Ian Boddy The Deep Play: Lo-Fi   Mid-Fi   Hi-Fi   Download: Lo-Fi   Mid-Fi   Hi-Fi (Excerpt from track 'Aquanaut')

When the history of British Electronic Music scene is documented Ian Boddy deserves a chapter to himself. His output has been impressive and some SMD followers may remember early epics such as 'The Climb' and 'Phoenix', you may even, like me, have vinyl copies of these classic albums. Boddy's career path has been an interesting one and he has collaborated with a number of musicians and has not been afraid to experiment in leftfield electronica as well as more traditional electronic music territory. I remember reviewing 'The Deep' some eleven years ago and being very impressed with it but sometimes the passage of time can be unkind, so I approached the album again and immersed myself in the music wondering if I was still going to be as enthusiastic as the first time around. I needn't have worried.

'Standing at the Edge' begins with asdic echoes, atmospheric treatments and massed voices reminiscent of the 20001 monolith scenes, a stunning opening which leads straight into the stoccato sequences and percussion of 'Dark Descent'. Boddy adds more sequences and scorching, improvised synthesiser lines which gradually cross-fade into the title track. 'The Deep' takes the 'Albedo 0.39' idea of relating facts relating to the immensity of the world's oceans to an atmospheric electronic backdrop and David Burns does a good job on the short narration effectively communicating a sense of wonder. 'In the Realm of Poseidon' changes the mood to more, tranquil but stately church-like tones with the organ providing suitably grandiloquent textures. 'Leviathan' brings back the sequencers at first hinting at the excitement to come with dramatic lines, choral flourishes and powerful percussion before the synth lines dominate the mix as more sequences weave through the mix, reminiscent of Shreeve's solo work. Cross-fading into 'Flow Current Flow' Boddy produces another sequencer driven aquatic epic but despite being a little less frenetic than its predecessor still manages to generate tension and excitement.

'Sirens Call', featuring Jane Molloy's voice, changes the tempo at first into a moodily minimalist piece, with whispered voices adding to the eerie seascape and after 4 mins and 20 seconds Boddy adds some fine piano and as the voice returns the track takes on a distinctly classical feel. 'Aquanaut' after a rising crescendo of voices, returns to the sequencing and percussion and it is here Boddy provides his most infectious melody so far. 'Re-emergence', features additional keyboard work by David Berkeley and powerfully builds up choral flourishes and the quasi-religious atmospherics with bubbling electronic effects. 'Surface Flight' brings back the sequencing and is another infectious piece with some impressive soloing, very vaguely reminiscent in feel to parts of 'Underwater Sunlight' and 'Blade Runner' and yes it is that good!. 'Sub Aqiem' is a wonderfully uplifting semi-classical anthem which ends the set on a suitably reverential and grand epic scale before the asdic fade out.