This is the second CD by Lyle Newton, his first being ‘Light at the Edge of Darkness’ which was released in 1996. Since that time he has developed
his technique and come up with a distinctive sound, something not easy to do. The amazing thing is that even though you can tell the same artist is
behind all these tracks the variety of styles covered is really quite wide.
‘Distorted Sky’ as an introductory piece and conjures up the image of a shimmering force field. There then follows, in my opinion, the best track
Lyle has ever done. ‘Impulse’ wastes no time in getting the bass sequence running but it never gets out of hand and the underlying synth textures
and lead line sit with it in perfect harmony. By the four minute mark the first sequence has faded away and we get a beautifully atmospheric section
before the next sequence takes over - and if anything it’s even better than the first. ‘Blue Day Dream’ hangs around a series of sequential motifs
gradually moving on from one to the next and back again. A particularly effective lead line is introduced just before the six minute mark; it is
poignant rather than blistering and all the better for it. ‘Deflation’ begins very moodily but then an insistent sequence takes over for a couple of
minutes before we return to the swirling mist of before. ‘Magnetron’ picks the pace up again with a superb bass sequence bubbling in the
background, a higher register sequence joins it and a perfectly restrained lead plays over the top. At around the two minute mark an ominous
rhythm is introduced. The beginning of ‘Confluence’ is particularly effective. A simple but haunting refrain is repeated with just the right synth
touches over the top creating a rather desolate feeling. A flutey sound is then used very sparingly heightening the effect of being all alone looking
over a barren landscape. The combination of these elements is mesmerising and just goes to show that allowing space in a composition can be
much more effective than trying to fit too much into a track and thus destroying the mood. At the seven minute mark the original refrain dies away, a
beefier theme replaces it and the pace quickens as if a storm is brewing. The flute sound comes back, even moodier than before, the pace
quickens and the best rhythmic section on the album so far drives the track forward. This runs ‘Impulse’ a very close second to best track on the
album and which one I would prefer would probably depend on my mood at the time. The title track follows on. Again Lyle makes use of a repeated
motif, this time with a rather quirky sequence sitting playfully over the top, the harmonies on this number are just superb. With a track title
‘Maelstrom’ I am sure you would be expecting something a bit wild. You certainly get scorching lead lines and a decent bass sequence but rather
than a blasting tour de force the effect is of ominous tension and something just lurking out there on the edge of sight. In fact if I had to sum up
Lyle’s sound, ominous tension would probably be a good way of describing it. All his tracks are very different but they have that same feeling behind
them. Interest is maintained all the time on ‘Maelstrom’ as just when you get into the groove all is changed and we descend into weirdness, the
track returning to its initial pattern only a minute from the end. This is another stand out track. The last number is ‘Luminesent Eyes’ and it just
makes me want to lie back in a hammock and listen to the waves role in.
One final point to mention is that the CDR is manufactured, and artwork designed, by Dave Barker so as with all the CDRs he has a hand in it
looks superb! (DL)
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