Various Artists Ricochet Gathering Mojave 2003 Play Sample:   56K Dialup   Broadband   Download Sample:   500K   1.5Mb (Excerpt from track(s) 'Alluvial Elements Pt 1')

This is a live recording from the Ricochet Dreams event in 2003 in the Mojave desert. Rather than write a full review I thought that a 'cast list' might be enough to send most most SMDers diving for their credit cards – it goes like this: Wolfram Spyra, Free System Project, Airsculpture, Star Sounds Orchestra, Paul Lawler, Dave Brewer, Bill Fox and Volker Koenig.

I decided that a review was needed as well though, so here goes.

Disc 1

Heavenly pads and a deep drone get 'Alluvial elements Part 1' under way in symphonic splendour. A melancholy lead is deftly deployed alongside classic Mellotron choirs, and we simply settle into glorious, tranquil drift. Already, the standard of musicianship is shown to be as high as the artist rooster above would suggest. At the 5.15 min mark a sequence begins to build, it's high register and rapid. A second, mid register pattern joins in. The backing dies away and we're left with Tron choir and the sequences, a third sequence is added and it just builds and builds in intensity. This is classic stuff, something any retro fan would simply adore. Tron flute adds some melodic detail – what else could? Sequences mutate, the melodies come and go – what a fabulous opener. 'Desert Train Part 2' also opens in a tranquil way, with gentle guitar like sounds and symphonic pads. A simple, spartan melody is heard in the distance – it certainly suggested vast open spaces to me. The faint ticking of a sequence is heard at the 3.30 min mark, it's syncopated and sounded a little like a train moving over sleepers (Kraftwerk's 'Trans-Europe Express' came to mind). A heavy kick drum and bass line provides more solid foundations for the track. A raspy, oscillator synced lead crawls over this rhythmic frame to great effect. A beautifully played and evocative solo, straight from the late 70's, takes over melodic duties – it mutates and twists to the end. Just beautiful.

Abstract sounds introduce 'Alluvial elements Part 3'. They end suddenly to be replaced by two sequences, one high register and one bass-laden. Choirs swell from beneath – something subterranean has awoken! We are resolutely in TD territory here (anywhere between 1975 and 78!). A heavily filtered third sequence constantly mutates. A heavy, very heavy lead muscles into the mix. There's nothing subtle here – it's a pile-driver of a track. It just keeps on going, yes the sequences twist and turn and the melodies come and go but it just keeps on going – save for a brief respite at the end for Tron flutes. What a track! Essential for any fan of retro sequencer music.

An evocative lead, gently strummed guitar and a stately hi-hat create a slightly melancholic feel for 'Departure From The Mojave Plane'. Abstract 'watery' effects break the mood after a minute or so and we enter a challengingly experimental section that didn't 'sit' with the opening to this track at all. By the 4 minute mark the effects die away and we're left with a very menacing bass throb and pad combination – very atmospheric and chillling. Clanging 'bells' can be heard in the distance, they build in volume and create the rhythmic structure of the piece. Rather mournful and very strange solos are picked out over this simple backing. An unusual track, one that left me unsure as to whether I'd actually liked it!

Swelling atmospheric synth sounds are briefly heard, before solo piano takes centre stage for 'Horizon Memories'. The melody is achingly beautiful. It dies and a sequence, bright, rapid and mid-register, takes over. Atmospherics circle and a second sequence is added, and then swiftly morphed and twisted. A simple bass sequence begins its inexorable build. An insistent melodic phrase is repeated in the background as drones and choirs swell and subside from below. By the 6 minute mark a glorious Tron flute solo arrives. The track continues with several leads added and subtracted to ensure melodic interest is maintained – some sound very seventies, some more eighties in feel, but all are effective and skillful. Again, as with so much of the CD the classic eras of EM are re-created with deft skill and feel.

'Nipton Meditation' opens with Tron flute, grand piano and abstract effects. Tron choirs mass and threaten to engulf the track, but the piano moves to its higher register and soars above the dense Tron sound. Abstract effects are deployed sparingly – supporting the atmosphere but allowing melody to win the day. What a beautiful end.

Disc 2

Disembodied voices, electronic 'rumbles' and distant organ tones combine to atmospheric effect for the opening of 'Searchlight'. Gradually, symphonic pads and a slow, bass sequence emerge to suggest structure. The effects fight back and a 'tug of war' between the sections begins. Strange, 'ethnic' voices add a new dimension to this very experimental track – a rather beautiful lead duels with the voice. At the five minute mark 'clashing' percussion is added alongside some very 'Logos' era synth stabs. Dense and syrupy bass 'squelches' further enhance the eighties feel. Snatches of sequence are heard and then depart. A strange, but enjoyable opener.

'Mojave Dreams' is a slow burner full of atmospheric synth pads and delicate, laid-back percussion. Like 'Searchlight' it has some experimental, but always accessible, touches. A beautifully atmospheric track that reminded me a little of some of Namlook and Schulze's DSOTM series. '220V Koenig (Ololiuqui Dreams)' opens in descriptive fashion with smoldering electronic effects and a dense drone. Gradually a low pulse adds some rhythmic structure, and delicate pads ease the mood a little but don't break the sense of melancholy and slight menace. As with the last track the more experimental vein of EM is being mined, perhaps early TD or Schulze/Namlook again.

Strange, heavily echoed notes and the sounds of electronic equipment dying open 'Electric Yucca'. A snatch of radio broadcast adds a humorous touch before some very heavy electronic effects almost obliterate the mix. A strangely stilted rhythm tries to create calm! It sounds like one of Nagle's more 'out there' moments! A beautiful melody arrives and the track gradually comes into focus – sounding very contemporary with great beats (think Binar or perhaps Boddy). For me, this became a standout track, as I love this sort of thing. It becomes more symphonic, the beats more contemporary and busy. By the six minute mark a simply gorgeous 'sine wave' lead just soars majestically above the mix. Magical.

'110V Kanzler' is another atmospheric track that combines beauty with more experimental effects and contemporary beats. The standout element of this track is the incredibly high quality of the melodic work, picked out predominantly on retro synth voices and electric piano. A 'rock' drum kit seemingly recorded in a cave opens 'Linda's Ghost'. Vibes add a delicate melody, whilst effects come and go. Faintly, in the background a sequence can be heard, but only just (it comes to life later in the track). The tempo speeds up and the track takes on a slightly manic feel – quite odd really given the opening and the title of the piece. The mix settles but remains quite busy in the beats department. Vibes and symphonic swells are laid over the beats. A raucous solo bursts from nowhere and the drums pick up their pace in answer to this sonic attack – all very exciting. Strange vocal effects/samples close the track.

'Curse-Chill' is again a mix of the old and new in EM. Cool electric piano and synth swells suggest the dawn of EM, whilst a stuttering rhythm is very 'now'. Synth sax adds to the 'lounge lizard' feel of the track – I could imagine this one used on TV design programmes or being played in trendy bars.

'Interstate 15' opens with a mid-tempo, squelchy, mid-register/bass sequence. Leads and symphonic pads are deployed immediately, we are back in the land of retro EM. It's very atmospheric and easy to get on with. I'm probably wrong but this one sounded very like the Airsculpture chaps were in charge, it's very like the opening section of 'Moments in Lowell'.