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Spacemusic Reviews

Tag: Sequencer

Chuck van Zyl: Live on Star’s End 08.26.18

Chuck van Zyl: Live on Star's End 08.26.18

Chuck van Zyl: Live on Star’s End 08.26.18

Chuck van Zyl: Live on Star’s End 08.26.18
Released: 17 February 2019
www.starsend.org
www.xpn.org
chuckvanzyl.weebly.com

Produced by Public Radio Station WXPN, Chuck van Zyl: Live on Star’s End 08.26.18 (63’36”) is not a commercial release. It is available only as a “Thank-You” gift to those making a donation to WXPN/STAR’S END.

This album is a conventional silver CD featuring over 60 minutes of the Chuck van Zyl live electronic realizations made in the WXPN performance studio during a private Salon Concert and live-to-air broadcast of 25/26 August 2018. Its four parts each offer passages of improvised in-the-moment sequencer manipulations, amidst the ethereal yearning of synthesized harmonies and cresting lead lines. The listener is invited inside, to float away as the patterns and textures envelope them – tumbling in circles, spirals and pinwheels, beneath unfurling ribbons of creamy synth melodies and modulated, chirping effects.

Chuck van Zyl: Live on Star’s End 08.26.18 may seem more like a spiritual expression than an exploration of a musical form. This work has mysterious power purely on a sonic level. But the miracle of this release is that every time we listen to it, our minds will hear something new – and will so find a different album. Absorbing the full tapestry of the Electronic/Berlin-School experience, and the ideals of live improvisation, we can easily imagine every concert outing serving as a mystic portal for this musician’s own spiritual journey.

Whether channeled from the astral plane, or just the transformation of electricity into sound, Live on Star’s End 08.26.18 is for those seeking a deeper examination of tone and mood. Anyone in love with Spacemusic and its very specific poetry will want to own this recording. While this musical form may have been established in the 1970s, Live on Star’s End 08.26.18 feels made-yesterday fresh. A ceaselessly inventive work, its history begins now.

Press Notes/STAR’S END14 February 2019

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Chronotope Project: Lotus Rising

Lotus Rising

Lotus Rising

Chronotope Project: Lotus Rising
Released: 23 November 2018
www.spottedpeccary.com
www.chronotope-project.com

Fully and effectively imagined, Lotus Rising (58’56”) opens up a warm and beautiful space, then moves slowly through it. Recording under the name Chronotope Project multi-instrumentalist Jeffrey Ericson Allen takes time to take in the grandeur of existence – with music that moves from darkness to light along a spaceward tracking arc. His works slowly unfold just as easily in the dreamy brilliance of harmonic climaxes, as they do darkly in the thickening air of a room-shaking rumble. With its celestial choirs, glowing synths and delicate atmospheres, the eight tracks on Lotus Rising contain a fair amount of Spacemusic drama. Once the sequencers kick in the listener is treated to a delightful acceleration in energy – but not enough to disturb the contemplative and expansive nature of this album. Repeating patterns seem to bubble up – providing sleek propulsion across shimmering sonic landscapes – then coalesce and metamorphose, drifting away as the spacey lines meet, combine, and evaporate. Blurry chords extend above imaginative electronic modulations – just beneath the misty aura that surrounds each sound. Each a singular flowing thought, these works ask us to tune into the quieter frequencies. But being meditative does not mean Lotus Rising has to be vague. With its easy cosmic intimations it guides your psyche to stillness through searching probes from the warm heart of Electronic Music. From mysterious and remote to ethereal and heavenly, the eight silvery tracks on Lotus Rising are quieting to the mind. This album’s drifting approach – warm in tone and pleasantly melodious – gives this music a welcoming atmosphere. From textures of desolation, and still chill zones, to vigorous workouts of charged musical charm, Lotus Rising provides a rich, fully formed musical environment we will want to visit over and again.

Chuck van Zyl/STAR’S END10 January 2019

Spyra: Dunst

Dunst

Dunst

Spyra: Dunst
Released: 20 October 2018
www.groove.nl
www.derspyra.de

With music by the celebrated German synthesist Spyra, we know we will be traveling down the kind of road where we will not be using our eyes to navigate. His album Dunst (71’541″) features a vague air of cosmic mystery. The unpredictable swerves and drifts of its six tracks provide a wealth of dramatic potency and musical color across each intriguing sonic journey. Expanding in all directions yet still possessing a cerebral inwardness, the weight of this music will rouse its listeners – enough even to become aware of themselves. Dunst features many of Spyra’s signature stylings, such as lush synthesized strings, dramatic harmonic shifts and striving electronic beats. Weaving beautiful lead lines amidst complex interlocking patterns and repetitive motifs he realizes an irresistibly likable Spacemusic. While Dunst reworks Spyra’s cosmic/chillout hybrid of syncopated patterns and intelligent percussion accents, he also boldly relies on other more abstract concepts to further his musical ideas. In one moment we are feeling a strong galloping pulse, then further in comes the purring beauty of sustaining electrical tones. Its shimmering surfaces and consonant harmonies feel welcoming, yet Dunst‘s transposing sequencer notes echo ahead – beckoning us to the open road. With each new Spyra CD we experience a new cycle of intimacy. He almost always gives us the spacey and the dancey, some easy ambiance drifting into deep sonic dives, then a heart-felt melody over machine rhythms… but never the same way twice.

Chuck van Zyl/STAR’S END20 December 2018

Saul Stokes: Expansion

Expansion

Expansion

Saul Stokes: Expansion
Released: 17 November 2018
www.saulstokes.com

Hopefully you will hear the music of Saul Stokes‘ before you will need it. His work is known to have a positive effect on the imagination (which we all would benefit from), but it can also pierce the gloom. An acknowledgement of the gift of life and the realization of existence, the nine exuberant tracks found on Expansion (145’13”), are each on their own journey through a specific world of poetic imagination. While the listening experience of most EM is that of pure sensory input, encountering this album feels quite different – quite like stepping into a lofty, friendly conversation. Synthesizers may be the machines behind the music, but here Stokes is the engine. This man, and his mortal motor, fills every corner of Expansion with a radiant intensity. Partly in reaction to the digital disconnection of our time, the meticulous nature of Stokes’ production values clashed with the desire to make music more spontaneously – so each piece presented here is simply played out live in Stokes’ studio directly into a recording device, and then placed as is on Expansion. But as listeners we are advised to just lie back and lose ourselves in the drama of electricity transforming into sound, and sound into music. Even for those with mainstream tastes, Expansion is potent and adventurous enough to be engaging. From the warmly distorted leads spiriting through billowing harmonies, to the complex rhythm patterns that weave through them, Expansion suffers no shortage of special delights. A pleasant mix of Stoke’s trademark motorik riffs, shimmering synths, and low octane beats, this work presents an overlit, futuristic electronic realm. Out of a landscape of lunar vacancy rises vivid, syncopated grooves – which punctuate smooth electronic accents, and other ethereal sonic forms. Decorating our condition with music, this release asks nothing more than our quiet attention – how radical. Saul Stokes knows something, and he knows that we know it too. His music gets us to some mental place that we would normally be cut off from. Stokes finds in the power of music the ability to introduce order into the harshness of the physical world and still follow the way of an all-embracing, undying life of the spirit. Even with so many concerts and albums to his credit, we never feel we have enough of him.

Chuck van Zyl/STAR’S END22 November 2018

Saul Stokes: The Gatherings 16 November 2013

The Gatherings 16 November 2013

The Gatherings 16 November 2013

Saul Stokes: The Gatherings 16 November 2013
Released: 17 November 2018
www.thegatherings.org
www.saulstokes.com

A sonic world is waiting for you. A place where the wild past meets the power and the beauty of the future, and is accessed simply with a ticket to The Gatherings Concert Series. Among the finest examples of this phenomenon are the inspiring concerts made by Saul Stokes. Often referred to as a “sonic innovator”, Stokes bridges and bounds the opposing energies of crude electricity and accomplished art – to realize music that aligns perfectly with the beat and pulse beneath and behind everything.

His album The Gatherings 16 November 2013 (86’37”) features the unedited entirety of his performance. The sensitive ear will acknowledge the live, vibrant timbres present at every level of his numerous live performances. Using the altar at St Mary’s Hamilton Village, Stokes is not arranging for the dance floor, but for the place in the mind where sensory detail becomes thought.

If we think of this music as electrical, a thing made of electricity, then we find it to be always remaking itself – transforming in every instant, yet continually preserving its conception. The limit of effect is merely the limit of the musician’s imagination. From moody and psychological to juicy and exuberant, Stokes revels equally in tightly arranged progressions and timeless amorphous drones. Buzzing lead melodies provide a lovely voice in which to deliver a renewing message, while gentle beats and grooves speed up, then slow down – moving these compositions beyond squishy IDM and into the realm of intriguing thought experiment. Unique tones, novel arrangements, comprehensive synthesis and Stokes’ joyful intensity provide fuel for the listener’s mental adventures.

This work could not have been realized outside the intimacy of the live environment. The immediacy of the moment, the consistent pattern of change and the spark of inspiration all act upon Stokes, as he produces continuous currents of sound for his spellbound audience. This venue, and its patrons, have become known for revealing to musicians what they are capable of – and believe that a new idea in music is worth the challenge to make it. The music Saul Stokes made at The Gatherings now has a second life as an album release. The Gatherings 16 November 2013 was made live, in the heat of the moment, before an enthusiastic, informed community. As these conditions are known for revealing the creative spark, we find both the musician and his listeners experiencing this extraordinary music together in the act of being made.

Chuck van Zyl/STAR’S END15 November 2018


Proceeds from the sale of The Gatherings 16 November 2013 by Saul Stokes go to support the efforts of CIMA of PA, the IRS recognized, non-profit, all-volunteer organization which oversees The Gatherings Concert Series in Philadelphia.

Bluetech: Liquid Geometries

Liquid Geometries

Liquid Geometries

Bluetech: Liquid Geometries
Released: 16 November 2018
www.din.org.uk
www.bluetechonline.com

Free spirited and possessed of an Inner Light, the album Liquid Geometries 58’14” is loaded with monumental stuff meticulously realized. As a sonic traveler preparing for a new journey, Bluetech (aka Evan Bartholomew) surely revisited Spacemusic classics such as Phaedra and Rubycon – not for their equipment list, but to re-experience their directness. The hypnotic hymns of electronic dreaming found on Liquid Geometries move easily through somewhere barren and otherworldly to an inverted slowcore electronica – a place where the power of electricity is harnessed by the human mind. Liquid Geometries is a work that slowly reveals its power and complexity – such that the climax of each track may be noticed only in hindsight. Possessing a lulling beauty swirled in Berlin-School atmosphere and culminating in nine sky-high tracks, the dexterous cadence of each piece escapes the absolute. Aiming for a slow-burn build, the temperature of this release rises from cool to simmering. Sounds build out, and lines of rhythm are introduced. Minimalist sequencer runs motor on, brightening gradually along their course. Individual notes are transposed, echoed and repeated, altering minutely the pattern, then quickening the pace of the music. While a magic machine pulse provides a distinctive energy, one more of the mind than of the air, confirming synth lines surface – reassuring the lost and arousing the adventurous. Where dramatic chord changes help us ascend further still, the deliberate pacing in other areas slows the listener with its intellectual puzzle. This album plays in a way that makes us listen anew to the familiar. There is nothing not to like here. While some musicians just tend their machines, those at a more thoughtful level seem to be playing themselves into existence. Bluetech takes full possession of his impulses as he shapes music into something that far transcends the limits of his time. He never loses sight of the wonders he is attempting to capture, nor of the nebulous mysteries we are all trying to fathom.

Chuck van Zyl/STAR’S END1 November 2018

 

Pollard/Daniel/Booth: Eight

Eight

Eight

Pollard/Daniel/Booth: Eight
Released: 13 October 2018
pollarddanielbooth.bandcamp.com

Throughout Eight (68’55”) Pollard/Daniel/Booth make an exploration into the uncharted depths of the imagination. Favoring the simple expression of complex thoughts, this trio visits realms they may never have discovered on their own. Over its four tracks Eight builds a mysterious drama. In varying transparence the exquisite turbulence of roiling modulations and sustaining chords supports vintage Mellotron lead sounds, red-blooded synth lines and expressive electric guitar tones – all in service to the realization of a dynamic sound experience. Following the dissipation of its vague dread and sonic voids, this area’s central mass gives way to the signature interlacing layers of pumping sequencer patterns expected of this ensemble. Within its geometric planes and compressed space we may find a labyrinthine web – revealing an instantaneous unity between multiple crisscrossing and planar fields. These splintered forms and kaleidoscopic flickering surfaces seem to evoke the energy and dynamism of traveling through space – but without ever a thought of the vehicle used to make the journey, nor the destination. As music making machines recast the artist as an engineer, armed with modular synthesizers in place of pianos and violins, the genre of Electronic Music would seem to downplay the role of the artist’s hand. But with the rapid advancement of technology turning us ever inward to investigate the expressive qualities of sound, the better players in this field have adopted an approach, not so much pertaining to what the instruments are capable of, but what is the creative mind behind the instruments capable of? For Pollard/Daniel/Booth, each encounter with the musical exercises found on their album Eight will reveal, not technicians merely operating an apparatus, but a collective spirit – as they examine and ascertain an atmospheric depth, and contribute again to the restless genre of Spacemusic.

Chuck van Zyl/STAR’S END25 October 2018