Can Atilla Ave

The opener is ‘Time Border Passengers’, all gob smacking 26 minutes of it. Opening innocuously enough with synth sweeps (actually more reminiscent to the opening of Steve Roach’s ‘Stormwarning’ than TD) it soon springs into life with the sort of top notch rhythmic grinder which TD used to take such delight in serving up.Then the sequences emerge, backed by mellotron flute. Percussion then brings out the full detail of the sequence, and a more modern era is released. Stabby synths and a superb melody which then give way to classic Franke sequencing. In the space of 8 minutes we’ve traversed the styles of ‘Encore’, ‘Underwater Sunlight’ and ‘Tangram’ in one seamless EM delight. The album is only 12 minutes old and I’m hooked, fascinated by the completely authentic nature of the music. What’s even better though is the way all the different elements and styles are merged and mixed. 17 minutes and 48 seconds heralds a spine tingling section of immense power and beauty. Could be a third section of the track ‘Hyperborea’ or an extension to the ‘Logos’ concert - it’s completely fantastic. The closing couple of minutes allow breath to be drawn - remember, this is still the first track!

‘Breathing Under Pressure’ opens with sonic vistas and a sprinkling of Chris Franke sound effects. A brief but delightful piano section is swept up in electronics which build anticipation. Subliminal sequences begin to form - just what will be presented here?! Strummed guitar ala ‘Cloudburst Flight’ for one thing, then the track sweeps all before it top notch rhythmics and sequencing. ‘Dolphin Dance’ comes to mind as the sequences just build and build. I thought the opener could not be matched - I was wrong. The sequences then shift around with the melody, guitar axes add spice. This is sensational!

‘Japetus Dreams’ opens like ‘Desert Dream’ from ‘Encore’ then cranks up the sequencing akin to ‘Cherokee Lane’ but with those half note packets perfected around the ‘Theif’ era. But when the high register mellotron flute enters the fray, and a gargantuan bass line emerges, you just know this is a fitting tribute to TD’s 1977 NA tour. It really could be an ‘Encore’ bonus track - with sequencing and especially the lead lines so faithful to the style it’s almost unbelievable. There’s even hiss on the closing piano refrains!

‘Time Seller Under The Rain’ is a magnificently poised combination of themes and super charged rhythmics which beggars belief. Infectious and completely narcotic, I am reaching the point of superlative burn-out. Fortunately ‘Bach’s Air’ brings us back to Earth with a bump. Other than Tomita I’ve never really been fussed with classical EM, but no worries because it only lasts 5 minutes.

‘Pray of RA’ is a short atmospheric snippet, leaving ‘Arbacus’ to end the album. Described as a bonus track it opens an immediate onslaught of pure sequencing. Gradually the synth voices morph into an array of stabbing mutations. In common with many of the tracks on this album, the track has already done more than enough to satisfy before getting even better, fleshed out with percussion and synth pads.