Paul Ellis The Sacred Ordinary

As some of you will know Paul Ellis is renowned not only for his solo work but also for his collaborations with globally respected soundscaper Steve Roach. His solo albums tend to focus more on the intricate sequencing side of things and there is generally a more chilled and less dark orientation than with Steve. Released in 2004 this 10 track album 'The Sacred Ordinary' was post-produced by Steve and features the talents of Rudy Adrian on additional keys, co-creation and overtone chanting, the latter of which is not necessarily that obvious upon initial listening.

The album opens with 'Icon' and at just over 9 minutes begins in high spirited form, with a suitable mid tempo sequencer pattern. Synth chords are then added together with further textures and the occasional bass pattern. The piece heads through various stages of transposition throughout its duration and eventually a theme appears, not dissimilar to that of a Melotron flute lead taking the track to its eventual conclusion. The sound of rain graces the next track, 'Shining' and at around 11 minutes it is the longest track on offer. A drone enters together with distant, almost vocoder type effects. Warming synth pads blend perfectly with cosmic bass drones and a slow, not immediately obvious sequencer pattern emerges, which is just bound to build in momentum. A very 70's sounding Vangelis lead line takes hold with the overall effect sounding like a fusion between his 'Heaven and Hell' and 'China' period works. However after 3 minutes a fast paced sequencer pattern is introduced and with washes of effects this certainly shifts the piece into overdrive! The track eventually ends as it started with more of the Vangelis influences.

The next 'title' track steers clear of the sequencer patterns and gives the listener a breath of fresh air, remaining calm and meditative in the most part. A piece filled with light drones, occasional bass undercurrents a decent cosmic string theme, eventually leading to a more prominent lead theme and an assortment of light choral moments. In contrast 'Blue Heron' begins with synth chords, stabs and a bass pattern. An almost vibe sounding underlying sequencer pattern can be heard occasionally moving in and out of the mix, creating a slightly mysterious feel throughout. A resonant sequencer pattern emerges over further delayed patterns and occasional effects. The next piece starts off in mid-sequencer territory once again, but not quite as dynamic as on the previous and in fact, forthcoming tracks. A solo lead adds effectiveness and direction with key points of transposition through its synth string textures until finally resting on a bed of simplistic bass sequencing. Here on in the piece remains subdued but includes a prominent theme, again provided by the sounds of the Melotron flute.

'Presence' emerges with a slight Eastern feel. A resonant bass sequence enters somewhere between mid to fast tempo, eventually transposing. At around the 3 minute mark additional sequencer textures are added, which again transpose later in the piece. A low cosmic drone starts things off for track 7 over various effects and what sounds like distant voice textures. A heavily delayed sequencer line enters over further cosmic effects and pads. A high register solo theme follows and the sequencer becomes gradually more obscure as the piece reaches its finale. 'After All' is another non-sequencer piece and with a light, cosmic drone and occasional bass stabs remains calm and mildly mysterious throughout its just over 3 minute duration. It's back to the rainfall for the penultimate track 'Turning Towards The Sun'. A theme that in fact is actually the basis for an unlikely slice of sequencing enters, followed closely by bass patterns and another of those lush Melotron flute themes, although this time in higher register.