Synaestesia
Desideratum
If Cecil B. DeMille was still making his epic films today, Synaesthesia could easily provide the soundtracks. This double CD contains almost 140 minutes of dark, brooding music, wide soundscapes and the occasional upbeat track. Disc One opens with ‘Andromedia’ (8.00), one of the rhythmic up-beat tracks that takes a couple of minutes to get warmed up. Flowing string chords come and go, giving the piece a real lift every now and then, preventing it getting bogged down in pure rhythm. There are four outstanding tracks on this double CD, the first of which is ‘Orion Nebula’ (11.30). A dark, brooding opening with long chords, effects and voices leads to a stately, slow sequence, giving a feel of ‘Zeit’ with rhythm. Around the half way mark the sequencer becomes more insistent and unsettling until, after 8 minutes, the whole piece really takes off and you find your foot tapping at double speed. A minute of calm to close the piece before ‘Consciousness’ (6.56) with its effective deep bass line and great percussive effects (especially bells). A slow melody line counteracts the upbeat rhythm causing the mood to constantly change on this the shortest piece on the album. Next is ‘Umbra’ (9.00). Half the track is a moody soundscape before a rhythm that takes a little too long to develop. The sequence on ‘Barred Spirals’ (9.48) is almost a slower version of the one that closed the previous track and is reminiscent of Eurythmics, ‘Sweet Dreams’. The second outstanding piece is ‘DNA Barcode’ (10.42). This could be the soundtrack to the building of the pyramids (including whiplashes). Interesting sequences, effects and percussives make for a great, stately piece of music with a thought provoking title. The final three minutes are a superb soundscape. The first disc closes with ‘Surface System’ (11.20), another dark, weighty piece with wide choral drones and effects flying overhead. An echoed sequence underpins the whole middle section before the piece ends as it began.

Disc Two opens with the third outstanding track of the album, ‘Dark Core’ (8.08). Do not be lulled into a false sense of security by the quiet opening minute. Distant background strings, a great bass line and subtle sequences provide the backdrop for the melody and possibly one of the best moments on the album. More percussives and effects add further interest. This is followed by a quiet, low-key piece, ‘Subversion’ (8.24). Fans of Klaus Schulze will probably enjoy this track with its understated sequencer rhythm that gradually grows and grows. A male voice drone and echoed piano provide an interesting opening for ‘Lumia’ (10.30). This is then lifted by percussives, the bells for which give the piece an almost Christmassy feel (although the male voice drone ensures that it is more ‘Scrooge’ than ‘Santa Claus’). There is a very 70s Vangelis feel to this track. Next follows the aptly titled ‘Hallucinations’ (9.07). The deep, dark chords and effects are reminiscent of Tangerine Dream’s ‘Fauni Gena’ and ‘Circulation of Events’ from ‘Atem’. Half way through the track a rhythm begins although this is possibly surplus to requirements. If there is ever to be a movie ‘Blade Runner II’ then ‘Mosaic’ (7.32) would make an excellent soundtrack. This is very much in the Vangelis style with J M Jarre type effects.

The fourth outstanding piece is ‘Lifeless’ (15.42). This track does not live up to its title! It is outstanding from start to its premature finish. Beautiful floating chords compliment deep bass broodings, punctuated by effects. After 7 minutes a deep relentless sequence is underway and taking everything else with it. There is great development over the next four minutes, not dissimilar to TD’s ‘Horizon’ from ‘Poland’. Eventually the album’s most beautiful melody is heard - one that would not sound out of place on a J M Jarre album or a 70’s single by Space. Rather predictably the album closes with a slow, peaceful, unassuming track, ‘Tubastrea Aurea’ (10.20). This is another track with a Vangelis feel to it although this changes once the simple 70’s Kraftwerk style sequence begins half way through.

There is a great deal of diversity across this album although it would benefit from greater diversity and development within some of the tracks. In that respect ‘Lifeless’ would appear to be the way forward. (MS)

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