Paul Ellis Silent Conversations Play Sample:   56K Dialup   Broadband   Download Sample:   500K   1.5Mb (Excerpt from track(s) 'The Only Known Photograph of God') Please go to the Store to buy this item.

The music of Paul Ellis first came to light personally as part of the collaborative effort between him and Steve Roach on the fantastic album, 'Life Sequence'. This time it's a case of role reversal, where Steve Roach guests on a few of Paul's tracks. On listening to his latest release, 'Silent Conversations', it is easy to see the influence from the aforementioned album, especially where the sequencer side of things is concerned, but he also manages to create a sound that is as far apart from the dark soundworlds of Steve Roach as you could possibly imagine - well at least in the most part. His music is predominantly lighter and dare I say it, a little more active and exciting than most sonic explorers out there at this current time.

The album comprises of 9 varied and exciting tracks and to be perfectly honest I don't think Paul could have put anything more into this album if he tried. I mean, what more could you ask for? This is a highly polished release where he combines some of the most effective sequencer work to be heard in a long time and upon listening it seems that he has really created an ultimate sonic 'tour-de- force' of a release. None of the tracks on offer have a duration of less than 5 minutes, but it tends to avoid any sense of repetition that is to be found on many releases in this genre.

The album begins with the oddly titled 'The Only Known Photograph of God' and at just over 7 minutes it is a fine example of the style of music to be found throughout this album. In fact this piece is one of a few that features Steve Roach, although in a slight deviation to his usual mode of dark soundcurrents. Having expected a track with an air of obscurity it was a pleasant surprise to find that this is a very embracing track that will placate predominantly Klaus Schulze fans and perhaps even those into the works of Jean Michel Jarre, with its perfect blend of harmony and layered sequencer work.

Track two carries things forward effectively but this time it is a little more laid back in approach. From the offset a high pitched sequencer pattern emerges, over washes of effects and there is a slight 70's atmosphere about this piece as it trundles along through splatterings of synth currents and effects. Paul shows a somewhat unique ability in his work to be able to keep the listener stimulated by adding new sections, constantly building on each piece as it progresses, whether it be on the sequencer, percussive or indeed melodic side of things and here is a fine example of how he manages to fuse literally everything into one effective cauldron of sound.

Next up is 'Peripheral Vision' which includes the sound of the old beast, the Melotron. Once again this piece features Steve Roach and with the addition of electric bass this is one of only two non-sequencer orientated works to be found on the album. Remaining mysterious throughout, this is about the closest this album gets to resembling the sonic field of the aforementioned artist. The next track, 'The Wind-up Synthesizers of the Glass Reich' obviously pays homage to the experimental works of Philip Glass and Steve Reich, although there is little resemblance in the formation of the music. Obscure mid-tempo sequencer patterns start things off here, but it is not long before more patterns are introduced adding stability, together with bass loops which, in all give the piece direction. Moving through various transpositions this piece remains fairly complex in approach and is sure to hold the interest of the listener.

Track five begins with a low drone, which moves in out and of the mix at occasional points. Effects are then added before an electric guitar theme is introduced. A strong synth theme and flute textures take hold, until eventually the piece ends on a higher meditational note, the guitar theme remaining throughout.

'Continental Drift' enters with panned effects and synth pads in higher register. After a light percussive loop is introduced it's back into sequencer territory once more and although setting down at mid-fast pace, these patterns are never allowed to dominate. In fact the sound seems further back in the mix compared to the other tracks on the album. After 3 minutes a bass sequencer takes hold and over time the patterns become slightly obscure.

'The Dumb Angel's Periscope' (where on earth does he get these titles??) again features the talents of Steve Roach and begins with a mid tempo bass sequencer loop over heavily delayed rhythm textures. Effective chords help to create what can be best described as a huge, ever expanding sound field.

The next 'title' track features, most notably heavily processed cello and choral effects. Synth undercurrents enter but the choral theme runs throughout this piece, creating a most haunting effect. The track moves on through an array of effects, including mild sequencer textures, although not in a looped sense, but the primary focus is that of the choral and cello textures.

The final track 'Dialing in the Sun' is a special bonus track and is Paul's own interpretation of the track 'Sundial' that originally appeared on the Steve Roach album, 'Life Sequence'. Steve appears on this cut too and this piece, for those who have not heard the original version sounds very 70's again, with a splendid bass sequencer pattern, percussion loops and effective, occasional apreggiated patterns and effects. The track does become slightly obscure in places and eventually the sequencer pattern subsides slightly to make way for warm synth chords. Later extra bass is added over further washes of synth chords, but up until the last few moments, it heads off slightly into obscurity.