Robert Fox Maya Play:   56K Dialup   Broadband   Download:   500K   1.5Mb (Excerpt from track 'Maya Part 3') Please go to the Store to buy this item.

A thunder crack heralds the arrival of Robert's latest opus 'Maya' and the first track, the magnificent 'On Reflection', shows how he has refined his signature sound from the heady days of his debut 'Asfafa'. The mood of the album is more reflective and although maybe not as immediate as say, 'Talking Heads', 'Maya' is full of subtle delights that will reward the patient listener. 'On Reflection' with its beautifully understated melody and dream- like sequencing sets the tone and, I've said it before and its even more applicable here, Robert's music would enhance a major film production.

'Kindred Spirits' is lighter than its predecessor with another superb melody but with sections of chanting giving it a spiritual atmosphere. The use of percussion treatments here, and throughout the album, is another strongpoint as is the quality of the signal. 'Close to the Edge' is even more subtle than its predecessors with a gentle melody interspersed with more abstract treatments, piano touches and gentle percussion. Fox carefully builds the atmosphere and again prefers understatement which succeeds well. The title track is divided into three parts with Part 1 clocking in at 7.38, and features some great piano work, distant voices, percussion and some interesting changes of mood and texture. A descending piano motif is accompanied by trademark orchestral touches and cross fades into Part 2 which resembles a film soundtrack as Roberts strips his sound down to the bones.. Piano is interspersed with ambient textures and treatments but returns to the more familiar template on Part 3. Some dramatic percussion preludes some majestic orchestral tones which lead into a classic Fox melodic sequence which stands up with the very best he has ever produced. The subtle changes in melody and use of voices are a delight. 'Daylight Madness' features good percussion work and piano which succeed in creating a different kind of introspection and atmosphere. 'When All is Done' raises the tempo a little and gradually a piano motif succeeds in establishing itself but once again the composer chooses restraint. Finally, 'Ascension' takes the music on to a higher spiritual level to a wonderfully moving finale reminiscent of Vangelis at his most sublime. Once again Robert prefers subtlety as he builds slowly and allows the music space to evolve and take on a hymn-like quality and brings the set to a most satisfying conclusion.