Mark Shreeve Collide

A Mark Shreeve concert is a rare event in the world of Electronic Music—there have been only three in the last ten years—so this, the debut offering on the recently formed Champagne Lake label, comes as a very welcome surprise. 'Collide' is a digital recording of one of Mark's more recent live outings, his top-of-the-bill performance at the 1994 EMMA #1 festival where Mark shared centre stage with such EM luminaries as John Dyson and Ian Boddy. The album gets off to a simple atmospheric opening with 'Balles De Cosmique', a track which has since reappeared on Mark's most recent album 'Nocturne'. Once the stage is set we immediately launch into the kind of high energy, melodic synth thrash which has become something of a Shreeve trademark, an enchanting little number entitled 'Graveraver'. Pounding percussion, dazzling leads and explosive effects are all present in abundance. This is clearly not an album for the faint-hearted or those expecting some kind of NewAge relaxation trip. After 'Graveraver' comes 'Flagg' from the album 'Legion'. This is a shorter version of the album piece which suffers a bit from the omission of Sue Gresty's seductive whispered vocals in the introduction. However, this is more than made up for with some fantastic melodies and punchy, aggressive percussion. 'It', from the album 'Crash Head', follows and gives the audience a chance to relax a little. This is a wonderfully subtle piece of music with gentle soothing leads underpined with simple, almost basic accompaniment, all beautifully played by fellow musicians, James Goddard and Julian Shreeve. A highly memorable piece. 'Storm Column' is probably one of Mark's best known works, again taken from the album 'Legion'. I have always felt that the sequencer work on the album track could easily rival anything that Chris Franke could muster and, thankfully, the live version of 'Storm Column' doesn't disappoint. You can really hear the audience warm to the whole performance as the opening sequences start to dance around the stage and the characteristic pounding bass cuts in. A real treat. 'Wardance' is a new piece which starts with a simple, almost childlike melody and then evolves into a rather nifty analogue sequencer run. The piece quickly takes a totally different turn moving into a more dance-inspired phase accompanied by gentle, wafting chords and a high register flute-like melody. Sound effects fly between the speakers as the piece again changes style and moves into a more 70's TD mode. Earlier motifs reappear and then fade into the distance as the volume drops and you're conned into believing that this is all there is. Not so. The power is restored, the dance rhythm kicks in again and we're treated to some fine melodic soloing. Quite simply, wonderful stuff. The unfortunately titled 'Pan-Galactic Anorak' follows and will be familiar to all those who bought the EMMA I&II compilation CD. This is a solo outing penned by Mark's brother, Julian, and features some impressive sequencer lines which almost dance around you. It's a short piece which is a bit of a shame because it hangs together well and displays some obvious talent. If ever there was a Shreeve anthem then it has to be 'Darkness Comes'. Trademark bass lines and dancing sequencer riffs alongside some totally gorgeous choral passages start the ball rolling before the melodic themes cut in and, quite simply put, we're in total synth music heaven. This version is slightly different from the album track which comes as a bit of a surprise but, thankfully, the changes don't detract from a simply brilliant piece of music. As the piece winds down it takes another turn, moving off into new territories with a similar accompaniment but unfamiliar melodies. Where does this come from? Don't recognise this from any of the soundtrack albums? A new track? Na. Fooled Ya. It's straight back into the main theme in it's full pounding glory, a real belter of a track and something which certainly has the neighbours banging on the walls in time begging for more... At last, the sonic fireworks subside and we move into a gentle atmospheric piece featuring some fine choir effects reminiscent of 2001: A Space Odyssey which then evolve into 'The Stand' resplendent with excellent backing and memorable lead lines. A gentle lowering of pace before the next onslaught... 'Meateater' follows and sees Messrs Shreeve, Shreeve and Goddard launch an all out assault on the eardrums . This is total 'full-on' power synthesis which kicks you in the guts and leaves you begging for more: passionate guitar and vocal samples complete with screaming Kurzweil lead lines that are guaranteed to give your speakers a serious workout... After a brief pause for the shell-shocked audience to momentarily catch their breath, 'Crash Head' makes its appearance and we're off again. Another superb power-synth music track, brilliantly played. Sadly. we're nearly at the end. With the audience screaming for more, the applause slowly fades as the encore begins in typical atmospheric fashion. A gentle wavering lead abruptly followed by a screaming bass synth announces 'Assassin', Shreeve's tribute to John Carpenter's 'Assault on Precinct 13'. Here, the musicians really let rip with a storming rendition of this classic piece, punctuated by mega-fast arpeggios, pounding drums and vocal stabs wonderfully laid down and skilfully played. As before, just when you think it's all over, the themes return for another bite of the cherry. 'Collide' is an essential purchase for all Shreeve fans and anyone eager to sample one of the UK's foremost electronic musicians. It manages to faithfully capture the skill and energy of the event and recalls the sense of excitement which everyone who attended that first EMMA festival surely felt: that we were at a turning point in British Electronic Music. Simply unmissable. (RM)

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