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Archived music reviews
Victor Cerullo:
Ludus Playing time: 54:07 (14
tracks) Now this is something classic EM listeners will enjoy from the very first moments. Not only has Cerullo managed to squeese ALOT of amazing sound from the only two synthesizers used (Korg 01/W and Korg Polysix, with the help of Roland R8 Rythm Composer and Emu Procussion) but the music covers just about anything from the classic EM genre in terms of style and arrangements. And not only can one easily spot influences from the great masters of electronic music, but also influences from classical music. The music is divided into three main parts, and each part is divided again into 13 separate tracks (the 14. track is a bonus piece). I think the intention was to form a theme for each main part, and expand on that theme in different directions for each sub-part. But for me each individual track is too strong to be a continuation of the previous track. There is so much going on all the time, that I can't help seeing this is a collection of individual tracks, and not a bigger entity of long conceptual songs (except the use of the same bass structure in the second episode). However, one big obstacle has been overcome: The problem that good songs kill eachother. Even if I think these are individual songs, and good ones, they have kind of been counterbalanced towards eachother. There are no songs here that outshine others, by witch I mean the quality is constant during all of the album. The sounds here are also amazing, like I mentioned. If it is true that only a couple of synthesizers were used, those musicians who collect synths because they think they need dozens of machines to make good music, have no valid arguments anymore! There is not one single second without great sound. "Less is more" I guess. So not only is the music classic EM, but the sounds are also classic and resemble both the smooth analogue of the 70s and eerie processed vocal samples. My only whish for this album is that some songs could have been longer. With 14 tracks clocking in at 54 minutes there should be room, at least physcially on the CD, to have certain tracks extended. Five of 13 tracks are shorter than three minutes, so you know - when you get good music, you want more of it. [ Top ] Andreas: Melodic
winds Playing time: 54:25 (14
tracks) Andreas is a young Greek musician influenced by Yanni, Jarre and Vangelis. Sadly, very little of these influences are displayed in the music on Melodic winds. Actually, the only influences we can detect comes from cheap keyboards used by children. "My first Sony"-type of keyboads. What seems to be the problem, apart from incredibly cheap-sounding sounds throughout the album (example: an awful saxophone on A walk in the rain), is that there are too many ideas in each melody, and these ideas are not structured or edited well. Here's a piece of advise Andreas: "Take your song and cut away half of it, and focus on the remaining good parts". If you have a good theme (and good themes can be spotted here and there if I use my mental scissors to cut away dead meat) then stick to it, don't elaborate around it with not-so-good themes. I mentioned the sounds. I don't know if they are cheap keyboard presets or programmed to sound like that, but they do indeed sound like something a polka band from Azbehkistan would be embarrased of using. In fact, I think the sounds are so bad and/or simple that I am trying to disregard from them when reviewing this album, so I won't comment any further on them. But I think you understand what I mean... And I don't even know what genre to place the album in. New age for housewifes? Richard Clayderman? There is not much "electronic" in this music, I am more tempted to put the instrumental pop label on it. There is one big surprise here though; the last track, The beauty of nature, is a real gem. It's a piano piece with an extremely beautiful melody. This track demonstrates perfectly what Andreas should have done with all the other 13 tracks; focus on the good theme and use that only. So why Andreas, doesn't this album have more like this? I am sorry to have to say this album should never have been released. The beauty of nature on a single would be sufficient. I would have bought it. [ Top ] Elemental:
Thee Divine Imagination Playing time: 70:42 (12
tracks) The booklet of this CD says no MIDI or computers were used while recording. That's an interesting thought and hoping for something special I inserted the CD to hear music made in the way of the past. However, I am now not sure how this recording technique affects the music. The music is as dull or exciting as alot of other music. My reaction to this album is that there are far too many undeveloped tracks. Somehow there are good ideas scattered around, but there seem to be little in terms of developing ideas into good numbers. It's like, "hey this sounds cool, let's run it for 5 minutes". I am not sure "boring" is the appropriate word to use, but fact is that I don't see (or hear, actually) much fun in sequencers doing their thing with the musician out for lunch. To be more specific, not all tracks are this. One of the better tracks is Aethyria, a dark ambient piece that slowly changes, with low-key swooshes and bleeps well integrated. The sonic textures here are so rich and full of nuances that I have no problems with playing this 11-minute track again and again. In fact, it is a very good piece and I am sorry that there aren't more of this on the album. The second track on the CD, 18K, comes close though; there is more motion and underlying chords and effects, and again this is a track with a good idea that has been well executed. To put it blunt, I'd prefer if nearly half the tracks were cut out and more development given to the remaining songs (except perhaps Aethyria and 18K). [ Top ] Craig
Padilla: The Eye of the Storm Playing time: 73:32 (6 tracks) The best music in my opinion, is not cerebral, but emotional. It doesn't neccesarily have to evoke cliché feelings inside the listener, but it has to come straight from the heart of the composer. Music that accidentally starts to excist because the musician was poking around the keyboard to find it, is the kind of music I am searching for. And that is exactly what I found in Craig Padilla's album. I found the kind of music that makes my brain wind down because a certain, rare string is touched. When inserting a Padilla CD into my CD player a fresh breath of air is ejected into the room. It's like.... having a cold drink after walking in the sun all day. When returning home, that cold drink is all you want. This is the formal debut album of US synthesist Craig Padilla, who has been very productive the last few years, but mostly releasing private cassette tapes and recently expanding into internet distribution. After having listened to The Eye of the Storm, I'll have to say that even if Padilla admits to being influenced by European musicians such as Klaus Schulze, Vangelis and Tangerine Dream, the Padilla style is distinct, with sweet melodies that interact with sonorous layers of sequenced patterns. As for the structure of the songs, imagine a river that cuts through the land. It starts off as a small stream and grows to become a powerful river further down the area. On its way it grabs various elements and becomes not only a bigger river, but a carrier of diverse emotions and harmonies. Like a river can be wild and dangerous but calm and soothing around the next corner, so can Padilla's music change from the sad to the uplifting or from the dramatic to the plain beautiful. For most parts, "rythmic ambient trance with a melodic twist" is a fitting label on this music, but it never becomes repetitive. There is alot of intuitive parts and fun things thrown in almost at random, as well as parts that differs from the others. One highlight that demonstrates Padilla's ability to build and develop structures without sequencers on autopilot is One, which has majestic chords and the humble song of birds combined. I also like Night Rain very much, because of the tight mix and integration of electric and acoustic guitar and synths. And the melody of course. I think what makes this album great is a unique blend of big chords, running sequencers and melodic interventions. It's not like old Tangerine Dream, it's not like Kitaro, it's not like much I have heard at all. So I guess part of the fun here is that the style is Padilla's own. It sounds fresh (albeit sometimes dark) and un-constrained. [ Top ] Phoenix
1291: Universe Playing time: 49:55 (11 tracks) The first thing that strikes me about this album from Sweden is all the classic EM on it. If you like old-school Jarre, Tangerine Dream and melodic ambient EM you will likely want this album in your collection. On the surface the music is relatively minimalistic, but subtle elements and careful attention to details make the music rich. The first track, Universe part 1 - Lift off, is in my opinion one of the best EM songs I have heard from an independant musician in many years! The bubbly, rolling sequencer backed by catchy strings and an even more catchy theme makes this a truly classic EM song which could not be more perfect. This is one of those songs that instantly invades your mind and never leave. Haunting!! Why did everyone else stop making this kind of music? The second track hints to the structure of the album, which is one fast, catchy song followed by an ambient (or at least slow) piece. Universe part 2 is dark and gothic, with a deep doomsday synth backing a choir of lost souls. A big contrast to the happy part 1, but a much needed contrast and a very beautiful one in all its sad simplicity. Then another classic EM piece follows, it's Universe part 3 with another catchy theme backed by soothing water-like sounds and white-noise effects. As was the case with part 1, I notice how well two themes are combined to form a duet. It's a technique taken directly from Jarre's how-to-book, and works very well here too. The track has something in common with Universe part 7, which is another classic piece with a catchy theme and really cool special sound effects. One of the good things with part 7, is that the effects never dominate over the real music, even if it is loaded to the rim with them. That's careful attention to details. Universal part 4 and part 6 are again inbetween-tracks that really evoke the feeling of weightlessness in space. Ha! Looking at the subheading of part 4, I was right, it's called Weightlessness. Part 4 also reminds be about that old astronomy TV series Cosmos hosted by Carl Sagan. There is really alot of deep, empty space in this song. Part 6, subtitled Birth of a star, has grand space chords with beautiful white noise wind effects playfully lurking in the background. Universe part 8 is also worth mentioning. This is a calm piece, with the theme being played with beautiful phaser pads, backed by quirky sound effects and some of the coolest white-noise effects I have heard in a long time. The atmosphere here resembles Jarre's Equinoxe 2, but with a faster pace. Oh, and there are Korg Minipop sounds here too! You are by now probably wondering if all the tracks on Universe are good. Although most of them are, I'd like to shake my finger at parts 5, 9 and 11. While there is nothing wrong with them, they don't quite reach up to the standard of the highlights. They just don't seem as inspired as the others. The intro of part 9 however, is truly amazing with very crisp phaser strings. Technically everything is OK with part 11 also (which features the famous laserharp sound from the Elka Synthex), but here I just don't get the melody, which is close to Jarre's Last Rendez-Vous. There seem to be very little structure. To sum up, this is the album you want if you feel that Tangerine Dream lost it 15 years ago. Great tunes, wonderful ambient parts and often amazing sounds make this a classic EM album. It does not move any limits, and there are a few questionable songs, but all in all something that fits the label "they don't make them like this anymore". Read the interview we did with Phoenix 1291. [ Top ] |
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