Chris Franke
Epic
Let's recap. When Chris left T.D. in 1988 fans waited with some anticipation for hints of the direction he would take. Then came the excellent 'Pacific Coast Highway', perhaps a tad mellow for some sensibilities, but rightly acclaimed. Fans even received posters , signed postcards, and newsletters, and the superb 'London Concert' which followed was one of the E.M. highlights of the last ten years. Since then Chris has followed two paths. One with the Berlin Symphonic Film Orchestra recording soundtracks for a number of high profile productions, such as 'Babylon Five' and 'Tarzan and the Lost City', and the other recording natural, spiritual or "New Age" music.

'Epic' is a compilation of Franke's New Age and melodic electronic recordings compiled from eight releases and includes two exclusive tracks. In this very catalogue alongside Franke's releases came the cry, "Come on Chris!" which to some extent articulates the disappointment some have felt with Franke's output since those heady early nineties. There is no denying the quality of some of those soundtracks but much was functional fare and New Age music was not what some of us expected from the "Mr. Sequencer" in part responsible for classics like 'Cloudburst Flight'. The music I was familiar with on 'Epic' included the three tracks taken from the superior, and Franke's best selling, New Age 'Celestine Prophecy' album, 'Malibu Avenue' and 'Sunset Destination' from 'Pacific Coast Highway' and 'Morphing Space' from 'Klemania'. 'Mental Images' from 'The Raven' is a good piece which successfully deploys many recognisable sounds into a satisfying track with hints of melancholy and restrained power. 'Haleakala' is a more laid back jazz tinged workout, pleasant without setting the pulses racing.

The short 'Love Scene ' from 'Night of the Running Man' and three cuts from 'New Music for Films Vol. 2' are also included. 'Mind Space' from 'Transformation of Mind' is a lushly orchestrated melodic and romantic air. The three tracks from 'Enchanting Nature' are well chosen, representing the innate melodicism of the source. The new track 'Flower Hill Trail' fits into the album seamlessly and is a gentle, cleverly orchestrated piece. 'Sensual Persuasion', the other new composition, is another lyrical cut which again fits perfectly into the compilation like an old slipper.

As it stands this is an intelligent compilation of Christopher Franke's melodic, New Age and soundtrack recordings and I was surprised that I enjoyed it as much as I did. However, I strongly suspect that those cries of 'Come on Chris' will not dissipate until he turns up the sequencers and maybe takes his inspiration from less anodyne Californian sources. (SR)

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