Daniel + Booth

Artist: Booth + Creek
P: 2012
Their first album, Lightwaves, was released at their last Awakenings performance at the end of February. Also a brilliant piece of Berlin School sequencing.

Artist: Daniel & Booth
P: 2020
Our ears locate us in a huge aviary when they hear harmonious chirps. A synth line is born here to transform into a beautiful paradisiac song. The mutation is very good with this celestial song to which is added the discreet waddling of a line of the sequencer. EM takes over the charms of artificial birdwatching with this hypnotic alternation which increases its rhythmic value with more jumping keys and an emphasized velocity which is heard by the more jerky movement of the rhythm line. The first half of Incident at Serenity breathes this peace of mind with this swaying in the sequencer's rhythm which increases its linear course in these musical mists which serve as a mystery canvas between rhythm and its ambient soundscapes. A series of explosions shakes our listening around 7:30 am, restructuring the rhythm for a more lively approach. There is a slight cut in this electronic rock, creating an imperfect circle in a vision of pony swarms where the heavy mellotron sails and its mysterious chants cling, as well as synth solos espousing the shape of flying shadows and twirling with acrobatics as effective as the airs of these night ghosts. INVERSE is the second album of the duo Daniel & Booth, the other being Mutiny which I still haven't heard to date. Visibly inspired by TD from the Ricochet to Encore years, the English duo dazzles us with a sublime Berlin School album scented by those vintage years. Whether in duet or with their long-time friend Brendan Pollard, Michael Daniel and Phil Booth remain proud ambassadors of vintage EM. These years where the imagination behind the mellotron injected dark veils on rhythms invented from scratch by masters with fairy fingers on sequencer. Inject a few contemporary tones and you have 70 minutes and EM of yesteryear where the past is dependent on its future.Open Channel begins with guitar chords that wander with their echoes before Michael Daniel forges nice ethereal solos. The synth injects layers which become breezes rolling like waves, escaping fine fluty lines. The sequencer gets activate behind this psychedelic canvas with guitar effects, to sculpt another pattern of agitated rhythm which makes its keys hopping sharply in a layer of mist and its undulating effects. A choir of extinct voices rises in this setting which is supported by the palpitations of a bass in order to solidify its rhythmic base. Percussive effects sculpted in wooden spoons dance the tap as the bass line slyly increases the velocity of this stationary rhythm with an ascending vision specific to Berlin School's floating structures. Raging guitar solos, mellotron's harmonies and synth solos complete the heavy structure of Open Channel, reminding us that Manuel Göttsching was never far from Peter Baumann, Chris Franke and Edgar Froese in this beautiful mid-70's. Inverse is a title of heavy ambiences which advances by the weight of the implosions' resonance. The strength of the winds sculpts whistling breezes while the cosmic vision of the synthesizer injects astral airs and sound effects which are created by these winds pushing cosmic particles to whistle near our ears. We who floated right next to the space shuttles, still have these scars which authenticate these unregistered flights made in our rooms where it was still possible to hear the soothing and ambient harmonies of the mellotron and these chirps of cybernetic birds. After a 6 minutes of vintage atmospheres, I hear Neuronium here, Neuropa flies away on flights of the sequencer unique to Chris Franke's electronic rhythm during Tangerine Dream's era of 76-78. A very big title with two lines of rhythms, and even 3 at times, with opposite visions in a sea of atmospheres conducive to the many solos with Arab airs before Neuropa comes back to die in those atmospheres that brought it to our ears.It seems that we can still do something new out of old in the evolution of EM. INVERSE by Daniel & Booth is proof!  It's great music with a good use of the mellotron on rhythms and ambiences which are always good to make us hear when they are in good creative and nostalgic hands.

Sylvain Lupari (April 28th, 2020)

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: Ethereal Electric Elixir
P: 2010
This is a CD + DVD set containing a live performances by John Sherwood and two guitar player,
done in September 2010.
Additionally a DVD is included which contains the backdrop video from the Burton concert, with the actual live recording as soundtrack therefore you get close to the actual experience on the night.
The additinal musicians like Daniel & Booth along with Stephen Palmer on guitar give it all the right atmosphere. Here we can listen to fine sequencing Berlin school retromusic with a gentle early 70s guitar touch.

Artist: Michael Daniel
P: 2014
The Henglers concept: For your edification and amusements...
The concept of Henglers Circus is pretty simple: its my attempt at a kind of very early era prog band, circa 1970-71. After a long time playing electronic music, I was anxious to see if I could still compose in other styles, and the music that became Henglers Circus began to form. As four pieces were completed, I decided that it would be nice to present it as a mini gatefold album, with artwork in keeping with the era. The Lion head door decoration on on a building in my hometown of Liverpool was a massive source of inspiration in drawing the elements of the concept together, it just seemed like an iconic kind of image.
So remember folks...the album is real, the music is real, but the band Henglers Circus is not real. Well not at the moment, anyway.
About the Album...
At this point your probably wanting to know more about the actual release... Due November 13th 2014, Henglers Circus is limited to 300 copies. It will be presented in a full colour mini gatefold sleeve design created by artist Moonhouse, responsible for many covers for the EEMC label down the years

Artist: Brendan Pollard, Javi Canovas, Adrian Dolente, Michael  Daniel
P: 2013
LTD 500
Way back in 2006 I promised my good friend Javi Canovas that we would one day make a collaboration cd. Some good friends joined us in the journey, Michael Daniel from Pollard Daniel Booth and my old synth technician Adrian Dolente. Lots of old friends lent some of my old equipment back to me and so during December 2012 and March 2013 Two Roads was recorded in three different locations, Bedford, Liverpool and Tenerife.

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: 2018
Earlier this year after 7 years away from the music scene Brendan managed to buy back some of gear he had to sell in 2011.
Set up in his new studio he invited his old PDB bandmates to come down for a jam. Over 4 days in the summer, through heatwave and storms, the band recorded several hours of material. Following more recording sessions in Michael's studio he produced the 4 tracks that comprise the new album Eight.
An album the band believe to be their best release so far.

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: 2010 
LTD 100
Recorded live at the Awakenings Burton upon Trent, we find perfect Berlin School Sequencing at its best.

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: 2013
Sessions from September/October 2009 Encore from the "E-Live" concert 2009.

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.