Ian Boddy Spirits (Reissue) Play Sample:   56K Dialup   Broadband   Download Sample:   500K   1.5Mb (Excerpt from track(s) 'Spirits')

On a cold, October evening back in 1984 I saw Ian Boddy perform at the Spectro Arts Centre back in my native Newcastle upon Tyne. Ian performed some music from 'Spirits' at the concert. It was my first taste of EM, I was into synthpop and synths in general, so attended just because it was 'electronic music'. It was to be the start of a passion for EM. So, this re-issue is fairly special for me.

A harsh stab and then it's straight into an infectious sequence and melody combo for 'Pulse'. Stylistically it could live alongside the classic 'Space Cadet'. It's interesting that Ian's deft melodic touch was in evidence so early in his career. Close your eyes and just revel in classic, upbeat melodic synth work. It finishes far too soon after 3.45 mins. Shame! A cracking sequence and tom-based rhythm open the vocal-based 'Living in a Ritual', it shows Ian's Berlin school influences beautifully, but already he has twisted the genre to his own tastes. The vocals, from Brian Ross, are very evocative of the era, recalling Phil Oakey's 'deadpan moving to histrionic' delivery. A glorious synth solo again shows Ian's melodic skills, it works a little like verses to the vocal chorus. The backing just clicks into a groove and adds to the very haunting atmosphere created by the vocals. The track builds in intensity, the percussion becoming more insistent. The vocals build to a heartfelt cry and it's over. Superb, even if you don't enjoy song- based EM I'd urge you to give this a try. It's intensely emotional.

Burbling, distorted electronic tones and voices evoke a disturbing atmosphere for 'The Sentinel'. Whatever we're watching out for does not sound pleasant! A thick analogue drone builds, syrupy pads glide across the soundscape. A beautiful but deliciously melancholy lead enters, played on a superb, synthetic, voice-like sound. Choirs mass behind. We know that Ian would grow to use this kind of heavenly sound palette to great effect alongside contemporary beats on his DiN releases. Here, it's embryonic but still powerful. At the 6.15 minute mark powerful electronic percussion arrives and the backing dies. A stuttering, staccato synth line plays along – a bubbling bass sequence underpins the joyous melody. Again, we're in 'Uncertainty Principle' territory. I DEFY you to stay still. The atmospheric 'soup' of the opening eventually returns as we close the track.

It's the title track up next, and it lasts 23.18 minutes. In fitting with the title ('Spirits' of course) church organ opens the track. Thick analogue swells augment and then take over, the track becoming quite symphonic. Tron-like flute reminds us of Ian's Berlin school roots; the track actually reminds me of 'Exit' era TD atmospherics. The unmistakable sound of DX7 bells adds to the ecclesiastical atmosphere. Heavy staccato chords herald the arrival of a pair of sequences at the 7.25 minute mark. One is a simple repeated melodic motif, the other a burbling rhythmic line. It's beautifully syncopated. Another cracking lead is deployed, I just don't know how he comes up with them! Live drums, courtesy of Ian MacCormack, take us back to upbeat territory. The track breaks down to just kick and effects at the 11.46 min mark, but you just know that it's not over! Ian teases with some melodic snatches and synth crescendos before the sequences and drums return fully. The backing is more symphonic also. It's just wonderfully upbeat and optimistic, raising your 'Spirits' I suppose! It's all change at the 16 minute mark as dense atmospherics, including a lot of digital DX tones, take over the mix. Symphonic voices are gradually added but the focus is still atmosphere, and again Ian shows that his sound design was pretty sharp way back when. We build to a symphonic flourish and the original set comes to a stirring close. But of course, we have a bonus track.

'Lamalode', is a studio track from 1995. Although this track was composed and recorded eleven years after 'Spirits' it actually feels like it belongs on the album stylistically. We open with solar winds and distorted effects. A bell tolls over the landscape and choirs answer its call. Ian treats the choirs so that they take on a rhythmic quality at times. Cello's (sampled) build as the effects die; the track has become very symphonic. The mood is dark. The cellos are insistent and repetitive, I was reminded of some of the Kronos quartet's interpretations of Philip Glass's works. Just before the 5 minute mark Ian moves to the piano and treats us to a beautifully romantic theme. Initially it's solo piano, but support builds from symphonic and choral washes. Slowly the track builds in intensity, with stabs and snare rolls adding real drama. The dynamics are just superb, the arrangement skilfully judged - a great track!