ROBERT FOX: TOUCHING THE SERPENT’S TAIL (CDS Review)
I’ll say one thing about old Foxie - he doesn’t half love the majesty that you can create with synthesizer music.
If any music could be described as “epic” - in the film sense - it’s what he’s playing today!
Huge, sweeping layers of absolute grandeur and opulence pour out of each and every track. Even when it’s romantic, it’s powerful, and when he wants to get powerful, it’s romantic. So, with a lump in the throat, eyes like saucers and not a dry eye in the house, allow us to present his latest album out on the AD Music label: ‘Touching The Serpent’s Tail’.
It starts in the relative restrained pleasure of ‘Earth’, which it about as close as he gets to a cosmic track on the album, and even this is laced with an orchestral-styled magic. From there you head off into eight minutes plus of: ‘Another Time, Another Place’, initially on undulating sequencer-like rhythms, as a beautiful piano lead comes into play and synths sparkle and dance all around. That soon-to-be familiar sound of rich synth tapestries form the majestic string-like backdrop, and the whole thing is underpinned with a river of electronic gorgeousness that flows underneath, as the whole piece moves along neatly and delicately, threatening to open out and fly, but keeping it within its chosen emotive limits.
‘The Serpent’s Sweet Song’ largely continues where the previous track left off, only this time the sense of grandeur is even more to the fore as the string synths soar to the heavens amid tinkling percussive synth rhythms, and as the tracks slowly begins to build, eventually becoming something that would accompany shots of vast oceans or arid deserts - the sort of thing a film maker would kill to get done this well.
The eight-minute: ‘Weaver Of Chance’ takes all this on board, increases the volume and accelerates the pace slightly, so that the effect is more intense. This all starts to rise as the combination of rich textures and echoed percussive electronic rhythms form a canvas of sweeping chords that move slowly but inexorably forward. It’s big, expansive, wide-screen and breathtakingly panoramic beautiful music that’s loud and majestic, yet somehow serene and spacey too. As with most other Robert Fox albums, hints of Vangelis pop up from time to time, but by and large, it remains original, yet somehow familiar, and for the five remaining tracks, that pattern continues. The melodic layers, depths, textures and rhythms run through a heartland of music that provides an ease of enjoyment that is decidedly hypnotic, and way more than its potential money-spinner as “film music”, were that to happen! As I said, synth music of splendour and beauty, substantial yet sweet, pleasant and strong, it’s for those who want their music to carry them off like a warm wind on a cloudy day.
BEKKI WILLIAMS: EDGE OF HUMAN (review)
BEKKI WILLIAMS: EDGE OF HUMAN (CDS review)
The UK mistress of melody that took her early inspirations from the like of Mark Shreeve and Andy Pickford - but whatever you level at Bekki Williams, the one thing that always remains paramount is that this lady can sure write a catchy tune! But, unlike the syrupy world of mediocre malady that is the commercial, film-ridden, synth fraternity, she writes tunes that have substance, strength, pace and direction. All of which is why a new album from her is immediate - there’s no “getting into it”, no “play it three or four times to see what it’s all about” - none of that. This album sets its stall from start to finish, and that is a playing field where you’re out to have fun. From slower tunes such as the delightful light majesty of ‘First Light’ through orchestral-laden splendour in the form of ‘Where Times Collide’ to the richly expansive deceleration of ‘The Azmara Variations’, this is an album of vast, stretched-out melody-laden mini-epics and, like fellow label mate Robert Fox, she has a flair for the huge sweeping chords that cover you like a prairie wind coming down from the canyons on a summer heat. ‘Edge Of Human’ is quite orchestral sounding for the most part, occasionally more “Euro” when the sequencers come into play, but it always has a vast depth of layers and textures in abundance. This is the musical equivalent of a meal at The Ritz, where the end result is always guaranteed satisfaction and, after too much of a good thing, the thought that some day soon, you’d love to do it all over again.
Robert Fox & David Wright new collaboration
AD Music are pleased to announce that two of the UK’s leading electronic music composers and founder members of Code Indigo, David Wright (Ocean Watch, Walking with Ghosts) and Robert Fox (Asfafa, Into the Light), are recording a so far untitled new collaborative project provisionally set for October 2007 release. Despite their 15 years of musical collaborations, this will be their first album release as a duo (the box set “Blue” being a collection of individual albums and unreleased musical collaborations up to that point).
Recording is well under way and both artists have expressed a desire to recreate a modern “Overture” and “Finale” style of album. These 2 pieces seem to symbolise the style of music that many people associate with Wright & Fox from the early 1990’s. Further details to follow.
Bekki Williams news in brief
Bekki Williams has just been retained to compose the score for an as-yet untitled multiplayer God-sim game which is currently in development. She has also started work on her forthcoming studio album, “Inferno”.
Code Indigo In Concert - Independent CD Review
The band are announced. After an atmospheric ‘Prologue’ we get into the album proper with the fantastic ‘Code 14′. A vocal sample explains about our almost inevitable Big Brother future and an apocalyptic rhythm strikes up along with Gregorian chants and flutey synth. The ideal combination of subtle beauty and brooding power. Guitar flourishes take a steadily increasing role adding to the bite but without over dominating. ‘Autumn Fades’ initially combines gorgeous piano and little guitar licks to create a silken smooth but very moody atmosphere. The guitar really steals the show in a rather Floydian sort of way (Think ‘Shine on You Crazy Diamond!’). The pace quickens slightly and the guitar descends lower into the mix, a soothing synth lead becoming the main focus, only to return for a final flourish near the end. We continue without a break, on a montage of chaotic effects, straight into ‘Ten Degrees per Second’.
Rhythms pick up the pace and we chug along nicely. David Wright introduces the band members then we get into ‘24 am’. Dreamy little shimmers and faint samples of an airport or train station waft through the air. A gentle piano melody and brass lead slowly awaken us in a very gentle and soothing way. We flow through to ‘Galileo’ on the back of massed silken strings which swell to full orchestral proportions, oozing with a sense of wonder but also melancholy.
The title track from the ‘Timecode’ album uses more vocal samples over tinkling percussion to set the scene. A bass line and rhythm combination strike up and we get a reprise of the melody from the second track. Dual guitars weave a captivating but also restrained spell creating a feel of wonder and deep beauty. Wordless female vocals add a gorgeous ethereal quality. More piano takes us through to ‘Stasis’, another soothing number with an edge of sadness mainly created through Louise Eggerton’s wonderful vocal colouring. The first disc finishes with ‘Eden in Chaos’. After a gentle start things really start to motor, a superb bass loop and infectious rhythm providing real depth over which shine soft pads and blissful lead line. Excellent electric guitar gives a slightly aggressive edge which becomes even more so as we near the end. Wonderful stuff!
‘Area 52′ is a new fifteen minute track. Soothing electric guitar touches hit the spot perfectly whilst lush strings and piano provide an excellent chilled out feel. Acoustic guitar gently augments the electronics making things even more blissed out. The introduction of rhythm and Nigel Turner Heffer’s bass drives things forward, though initially it’s still quite peaceful. As the track progresses the more powerful things become, the electric guitar soaring to match the heightened excitement. After a humorous introduction from David Wright and Robert Fox we embark on a twelve-minute piece of improvisation called ‘Entangled in C’. Soft choral pads swell wonderfully creating quite a euphoric feel. Strings are added and then a gorgeous piano melody sounding like Vangelis at his most tender. Unexpectedly the mood suddenly changes to eerie atmospherics - a real contrast to the first half. Piano returns but this time accompanied by harpsichord adding a wistful touch. We return to the choral pads again to finish. Strident electric guitar provides quite a different feel to the old favourite ‘Uforia’. A sequence belts forward with sampled text in background. Little melodic flourishes then a chugging rhythm heighten the excitement. It’s always been a good track but this interpretation is simply awesome.
‘Cultures’ gets into a groove straight away, the drums softened by monastic chants and piano melodies. Electric guitar initially adds a little extra colour but when both guitarists get in on the act the pulse starts to race. This is a real body-moving piece that just oozes joy of being alive. We follow straight through to ‘Culture Shift’, the pace gradually slows and things become moodier, ending with quite a mournful piano solo. ‘Call of the Earth’ is one of the most beautiful tracks in the Code Indigo repertoire, melody shining from every note, Louise’s vocals giving an angelic quality. Music for the mind and soul. Simply exquisite. The audience demand an encore and the band oblige with ‘Code 11′. It arrives with something of a snarl and a mournful guitar wails. This is a track that is full of emotion- sort of a triumphant conclusion but also with a twist of regret. As well as showing just what a superb live act Code Indigo are this set also serves well as a ‘best of’. I enjoyed it from beginning to end. (DL @SMD)
Bekki Williams writes music for film short.
Bekki Williams is currently writing the music to a short animated film by artist Jackie Wu, the creative genius behind the Innersense album cover. The film, which is a two-long exploration of today’s TV and game culture, is titled “Arena” and showcases not only Jackie’s artistic talents but also Bekki’s thematic musical style. Music, video and further information coming soon here.
Bekki Williams - Edge of Human
AD Music is pleased to announce the release of “Edge of Human”, the new album from Bekki Williams, one of the UKs most popular producers of melodic new age music whose emotive, rhythmic style crosses synth pop, electronic and classical moods.
Edge of Human is a powerful, melodic journey of instrumental music, throughout which Bekki builds on her style of supreme melody, concentrating as much on the synthetic as the symphonic, while adding even more creativity, warmth and depth to her emotional compositions.
This album again sees Bekki playing flute and also features guitar by Paul Barraclough.
“Edge of Human” is full of rich melodies, lush orchestration, creative energy and intricate sequencing that pulls together elements from her three previous albums.
“Edge of Human” is a triumphant release, rich in substance and style that confirms Bekki stature as one of the leading composers of top quality, melodic instrumental music.
David Wright & Ian Boddy collaboration.
Composer David Wright and Sound synthesist Ian Boddy are two of the UK’s most enduring electronic musicians with a combined, perennial back catalogue of over 50 albums stretching back to the 1980’s. In addition to their respective solo and collaborative musical projects, which include Mark Shreeve, Code Indigo, library music for DeWolfe and music for Sky TV, both musicians have shown acute business acumen establishing Din and AD Music as two of the UKs most popular and respected electronic music labels.
These two experienced instrumental music performers will combine their quite different styles in a new collaborative musical project later in 2007. There is no title yet and the only comment forthcoming thus far is; “It will not be an album of ambient drones”. The album will be released by AD Music, with Publishing through Notting Hill Music, probably at the end of 2007 or early 2008. Further information to follow.
Howdale Music Festival
AD Music will have a stand at the Howdale Music Festival at Downham Market, Norfolk on Saturday 21st July.
Click the MySpace link to view the event details:
David Wright - Walking with Ghosts
The electronic music of AD Music artist David Wright is often categorized as “New Age”, presumably because so called “experts” believe that harmonious and melodic music can only be classified thus. Moving works like “Voices” by Vangelis and “The Songs of Distant Earth” by Mike Oldfield were also wrongly catalogued as being New Age. The simple truth is though, these works are quite simply jewels of tenderness and authentic classics of the modern era! And “Walking with Ghosts” sits equally alongside these mythical works and will exceed the wear of time because of the beauty, emotion and originality contained on the album.
A strident synth opens “Going Down”, where the reverberations stretches in fine loops, flooding whispered voices in a strange atmosphere. This dark intro is abruptly awakened by the sharp percussions of “A Certain Malaise”, which open the doors to a more intense rhythm. The first 5 tracks present a sort of galactic western flavour with Bil Kibby’s superb guitar, slamming percussions and layers of floating synths. A twangy guitar melts into a stroboscopic sequencer on “Road to Nowhere”, where Andy Lobban’s glorious guitar enhances the melodious themes, and percussion and a galloping rhythm are overlaid with a spectral synth and a syncopated sequencer and a stunning synthesized lead line. “Midnight in the Shadow of Temptation and Delight” slows down the tempo with a floating atmosphere and a bluesy guitar. Beautiful gliding pads and the cry of a solitary guitar are joined by a progressive bass which rebuilds the rhythm for “Return of the Nomad”, a title definitely more intense, with delirious percussion, beautiful floating synth layers and furious guitar solos. A striking start, where 17 minutes fly by like a bat out of hell.
“Beyond Paradise” and “Night Moves” are two titles of supreme magnetism. A beautiful theremin melody with harmonious sequencing gives a heartbreaking theme that touches the soul. The mellotrons strings raise the hairs on the back of the neck with the kind of softness to bring you to tears. And when you think you’ve reached the pinnacle of sensitivity, a saxophone gently whispers its spectral breath to make us sigh and take us even higher. This is a ballad to take you over the edge. Absolutely sublime.
After this heartrending and emotional passage, we enter the atmospheric phase of Walking with Ghosts, with “Darklands”. A beautiful piano, wrapped in layers of synths and strings is used to guide us. Although Melodious, its style is minimalism, and it cleverly uses strange and gentle sound effects, as if drifting through a parallel world of nostalgia.
Synthetic sighs invisibly connect us to the next track, where the ghostly violin of Ciona Lee harmonises with the guitar of Andy Lobban on “Flame Sky”. A very atmospheric title with a strange but highly effective strummed Eastern percussion.
Andy Lobban’s superb guitar accompanies us again on “No More Angels”, a dark and almost foreboding piece. Although it’s full of atmosphere and shadows, it also has an unsettling beauty. Slowly building on layers of strings added to by mellotron, lonely piano and a solitary sax. “Too late now!” Concludes this portion in a strange, atmospheric effects cloud, opening the door to Walking with Ghosts, the title track.
Bird song and church bells pave the way to part 1 “Penumbra”, a melodious piano which enchants by its clearness and its classical sonority. So beautiful, so sublime yet so sad, and we understand why because the artist wrote this music after September 11th. Woven in the shade of a delicate, organ like synth with dark sonorities, this superb musical serenade flows with delicate harmony, added to by gentle and subtle celestial voices. The dream stops abruptly and we’re in to part two, “The Gift”, which embraces a syncopated sequence where the orchestrations are joined by Bill Kibby’s excellent lead guitar. The track develops a Jarre like pacing and is joined by a weaving bass line, again courtesy of Bill Kibby. An animated rhythm builds, developing the themes, now joined by strong synth lead line that fades into a rain storm and crosses divinely, with melancholy piano and guitar, back to the beautiful melody that introduced us to this walk with ghosts. We hear again the beauty of the main theme in part 3 “Acheron”, reaching a soft finale which tears at our soul before moving into the the big orchestration finale of the final part “C’est la Vie” which makes this walk with ghosts, the most beautiful of walks.
I discovered this album 5 years after its release. So if, by reading this review, you understand now that my ears have enjoyed and described a pure masterpiece, then you must seek out and own this album.
Review by Sylvian
Guts Of Darkness: The French Website of Dark, Ambient & Experimental Music
