Blue Wolf Reviews

Tag: electronic

  • Fire Opal

    Fire Opal

    Ethereal and beautiful, the first track in this debut album from Eric Jensen as Massergy, is an entree into a world of perfectly crafted ambient music that drifts and flows with a gentle energy, that both intrigues and soothes.

    Commencing with a guitar introduction Vinesong reaches out, offering a journey into another world, a world filled with reverence and wonder, a world where dreaming is allowed; welcomed.

    As Massergy records in the dark of night at the Stillhouse Nature Reserve, perched on a wooden platform, recording whatever comes to mind, influenced by the perfection of the location, it is not at all surprising that the very essence of subtle energies to be found are stepped within in the music.

    Lunar Cinema immediately brings to mind the wonderful canvas unveiled when the moon is full, the surrounding areas flooded with cold, crisp, eerie light offering for all who care to see what else is there, hidden in the heavens. Moody, carried by a current of gentle, unresisting sound this is an ideal piece for serious meditation.

    Album title track, Fire Opal is a strong, haunting piece of ghostly sounds, raising the spectres of places travelled, settled but now abandoned, the lure that once called, gone into time and space leaving behind that void, that shadow of past lives wrapped in the secret world of seeking the magic and mystery of the opal.

    A completely different vibe is introduced in El Viajero, one that could be almost accepted as the introduction of a western movie, the strings of the guitar strummed in an almost discordant manner, underpinned with a soft aura of the synth to create a very captivating track.

    By the time the final track is reached, so too is the reluctant conclusion of fantastically imaginary sound journey to any place the mind has discovered. La Extrana as the finale, once again drifts about the sound spectrum in what could be considered as in an almost unformed manner, but on listening closely the very essence of sound patterns that make up the night, from early evening to sunrise have been captured, fresh, clean and as with all things in nature, perfectly.

    Recorded raw, and ‘created without the use of software or sequencers’ the subtle beauty to be discovered outdoors at night has been retained, overlaying the seven-track album with a seductive, tranquil ambience.

     

  • Tunneling

    Tunneling

    Ethan Johnstone is better known as the drummer with the prog-rock bands Night Idea and Houdan the Mystic, than as solo performer Brother Rutherford, has turned his hand to composition within what could be termed as a mash of electronica, guitar and percussion to create Tunneling, a journey into a sound garden of strange, enjoyable and almost mystical spaces, places and fascinating choices.

    Light Guides introduces this ‘home grown’ work,  twelve months in the making, with an almost funky, jangling entrance to the world of mystical, magical places. Into the Hedges welcomes in the sound of violin, followed with a beautiful guitar solo, before moving into the electronic beat which is a rather intriguing and enjoyable combination – simply what it is, neither one thing nor the other.

    Somewhat eerie is East Wind, a sneaky, drifting peice enhanced by stark percussion, sharp guitarwork and an electronic thread holding the piece together, allowing the image to be created of a lazy, haunting wind discovered in the darker corners of the garden.

    Alizarin Skyline changes the beat to a more up-tempo style that is sharper, a stronger electronic element emerging from the pieces, allowing the construction of ‘spacemusic’ to evolve into a new element of the garden. Once again ethereal, a little ‘spooky’ but very clever, in that the more the sound settles on the ear, the more there is to be discovered.

    A complete change of pace is provided in the penultimate Other Side of Shadows which tends to jangle along with a very nicely orchestrated synth smorgasbord, different, experimental and once again intriguing.

    The final or additional song is a short snappy little piece, Always There which completes this nine track, debut album from a young musician who has delivered an album of electronic variety, in a genre that is beginning once again to come into its own in the world of ambient, new age music.

    Tunnelling is a surprizing work from a young man who has a definite feel for ‘spacemusic’ and a musician who has fabricated an eclectic and vibrant soundscape of interesting conceptual ideas to great effect.

     

  • How It Happened

    How It Happened

    Poets tell the stories of their life with words, musicians do it with music, which like poetry reflects the place, the space they are in at the time of composition, of birth, regeneration, outrage, the highs and lows of love or despair.

    How It Happened finds Tom Eaton is in a somewhat pensive, reflective mood, taking time to focus introspectively, to get his life back in balance and to let the emotion within transform into a beautiful, floating, ethereal series of pieces that reach out with a gentle, light and emotional touch.

    Inspired by time spent on the banks of Contoocook River, the mighty Mississippi River and the beaches of Massachusetts, where the Merrimack River meets the ocean, the work is ambient, inspired and contains the timeless element of the lifegiving waters as they wend their deep, often tumultuous journey to the ocean, following a time worn course from beginning to completion.

    Consisting of eight subtle and gentle pieces that segue softly into each other, allow the healing modalities created by the skilful blending of electric harmonies to work their magic, creating the passing of the seasons, the relentless passage of time constantly moving on, joy, sorrow and acceptance all reflected in the rich and beautifully structured pieces.

    Well known for his immense skills as an engineer and his pioneering in the work in electronica, Eaton returned to his love of composition and creation releasing three works in 2016, composed by an older, wiser Tom Eaton, a man seeking a pathway to express the changes in his life; How It Happened is his forth release, with the album in totality considered as simply beautiful; perfect for relaxation, deep meditation or simply enjoying.

    Eaton considers each of the compositions as a story plucked from special moments in time. This is reflected in the small, but poignant piece of simple, heartfelt poetry on the inside cover which tells so much about the man, his music and a pathway well-travelled.

    An absolute gem,

  • Toward The Horizon

    Toward The Horizon

    Beginning as somewhat of an experiment and blossoming into Toward the Horizon, this album is a real treat for fans of electronica, as it is a six-track odyssey into ‘spacemusic’ created by Craig Padilla, a veteran of electronic music creation and Marvin Allen, a noted guitarist and master of the synthesiser.

    Having known and worked with each other for more than ten years, the pair finally decided to sit down and have a session together to see what it produced. Some eight hours later the basis was laid for what was to be crafted into the title track Towards the Horizon, a lengthy 17:39 journey into space, nothing more nothing less, but showcasing from the beginning, the remarkable talent of these two musicians and the mastery of their craft.

    The work is melodic and gentle with a surreal overtone, which makes this a very appealing collection in a genre specific area. The skill of Allen’s guitar work is a powerful force which is gentled, softened and then enhanced to a rolling soundwave with the synth, which is one of the many aspect’s fans of rock, ambient, electronic and guitar will definitely appreciate.

    As the work progresses there is a definite influence from the works of Kintaro and Vangelis visible, both masters of the electronic sound before it became popular, ground-breaking in their spectacular performances, which are still today held as industry benchmarks.

    Hidden adds a lovely floating vibe to what has to his point been an excellent soundscape journey, relaxing, enjoyable and seamless in its style.

    Liquid heaven is a piece which can be explored at will, creating much of what could be considered as mental exercise for comfort, allowing the imagination to float free of the bonds of everyday life to places not yet explored, which also draws a close a quintessential collaboration, a first for both Padilla and Allen and hopefully not the last we will hear from these talented musicians.

     

  • Stranger Days

    Stranger Days

    David Wright has been around the music industry since 1989 with his distinctive acoustic style of music which has led to a career of firsts; in particular the founding of the AD music label, co-founding of the electronic rock band Code Indigo and electronic duo Callisto, amongst the more than thirty years of pushing musical boundaries, experimentation and eventual acceptance of electronic music as a standalone genre, a genre which is growing exponentially.

    On his latest album Stranger Days, a title which could pay tribute to some of the amazingly unusual occurrences of today’s society, the work consisting of two CD’s is retrospective, reflective and encapsulates many of his styles which have emerged over the years.

    The first disc is almost completely Ambient which creates a subtle, atmospheric ambience which is all encompassing, relaxing and simply offers relaxation, a little bit of romance and that enticing, ever intriguing concept of the vast, unknown that is Space. Perfect for background music in that it is non pretentious, the music is simply there within the space, seeping gently into the mind and soul offering the enchantment that is music.

    From mellow and gentle, , to the slightly edgier style with haunting vocals as in Call To Me featuring Carys clear vocals, the album is an amazing journey down through the years, with many of the pieces gathered to form the collection rediscovered once again and remixed to suite todays audience. Ryshera and Colours of the Night, two such pieces both on the second disc, will be familiar to long-time fans.

    In so many ways the work took on a form of its own, as it began, in David Wrights words, ‘as a simple, straightforward compilation, but evolved as a journey’, a journey 18 months in a the making and a journey offering much in new directions, which in the field of electronic music, will be interesting to follow.

    A twelve-page booklet accompanies the music with the lyrics penned by Carys to Melt Away and Call To Me which, when sung in her clear voice, are almost ethereal and also offers a small insight into the album and the philosophy of David Wright.

    Over the two-disc collection there is something for everyone to enjoy, the work has a certain ‘je ne sais quoi’, that undefinable, undeniable touch of the Master at work, doing what he loves to do, create amazing soundscapes to enchant and enjoy.

    A final word is tucked inside the back cover which encapsulates the entire collection and sentiment of the composer:

    “Sometime we have to travel to the edge of ourselves to find the centre.’

  • Yesterday Passing

    Yesterday Passing

    Award winning musician Jim Ottaway released his latest album Yesterday Passing in May to great acclaim. This work presents a more relaxed and gentle aspect of electronic music ranging across the e-music spectrum featuring a little chill, some orchestral compositions, one in particular Distant Friends which introduces the album.  Tucked away are a variety of refreshing sounds and mixes, sombre, reflective, joyful and celebratory.

    Created between the years of 2004 and 2018 the music spans a lifetime of memories, experiences and family gatherings: happy times and the sad, joyful occasions and the challenging, all of which when looking back comes to the mind as times less complex, more relaxed, almost simplistic, far more structured and enjoyable.

    Each of the tracks on the 14 track album, with Another Christmas Eve being the bonus track to complete the 14 pieces, showcases a very different aspect of Ottaway’s talent, as well as the ability of electronic music to present a wide range of not just ambient and relaxing music, but music that has a far wider appeal.

    A Moment in Time (Song for Joseph) is reflective of fond memories as it has a delicate beat, a dainty rhythm and could be considered as filled with happiness and sunshine.  A contemporary piece is New Suns Are Rising which comes in with a spacy, measured rhythm that is catchy, intriguing and definitely different.

    A captivating little song is What Darkness Hides; it teases the ear, almost bouncing along to its own rhythm, with shades and shapes hidden within the depths, just as the many shades of the night are there to be discovered, unfolded and accepted.

    The final track, Fun Times is a catchy little number reminiscent of the disco beat with a rather intriguing vibe as once again, it appears to have been created of its own violation and is out to do its very own ‘thing’; something very easily able to be related too as one looks back in reflection.

    Rounding out a very perceptive album is the  final, final track Another Christmas Eve, which once again is an enchanting piece with a fine thread of tantalising ‘Christmas’ familiarity woven throughout.

    Ottaway considers with this album that he is ‘out of his comfort zone’ but whatever has created the drive to give birth to this more reflective style, the change is as delightful as it is refreshing. Yesterday Passing is an album which each time it is enjoyed a  fresh aspect of this intriguing style becomes apparent, creating another layer to the music which keeps it endlessly enjoyable.

    At the recently held 14th annual Zone Music Reporter Awards in New Orleans, Ottaway was awarded “Best Ambient Album of 2017” for Deep Space Blue (which was also nominated for “2017 Album of the Year”) and “Best Electronic Album of 2017” for Timeless e-Motion by ZMR; Deep Space Blue also received the silver medal in the Ambient category from Global Music Awards.

  • The Cage

    The Cage

    Bob Holroyd’s music is, to put it simply, difficult to define. In many ways it has always been; created from many sources, inspirations and complexities. His new album, The Cage is equally as difficult to define. Dark, sombre, challenging, experimental and exploratory, his work needs to be absorbed rather than listened to, as it is also incredibly intricate.

    This latest work is drawn from a new focus in his life, that of ‘allowing things to be discovered’; allowing feelings, thoughts, positives, negatives, emotions, people and places to resonate, something he had over the years blocked out, thereby establishing barriers, or in his words creating a ‘cage’ which kept him safe. He discovered it had simply isolated him.

    After considerable therapy, he has now allowed himself to be free, to taste freedom and has created this twelve track album in tribute to ‘allowing everything in’.

    His musical style has been billed as ambient minimalist over the years, a style which has not changed, but has been refined to a far more sensitive and emotional level that will resonate with anyone who enjoys textures, levels within levels,  combined with a genteel mix of sound waves, patterns and colours within the music.

    Each of the tracks has been slowly developed by simply letting the feeling and inspiration flow without any predefined structure of thought or rehearsal, moving through the emotional plane to let the music happen as it would. This has allowed a certain freshness to overlay the various pieces that could be considered as a sound collage which is very apparent on Possibilities.

    Perhaps the words inside the album cover sum the entire recoding perfectly and fittingly, when as Holroyd says,

    ‘Freedom is a larger cage, a longer page, a wider stage. True freedom comes not from escape, but allowing everything in.’

    The Cage reflects a turning point in Holroyd’s life and his music which will be interesting to follow as the layers peel back, his journey is continued and his psyche is allowed freedom to wander at will, to paint a fresh and vibrant soundscape as only Holroyd can.

  • Music for Telecommuting, Vol. 1 & 2: Early Morning / Late Morning

    Music for Telecommuting, Vol. 1 & 2: Early Morning / Late Morning

    Ken Elkinson is a musician with many years of performance and recording experience in his life, having released nine solo albums mainly in the classical, prog-rock and jazz scenes, until recently when he took a step in a very different direction embracing ambient chill electronica aimed directly at the New Age music arena.

    That he and his ambient music has been received to acclaim is not a surprise as it is seriously good, subliminal and seamless music with a variety of applications, not just that of commuting.

    The four volumes that go to make up Music for Telecommuting were crafted to help regular long distance or short distance commuters relax, refresh and move away from the stress of long journeys in congested traffic, aircraft or public transport.

    Broken up into days of the week, both albums begin on Monday and end on Friday offering a logical progression thought out the week, until the final commute on a Friday night when the weekend beckons and true relaxation can begin. The 60 tracks have all been recorded with the use of 8 keyboards and synthesisers, none, as he points out on the inside cover, of which were harmed during recording!

    His sense of levity can be found tucked away within the pieces, adding lightness that is sometimes required, but seldom added to this style of music.  In this case one track segues effortlessly into the next offering the illusion of one long, timeless, seamless piece that is gently in the background working its magic.

    Volume I & 2 offers music for early morning and late evening while Volume 3 & 4 focuses on early afternoon and late afternoon, which if you are a perfectionist or like serious order to your music relaxation is ideal, but for others the blend is unobtrusive, there in the background to bring solace and peace.

    Although the original intent was to sooth the troubled beast at commute, the works have a very broad appeal for yoga, meditation and as background music for a variety of disciplines. Solidly appealing, unobtrusive and relaxing, Ken Elkinson has hit the target area beautifully.

  • Urban Metta, Vol. 2

    Urban Metta, Vol. 2

    Anaamaly pronounced as Án-o-maly’ means, ‘something that deviates from what is standard, normal, or expected’, is a perspective to be remembered as you drift slowly through the delicate vibration which is Urban Metta II.

    Following on from the successful Urban Metta Vol 1 album, volume II or Um 11, is equally as a captivating, so much so that both albums, although similar in construction and intent, are somewhat different, pleasingly so. If you are after some lengthy meditation or healing relaxation music, using these two albums as a continuous loop would add another dimension to a wonderful, healing experience.

    Created with meditation and yoga as the basis, the music simply flows over the landscape, offering a time to step out, switch off and be refreshed, whether it simply is a little half hour in time or as a bedtime companion on those days when life is nothing more than a series of discordant noises.

    Coming from his background as both a musician and sound technician, Phil Strickland uses his immense and diverse skill base to create a soundscape that offers relaxation as well as empowerment of the body, mind and spirit.

    Classed somewhat as New Age it is far more than that, as it comes into the relaxation genre with the underlying aspect of grounding and emotional impact, which is both refreshing and cleansing. A Zen moment can be assured, along with that catch phrase of ‘mindfulness’ in meditation, as the music encourages an ‘in the moment’, minute or two, as it travels seamlessly onward towards the final track, which as with all good relaxation and meditation pieces, slowly returns to the everyday world, but with a wonderful feeling of peace and joy present.

    Each of the tracks has a specific title which offers a reason for the creation, but as with all music of this genre or ambience, the titles really do not matter, as the intent is to offer a little fillip of escape in an otherwise busy, busy world. But for those of you who enjoy the more structured aspect, titles really can hold some serious significance, adding yet another layer or dimension to the experience.

    As with all of Anaamaly’s works, do not try to over analyse the pieces, simply undertake the easiest option; turn on the music, settle into a comfortable chair, add a glass of something enjoyable and enjoy the journey for what it will bring, hold and offer.

    Perfect, sublime, bliss!

    A Note from Phil Strickland

    For maximum listening pleasure:

     Dear Listener

    Please know that Urban Metta, Vol. 2 was specifically designed to be experienced with hi-fidelity stereo headphones and the SUBPAC S2 or M2 Tactile Bass Systems (visit www.SUBPAC.com to learn more). For the true immersive, vibrational full-body experience, I highly recommend that you use both when listening, if possible. Please contact me if you have questions before purchasing a SUBPAC or stereo headphones.

  • From the Darker Seasons

    From the Darker Seasons

    Spiritually, winter is a time when we are called upon to conserve our energy, withdraw and reflect on the year spent, to begin to plan for the year to come. It is also considered a time when the Angels are closest to the earth, and bestow special blessings during this time of reflection.

    With From The Darker Seasons, solo guitarist Jeff Pearce has, in his signature style, captured the essence of this time when the earth is drawing in and the light is slowing ebbing until the time of the Solstice, when rebirth begins to occur once again.

    But before the time of winter, autumn must first allow the trees to shed their leaves in preparation, bringing a rare beauty to the earth with the magical colours of browns, russet reds, orange and the subtle shades of a hint of the green left from the shade of the summer. A Walk Through The Leaves has captured this beautifully, with the following track, The Sun on Frost bringing with it a sharp reminder of the winter to come. Frost is a magical element, there early in the morning and then gone once the sun begins to rise and slowly warm the day; ephemeral in its beauty. Such is the pleasure of creating and listening to music.

    Jeff Pearce has captured perfectly the deep stillness and clarity of the atmosphere after a snow fall, the crispness of the white snow, and the almost complete stillness of the world as it slowly begins to settle, to slow for the long days of the winter to come in Downdrift, giving this piece an almost otherworldly sound with the addition some clever electronic work.  Midnight Snow completes this segment.

    His love of seasons, especially winter, have been woven into this delightful six track soundscape, which gently shifts and changes, to represent his enjoyment of the autumn and winter periods of the Northern hemisphere, where the days of autumn, are all too quickly over and the long, often apparently endless months of winter, pass slowly.

    As a master of electronic guitar, Pearce has used his skills to discover the hidden and not so hidden beauty tucked away in snow drifts, the colour of autumn leaves and the incredible clarity of the sky on a crisp autumn or winters night. He has woven them into an ambient and delightfully intricate reflection, as required by the Divine, as the days draw ever closer to a time of renewal.