Daniel + Booth

Artist: Daniel & Booth
P: 2010
The music on the 3 tracks has a darker more experimental edge than the PDB recordings. The guitar is heavier and more in yer face in places, and there are drums on one track, whilst track 3 retains a more relaxed ambient chill out air. The rest is a lot of sequencing and Berlin School vintage style.

Michael Daniel: Synthesizers, Guitar
Phil Booth: Synthesizers

Artist: Pollard, Daniel & Booth
P: 2010
Here the final cut on multitrack from their appearance at E-live 2009. Berlin School style at its best. Many sequences and mellotronsounds.

Artist: Pollard, Daniel & Booth
P: 2010
3 long tracks that form early Berlin School styles. From experimental, to sequenzerbased, a new masterpiece of the 3 musicians.

Artist: Pollard, Daniel & Booth
P: 2010
At the end of march 2010, PDB allowed an "outside" camera operator into the studio for the first time to film the sessions for what would ultimately end up as PDB IV. The raw footage was taken away and edited by Phil Booth, the result is a film that takes a peek into the private world of PDB at work in the studio.
All compositions by PDB except the themes from "The Call" and "Ricochet", included as a playful and respectful nod to Tangerine Dream.

Artist: Pollard, Daniel & Booth
P: 2009    
Ltd 100
You can sit here and say the music from this "Awakenings" concert is very much like Tangerine Dream in the "Rubycon" era.
But no, the recording is more than that, it is an exploration of analogue synthesizers being tested to the limit as if on some test to see if the boundaries of t.d. mid 70's could be pushed back. There are also elements of Michael Hoenig on display.

Artist: Pollard, Daniel & Booth
P: 2009    
LTD 100
A follow up to their self-titled debut, this one is even more austerely packaged, but once again what matters is the excellent Berlin school music within.
“Catalyst” is a brilliant extended Teutonic jam session over 50 minutes long, with great sequencing that chugs along just so for most of it. The opening minutes are stellar atmospheric space music, with some really strong electric guitar courtesy of Michael “Mick” Daniel aka Hashtronaut. He really does a phenomenal job adding just the right extra punch to the proceedings without overwhelming things at all. Once we get about 8:00 in to the journey, it sounds a lot like some of the best RMI offerings I’ve heard, and that is saying something. And although the sequencing is the thing, check out the warbly experimental haunting section that ensues just past the 22:00 mark. Beautiful Mellotron flutes smooth things out nicely, keeping things from going too far afield. This softer section continues for quite a while, with sequencers not resuming until past the 33:00 point, though of course they are quite welcome when they do. This is a masterpiece, and well worth the price of admission alone.
But the trio follows it up with another 20 minutes of first rate music in the form of “The Chaos Balance.” This one stays mellow throughout, with male choirs, abstract deep space sounds, and warmer ethereal touches, making a fine finish to a fine album.

Artist: Pollard, Daniel & Booth
P: 2009
Perfect analogue sequencing. This is the rare first set of the 3 musicians from the UK.

Artist: Pollard, Daniel & Booth
P: 2010
The epic Pollard / Daniel / Booth / Ramsey / FSP concert from Hampshire Jam 8.
Oceans of mellotron and walls of modular.
‘Hampshire 1’ commences with fizzing, twittering effects which act as an intro for two different Heavenly Mellotron lines. Close on their heals enters a rapid tinkling sequence. A second heavy bass sequence joins it and we are soon belting along at break neck speed, the foundations shaking as we go. Electric guitar touches heighten the excitement still further. What an incredible opener!
After whooshing atmospherics and beautiful ethereal effects ‘Hampshire 2’ continues its slow exquisite build up with a lonesome synth flute lead. When the first sequence does arrive it is again of the rapid high register variety. The second sequence falls into formation with the first perfectly. A third, deeper sequence, joins in the fun and we are soon bathed in a sea of pulsations. Pure Berlin School heaven. The sequences evolve like living entities and the guitar, though used sensitively and never above the middle of the mix, adds even more oomph.
‘Hampshire 3’ grabs the attention right from the opening few seconds with sonic blasts and Mellotron. We then follow the winning formula outlined in the previous two numbers. A sequence emerges, which is again first rate, topped off perfectly by a sensitive flute lead line. The sequence morphs wonderfully, little guitar touches making brief but most welcome appearances.
The sequencer is fired up right from the first second for ‘Hampshire 4 (Encore 1)’ and the trons, taking the lead role this time, have never sounded better. Edgar Froese style guitar tops things off perfectly. The audience demands more and sonic screeches get ‘Hampshire 5 (Encore 2)’ underway. Soothing Mellotron softens things a little until the sequences burst forth once more and proceed to give fans of Berlin School music exactly what they want.