Graham Getty Virtual Horizons (Download CDR) 9 tracks / 79.08 mins Play Sample:   56K Dialup   Broadband Download Sample:   500K   1.5Mb (Excerpt from track(s) 'Virtual=Remix') Please go to the Store to buy this item.

This is the first CD from our very own Graham Getty and features music conceived and recorded in 1992 on just 2 instruments - although you would never guess by just listening to it, such is the power and quality of the work here. It has everything - driving sequences, powerhouse drums, haunting melodies and clever arrangements which will take you by surprise time and again. The title track gets us off to an eerie start with menacing sustained voices soon to be joined by pulsing bass synth and melody. Building all the time, drums and synth textures develop layer after layer with deep lush magnificence. Then, when you’re least expecting it, back to those choirs and a different sound palette playing variations of the sequences. The sounds Graham uses here fit the mood perfectly, and I guarantee your mouth too will slowly open as the track builds to it’s marvellous conclusion.

More upbeat for ‘Downtime’ with insistent kit and bass synth supporting string pads and yet more infectious melodies that you will take up residence in your head for a long time. ‘Above the Line’ has more a more laid back feel with a bloody scary intro, but then from nowhere a bass sequence grabs the track by the scruff of its neck and off it goes - more floaty pads, vox, piano and a beautiful high register bell sequence mesmerically interlock. Then suddenly it’s all over (drat)! 10 minutes of brilliance. ‘Nucleus’ has driving room reverb drums and pulse synth which deliver such power to the already almighty "guitar" synth stabs, modulated sequences and choirs that the sum effect is dangerous! The shortest track on the album, for me ‘Nucleus’ could have been much longer. ‘Virtual=Real’ lulls you into a false sense of security with ambient cascading sounds to start, then a stunning bass sequence that wouldn't be out of place in ‘Terminator’ rips into your consciousness and spitefully destroys all in its path. Then as some real time lead synthesiser playing soars over the top like an eagle, the track finally relaxes its grip and dissolves into calm - real perfection. ‘Total Illusion’ maintains the tranquillity with hypnotic filtered chords and punctuating bass motif. Some clever sequence and percussion programming carry the track along with, all the time, just the right things happening in the mix. Superb!

‘Snowline’ (great title) plunges you into a cold, stark glacial cavern to be saved only by a slowly advancing echoed bass synth which is left on its own for a time while drums, water effects and voices gather forces to propel the track to its awesome end. ‘Visible Limits’ has the most sublime sine wave sequence, the structure taking twists and right angles before settling into a steady drum and sequence groove while all the time sounds including the most heartfelt choir melody float in and out effortlessly. This is truly wonderful stuff and if this is Graham Getty in 1992, what could he do now?! This is one fan who is as jealous as hell. (Dave Barker)