and time – just as easily as they may guide our attention down to territory more microscopic. The imaginary soundworlds Roach creates have an entrancing effect – enfolding such optimism in an era of blank desolation. He never loses sight of the natural wonders he is trying to capture, or of the nebulous mysteries he is attempting to fathom. Molecules of Motion reaffirms our sonic joy as the sustaining life force that it is.

Chuck van Zyl/STAR’S END14 June 2018

Erik Wollo: Threshold Point

Threshold Point

Threshold Point

Erik Wøllo: Threshold Point
Released: 27 April 2018
www.projekt.com
www.wollo.com

The music of Erik Wøllo has more places to chill than an igloo. His album Threshold Point (60’37”) features nine tracks that run in cool, unpredictable swerves and drifts of conversation. Always meeting the harmonic demands of his audience, Wøllo clothes supple melodic lines in a blanket of synthesized consonance. Climbing gradually and gracefully to its highest point, then with dignity traveling home again, his guitar solos conjure places known to but a few contemporary musicians. While so many rows of notes dance in all the pleasant complexities of syncopation, echoing up and down their scales, we listeners may rest – contently attuned with this beauty. In building Threshold Point Wøllo used rhythm, tone and pitch as his raw material. Here, rhythm is an appeal to the feelings, rather than an exercise of mathematical faculty. Tone combined with mood delivers a distinctive atmosphere, and tuneful arrangements of pitch brings the listener to a point of emotion – which then (as an element in the structure of each piece) leads to a feeling for climax. We will find no formal border between Wøllo’s music and the mainstream, as his work resides safely at the northern fringes of this realm. Identified by its boreal cursive elegance, Threshold Point displays a level of inventiveness that most musicians have not yet reached. So much of modern music and art is meant to provoke – inciting us to apply meaning. Erik Wøllo does believe that the world needs more people thinking, learning, and thereby becoming better. But he knows that society grinds on us enough so why should his music? From the steady and true creative engine of this man we hear his art, and cannot help but feel his humanity.

Chuck van Zyl/STAR’S END7 June 2018

Paul Schütze: The Sky Torn Apart

The Sky Torn Apart

The Sky Torn Apart

Paul Schütze: The Sky Torn Apart
Released: 30 April 2018
www.glacialmovements.com
www.paulschutze.com

The creative spirit of Paul Schütze has been proven undimmed by time. His release The Sky Torn Apart (56’40”) speaks an unabridged truth. Meant to be spun during the final act of the fragile theatre of civilization, this CD provides a finely rendered final trek across a desperate post-apocalyptic panorama. Becoming lost in this technologically assisted dream we confront underworld demons, magnetized clouds and contradictory yearnings. Opening with a mythic power, we soon find The Sky Torn Apart to be structured with the precision of the very best poetry. The sense of some kind of ongoing journey is clear, however immense, dense, complex, strange and disorienting a journey it is. Though indeed extraordinarily rendered and ambitiously crafted, we will need to search hard for ourselves in this soundscape. Through an undefined space, weak ceremonial blasts resound and recur, and lead us beneath thick, languid skies. In its slow continuous advance droning electronic tones expand and recede in studied synthesized breaths. This interchange with a sighing atmosphere provides sonification of the composer’s vivid idea of the future. As the conclusion of The Sky Torn Apart approaches, its center of gravity shifts – to points so minimal that the work may not sustain concentrated listening in service of a continuous narrative. Resounding like a whisper in the ruins the soundfield transforms slightly, from ascetical and bleak to a passage of stillness and certainty. Taking place in the private sphere of the imagination this realization involves risk, for the listener and the musician alike. Schütze uses his creative engine to disrupt mental grooves with an interrogation, a questioning about mankind’s subsumption of The Earth. It is already too late to avert the slow environmental disaster that besets our future – and the ugly society that will be spawned. Schütze is attuned with his listener’s anguish, as he addresses the fated of coming times. This work might help them to understand why we destroyed their world – and to ask as well if they could have done any better.

Chuck van Zyl/STAR’S END31 May 2018

Cosmic Ground: Cosmic Ground IV

Cosmic Ground IV

Cosmic Ground IV

Cosmic Ground: Cosmic Ground IV
Released: 21 May 2018
www.cosmicground.de

It may be argued that we are drawn to whatever in music that is boldly marked with personality. The brawny, brooding, primal realm of electronic sound realized by Dirk Jan Müller, in his highly personal effort as Cosmic Ground, does offer a distinctive synthetic substance – as well as access to the feelings of the lower plane. The album Cosmic Ground IV (78’26”) wanders to bizarre, distant and involved coloristic regions. If a synthesizer is a tool to make sound, then electricity is the raw material – which works its will within us across this CD’s seven tracks. Utilizing the darker portion of the audible spectrum the composer subjects the listener to a range of daring and captivating mental experiences. Phantasmal sonic events seem to confront underworld demons, as we move away from any concluding serenity. Along with all its foreboding, Cosmic Ground IV does give the impression that Müller takes some pleasure in the rhythmical arrangement of sound. Large-scale discharges lead to episodes of stormy grandeur, yet a swollen waltz of dancing arpeggio notes soon lights our shaky steps. However, in spite of a cerebral climax of overpowering sequencer sonority, we may still feel this music becoming darker by degrees. In ominous oscillations between Mellotron black and the comforting chords of a soft electric organ, this music is trying to say something for which words have not yet been invented. Many albums of Spacemusic simply provide pleasurable feelings to the listener. This one goes further… transmuting vague sentiments into the human sense of wonderment. Following the course of thought, Cosmic Ground IV provides a contact between two minds: that of the author and of you – who benefit from being open to the refreshment, the strengthening, and the stimulation of this work.

Chuck van Zyl/STAR’S END24 May 2018

Node: Node Live

Node Live

Node Live

Node: Node Live
Released: 18 May 2018
www.din.org.uk

Before the audience ever even heard the music, they knew it was there. On 27 February 2015 the concert hall at the Royal College of Music in London was staged for a rare live show by Node – the celebrated collaboration between Dave Bessell, Ed Buller, Mark Ellis (aka Flood) and Mel Wesson. In front of those seated was a city of synthesizers, arranged and wired together in a menagerie of boxes, cases and modules… warmed up and standing ready to be played by these four men. Sparking ideas about music’s ritualistic role, attendees surely felt that they were going to be part of something great – as when electricity is converted into music something wondrous is born into the world. Node Live (65’53”) provides a record of this psychic income. Like the thunder, the heaviest of this album’s five live tracks will awaken a primitive emotion within us. In parts where is present a bass so heavy that it can almost be stood upon, we feel an unrestrained directness of expression. As the inward spiral of echoing sequencer patterns are introduced, the brainwaves of the audience seem to align – as if in a combining of forces. Node Live captures the newness of this fleeting experience. Cross-modulated oscillators give the feel of being bombarded with cosmic rays, alongside classic Mellotron tones sounding out through cavernous reverberation. Electronic tones skip, dance and amble up and down chromatic scales in machine-like precision – supported by synth harmonies, glittering effects and the occasional electric guitar lead. Abstract thought zones provide a place to rest, without giving the impression of undoing or finality. It is hard not to celebrate the look of Node’s machinery over its function. But seeing all this gear (which nearly slipped from the world’s memory some years ago) assembled for a live performance may remind us that although we think we have control of it, electricity is working its will within this music and directing its every action. While Node’s work may originate at an AC wall outlet, it comes to us through our ears, and truly reaches us only through our understanding. Existing in stark contrast to mainstream music, which reflects the current values and trends in society, music by Node (and their contemporaries) achieves so much more – as it reflects the current state of the human mind.

Chuck van Zyl/STAR’S END17 May 2018

EFSS: Tidal Shift

Tidal Shift

Tidal Shift

EFSS: Tidal Shift
Released: 9 April 2018
efss.bandcamp.com

If you are seeking an easy way to shift your mind set, then just cue up Tidal Shift (54’23”) – the collective collaboration between Jörg Erren, Bert Fleissig, Jochen Schöttler and Christian Steffen. This album selectively activates neurochemical systems and brain structures associated with positive mood – as its music travels from the brain space of the creators directly into ours. Each of the seven tracks vibrates inside us, one by one conjuring a different color and atmosphere. The tempo may prowl then race outward with machine-like focus. A sense of serenity mutates into unease, setting us down amidst oxidized tones and an eerie beauty. Metallic drones, churning within collapsing worlds, are soon joined by ethereal strings and ticking percussion – with fat synthesized blobs marking time beneath flights of echoing sequencer runs. A rhythmic grid locates itself in space, and is promptly foregrounded by glittering modulated effects and raw energized sparks. Ghostly assemblages of drifting electronics become absorbed by a restless surge of synchronized patterns, only to plunge us back into the stillness of a close and holy darkness. All this and more makes Tidal Shift an exhilarating document. EFSS spends only a few days a year working together urgently on this music, and here reaches a new plateau. This release reasserts their originality as musicians – operating in the luxury of an underground haven where ideas can be explored freely with no worry of how they will land. This secluded existence is built around the contemplative pursuit of making music. By purchasing this CD, playing their work, and listening, we are granted permission to go with them on an intimate journey of creativity.

Chuck van Zyl/STAR’S END10 May 2018