CDR / 7 tracks / 69.20 mins
Play Sample: 56K Dialup Broadband
Download Sample: 500K 1.5Mb
(Excerpt from track(s) 'A Very Shory Visit in a Froesen Desert')
'Aritmas 7' is initially all moody and brooding with some distorted unintelligible spoken words over hissing and bubbling electronics. A tinkling melodic sequence swirls into being hurling colour like a Catherine wheel. A vocoded section now comes in and Neuronium's 'Chromium' Echoes' comes to mind. I have used that comparison from time to time before (as it's an album which formed a rather significant part in my EM education) but never has it been so appropriate. A wonderful solo flashes through the ether as the sequences storm forward spitting energy. What a belter! 'In the moog' (ho, ho), after its initial windy introduction, bounds forward on the most stunning sequence / melody combination. If this had been around at the time of 'Oxygene', 'Equinoxe' or even 'Popcorn' or 'Magic Fly' it would have made just as much impact. Even its short four-minute duration would have been ideal to compete with those other hits. Commercial for sure but so bloody good without compromising any of its solid Electronic Music credentials.
'A very short visit in a Froesen desert' doesn't exactly hide its influences and yes, close your eyes and you can well imagine it's Edgar. The sonic palette is spot on and that sequence- wow! 'Spring' is the shortest piece here at only two minutes and is something of an interlude, though an incredibly beautiful one for piano and flute. 'Raindrops' might have a rather stormy beginning but the gentle sequence is very evocative of the title. A lovely lead line skips through the pulsation in a similar style to that found on Peter Baumann's superb second album. As we progress and more sequences are added there is even a hint of Robert Schroeder. What a wonderful track this is. 'The icecream van repair man' opens in rather unsettling mood. A bell chimes and a solitary undulating organ drone hangs in the air. Some heavily distorted echoing text can just be made out. A slow mournful lead line enhances the rather melancholy atmosphere. Some rhythmic content is added in the form of a slow drumbeat then positive sequence. These go to lighten the mood a little but still with a twist of sadness. Things become even more syncopated as a kick ass bass line takes centre stage. The mood brightens further and an anthemic lead line soars into the stratosphere completing our journey from despair to euphoria. What an amazing album. (DL)
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