Foreign Spaces

Artist: Foreign Spaces
P: 1996
Cut in the style of Klaus Schulze or Vangelis, Foreign Spaces refine their sound with this 1996 release. Space is still the topic of preference for their instrumental excursions, but the structure and tone of the music has gone epic. Driving keyboards and heavenly electronics swarm to fill the void, pummeled into entertaining position by the dramatic E-perc. There are a few pieces that exhibit atmospheric quality, but the main focus of this music is a sense of grandeur. This 54 minute CD is divided into a few longer pieces (from 8 to 18 minutes) with shorter tunes bridging together the epic compositions. With titles like "Wormhole" and "Nebula", the music leaves the Earth behind, surging toward infinite horizons. Exuberant electronics spill like twinkling stars across the sky. Fervent keyboard chords dance in the void, generating riffs of luxurious impact. Electronic percussion cascades through the mix with dynamic effect, introducing an interstellar power to the tuneage. Employing repetitive cycles purely as a foundation, Foreign Spaces delves into a realm of active melodies with urgent riffs and demonstrative variations, wrestling maximum effect from each harmony. The entertainment factor runs high here, with insistent purpose and capable performances.

Artist: Foreign Spaces
P: 2000
Never a dull moment when a new CD from Foreign Spaces arrives. Characterised by inconsistency, their previous offerings have when it all "came together" presented some of the most sublime and infectious EM to be found anywhere. Witness the incredible closing 5 minutes of 'Dark Star Part 1', a piece I still revisit with anticipation and awe. So now we have 'Phaeton', and though only 3 letters away from TD's classic album this is nothing like that style, in fact one of the characteristics of FS is that they sound like no other band on the scene today. The opener 'Phaeton I - Planet' typifies their unique style, with gripping sequences adorned with overtly melodic lines which dominate the mix. After an extensive 7 minute rhythmic section the track takes a breather with a pleasing ambient pastiche. Hit the 10 mark and the track then presents its full repertoire of melodic sequencing and a beautiful lead line picked out on their trademark searing synth vox. It mutates, ebbs and flows for the remainder of the piece presenting different angles on the same theme. It's the 4th time I've heard this piece, and true to form suddenly this has clicked - it's yet again another FS "classic moment" with the most infectious melodies. 'Blue Stream' glides in on a wave of classic sequencing then another impressive theme starts up which makes all the right statements. The piece is punctuated by those slightly quirky falling note interludes, which again are so characteristic, before again setting off on its soaring flight. If I could make any criticism it's that I'd like FS to let the track flow slightly more. Such is their enthusiasm to cram in the variation and entertainment it can be a little counter- productive at times, but even so by any benchmark this is a fine piece. 'Moonless' consists of a syncopating sequence and a relatively understated main theme, while 'Silver Glider' opens with massed synth chords before yet another superbly constructed theme hits home. This is quality. 'Phaeton II - Lifeforms', the longest piece at 21:19, follows and its size and position make it very much the pivotal track of the album. Ambient resonance and effects introduce the section before crashing percussives really get the ears flapping. The complexity of construction is fascinating as theme upon theme emerges only to be usurped by another. At 3 mins a more rhythmic section takes over and listen out for the detailed inflexion of the sequence notes, very clever and it really keeps you wondering what's going to spring out of the mix next. Again the only comment I'd make is that, initially, the stop/start nature does take some getting used to but familiarity makes it sit more comfortably. Fade at 6 minutes (yes, were only at 6 mins - what the next 15 mins bring God only knows!) to a more sedated section which eventually morphs into weird effects, then an arpeggiating sequence breaks through and swings from speaker to speaker. And amazingly it just gets better and better, with the closing themes a melodic delight. 'Spheric Architecture' features the most sublime motif to open and close the piece, sandwiching a meandering theme which has its own merits. The whole piece is underpinned by a choppy yet delicate sequence which briefly breaks through from time to time. 'Artificial Encounter' adopts a more laid back stance, with the ubiquitous flutey synth accompanied by more fine cameo synth roles. 'White Sunset' is a beautiful atmospheric piece, and just listen to the wonderful textures which FS create here. Instantly recognisable and immensely pleasing, this (the shortest piece at 3.44) is much more than the obligatory "space filler". Finally we are presented with the third part of the title track, subtitled 'Utopia'. Harpsichord sequencing gives it a slightly formal air, but the strong melody and fleeting drum beat offsets this with more contemporary leanings. A strong finish. You already get the idea that this is a fine album - it's probably the most consistent FS outing to date. Fans of their melodically rhythmic and very individual style will find that it has been worth the wait.

Artist: Foreign Spaces
P: 2003
What we have here is a retrospective compilation of tracks recorded between 1984 to 1989, taken from what l would assume to be original multi-track tape recordings, (as with another FS release 'Imagination-Pictures-Music' from roughly the same era). That being the case, the tracks have been cleaned up very well indeed for the CD's production. The collection comprises a number of early versions of tracks which have since appeared on later albums, so this should be somewhat of a curio for some of you synth music fans out there!
Proceedings get under way with 'Spherical Dream 1984' sounding very much like TD's 'White Eagle' given the sequencing and voicings chosen, before veering off into anthemic mode delivering the sort of energy and mood of Shreeve's classic 'Assassin'. A very impressive introduction.
Think TD's Melrose album with 'Voyager 2', the sound palette and phrasing used are identical to those used on 'Three Bikes in the Sky',( which raises a certain point of contention given that Melrose wouldn't actually start being recorded for at least another six months!!). Maybe this compilation was completed in 90'/91', not 89'? Not a bad little track though. 'In My Head' features on their other compilation under the title, 'In your Head'. At just four minutes duration I guess it's a track that they really had to work at, featuring some seriously convincing Froesian guitar plank spanking. 'Funky Trailer' is pretty self explanatory. It does sound like TV trailer music, time to move swiftly on.
Play me the next three short tracks, 'Luna III', 'Streaming' and 'Autumn Leaves' and l'd swear l was listening to the early cassette releases of Ash Prema! Intentional or not, the likeness is uncanny. Maybe it's just the same sort of synths being used, (and also given the fact that this music and Ash's work would have been recorded in the late eighties at about the same time) but the way in which it's played…
'Random Stars' is next on the playlist and again l'm gonna name-drop as this one sounds like a clone of early 'Vietgrove'. Maybe it's the digital synth's being used, but the real joy in this three minuter comes at the end when all of a sudden we get a slice of music that really could have come straight off TD's 'Heartbreakers' soundtrack, ending way, way too soon.
'Green Monday', and we're back in Vietgrove mode again with a hint of 'Cloudburst Flight' thrown in for good measure given the way that things are being played. 'Catch the Clouds' is the last four minuter of the ten uptempo studio pieces presented here.
Foreign Spaces on this CD display a chameleon like talent for sounding like other artistes named both sonically and stylistically. If this is intentional it is done so very well and l applaud that, however l think that the truth is perhaps a little more down to earth in that they just so happened to be in the process of searching for a sound of their own just stumbling across these similarities capitalising on them.
Putting the music into context with the time that it was recorded and the technical limitations of what could be achieved in a project studio two decades ago l think its fair to say the FS come out smiling. Here is an album of both variety and creativity. Well worth looking into.