Dinsdale, Steve

Artists: Steve Dinsdale
P: 2017
Light & Dark is Radio Massacre International member Steve Dinsdale's fifth solo studio album, and represents a continuation of the somewhat lighter (dare we say 'commercial'?) style of his solo music. The running order and length was designed for possible vinyl release, but when this proved impractical, the concise nature of the album still suggested itself as an advantage, and although more material was available Steve was keen to maintain a collection of pieces that could comfortably be listened to in one sitting. "I like an album that can be assimilated in one go; not so long as to have forgotten what the first track sounded like by the time the last one comes along" says Steve. The mood of the album is generally upbeat and positive, with bright textures and melodies suggesting a colourful and generally sunny outlook created by Steve's use of sequencers, drums and the classic keyboard sounds (Rhodes and Mellotron in particular) with which he has become associated. The almost funky 'Hit of Summer' is perhaps the least typical excursion, yet in many ways the most appealing; "to me it sounds like the sun's reflections dancing on the sea on a glorious day. Like all the pieces here it didn't start out as any grand plan it just ended up that way once I started overdubbing" Steve smiles, "and the lower end of the Rhodes keyboard does a surprisingly convincing impression of a Bass Guitar".
'Moonweed' is of course an affectionate nod to Tim Blake, whilst 'First Light' uses the authentic sound of the dawn chorus recorded in Skipton where the album was made...not just any old dawn chorus...these things are important. A spontaneous approach also brought out the doomy, dungeon-like textures of 'Dark Chambers', a piece which started off as a layered percussion meditation upon hearing some bad news about the possible future incarceration of an artist held in high esteem. Luckily this didn't transpire, but the piece remains as a stark and necessary contrast to the rest of the album, and indeed as the justification for its title. Book-ending the collection are two pieces recorded with lifelong friend and band-mate Gary Houghton on guitar: "He didn't know he was recording for my album when he visited, I didn't either, we were just trying out ideas. He brought the Gary Houghton effects arsenal for which he is justly famous, but rather less impressively left the power supply unit at home some fifty miles away. Instead I had to put him through my somewhat more basic effects pedal, but I like how this makes him sound less like Gary but at the same time unmistakably him".

Artists: Steve Dinsdale
P: 2008
A sense of cathedral reverence dominates much of this release, but that veneration soon gives way to more stellar expressions of speculation.
Heavenly keyboards establish a divine panorama, generating a luminous firmament that is swiftly populated by dreamy riffs of a very vaporous character. Church organs enter the flow, enhancing the overall divinity. The appearance of grinding mechanical elements grounds things with industrial hints.
Denser keyboards generate a psychedelic flavor that is punctuated by languid beats and eerie effects. The melody adopts a pensive demeanor, as if brooding over lost epiphanies. An airy vista is reached wherein solitary beats establish an imminent nobility in which electronics exchange mammoth sighs leading to glittering tones of inspirational definition.
The stage is now set for an emotional escalation. Contemplation perches on a vertiginous edge, surveying a realm of seething potential. Moody steel drums emerge from ponderous rhythms, generating a sense of expectancy, while stratospheric keyboards goad everything to dizzying heights. From this elevated vantage, haunting textures generate a spooky mien as the music brushed against the underside of heaven.
The keyboards adopt a more piercing resonance as the upward ascension continues, breaking through the ozone layer and entering interplanetary space. Expansion ensues, and more dire tonalities enter the mix, evoking masterful demands for states of being beyond hope. Ultimately, a realm of true infinity is accomplished with regal keyboards supported by rich textures of glistening charm. These compositions embody a voyage that begins in traditional theological terrain and evolves into more comprehensive doctrines that unify wonder with modern sensibilities. The listener provides a human perspective as celestial marvels are explored and states of divinity are shorn of all mysticism, ultimately reaching a level where true immortality is revealed to be cognitive creativity.

Artists: Steve Dinsdale
P: 2010
This is another entirely instrumental keyboard based work, the opening four 'single' length pieces may well have found themselves as 7" A and B-sides on an imagined jukebox in an alternative universe. The centerpiece of the album is the eponymous 32 minute suite inspired by personal change, which moves from sequencer based melody into filmic strings, onto swelling mellotron and finally a blissful drift to a conclusion which may or may not serve to accompany sleep.
This is a factory pressed release, packaged in digipak format for the first time.
 

Artists: Steve Dinsdale
P: 2012
Some tracks remind of early Klaus Schulze works with also Mellotron and far away voice samples. Very interesting and a new way in the RMI member directions.

Artists: Steve Dinsdale
P: 2014
More good music from the RMI member from the UK.

Artist: Various Artists
P: 2012
"Mythology"
A double album of mainly Berlin School tracks.
With some quite different and new tracks too.
 

Artist: Various Artists
P: 2012
A collection of the best tracks from the Awakwnings compilations.
Here Vol. 5 with the tracks from 2009-2012.