Ellis, Paul

The Music of the US Based member of Dweller at the Threshold.
Ellis, Paul
Paul Ellis & Craig Padilla - Echo System

Artist: Paul Ellis & Craig Padilla
P: 2004
Two electronic artists from the western US, Craig Padilla and Paul Ellis, join forces to create 72 minutes of enjoyable electronic music. ECHO SYSTEM is clearly inspired by the classic 70's electronic synth masters (Tangerine Dream, Klaus Schulze, etc.) However, rather than simply imitating the pioneers, Padilla and Ellis draw inspitration from them, infusing their own distinct styles, and adding depth and interest to an all too often two-dimensional musical form. Craig and Paul spent two years fine-tuning ECHO SYSTEM, and it is sure to appeal to long time fans of electronic music. Definitely a must for fans of Padilla or Ellis' previous works, and a great introduction to those discovering either of them for the first time.

13,75 EUR
 
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Paul Ellis & Steve Roach - Silent Conversations

Artist: Paul Ellis & Steve Roach
P: 2005
The American synthesist Paul Ellis is a fast growing power in electronic music. From the Berlin school-orientated music he created with the band Dweller at the Threshold and on his early solo works, he switched to an impressive mixture between Berlin school, ambient and lots of own inventions.
On “Silent Conversations” there is an important place for the genius of ambient Steve Roach, who contributes on four of the nine tracks. This can be heard on the excellent opening track with the great title “the only known photograph of God” and “Peripheral Vision”. Ellis is a master of sequences. Tracks like “Trillium”, “The wind-up synthesizers of the Glass Reich”, “Continental Drift” and “Dialing in the Sun” show some of the best sequencer lines ever. All these sequencer forces are, so to say, being put to rest in a bed of fantastic ambient sounds. And then there are also the slightly experimental “Trance Figure” on which Paul plays guitar, bass and a Rhodes electric piano and the atmospheric title track with the intriguing vocals of Alison O’connor.
Ellis is a master of electronic music, as is Pablo Magne a master of cover designs. These two elements together have resulted in an album that can now already be regarded as a classic.

13,75 EUR
 
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Paul Ellis - Appears to Vanish

Artist: Paul Ellis
P: 2000
Influences from mid-70's Tangerine Dream are quite obvious on the first track, but from then on Paul Ellis leads us through pristine soundscapes. Indeed, this CD is much more than just copying Froese and Co. from the "Stratosfear" era. We do hear the unavoidable Mellotron but also soundscapes, patterns and sequences that are genuine. Ellis uses a wide array of moods: from ambient to rhythmic, retro to contemporary, moody to bright, atmospheric to foreboding, but never chaotic or experimental.

13,90 EUR
 
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Paul Ellis - From Out Of The Vast Comes Nearness

Artist: Paul Ellis
P: 2011
From Out Of The Vast Comes Nearness, Paul Ellis’ latest album of new music, is a purely electronic expression of five long-form pieces that blend ambient sound design with rhythmic electronics, recalling the classic works of genre masters like Tangerine Dream, Klaus Schulze or Vangelis; but with a restrained modern air.
With a mixture of synthesized sonics, both melodic and cerebral, the music brings to mind the unfolding expanse of the cosmos, stated with a graceful patience that propels the steadily evolving, constantly moving synthscapes to a highly personal level.
Fans of Paul’s style will recognize his signature immediately, and while this new work retains familiar elements from his earlier releases, it is perhaps his most reflective album to date.
Paul’s usual high production standard is maintained here, and his talent for sound design and the careful orchestration of each piece makes every element of the mix sit perfectly in place with an attention to detail that draws us closer with each listen.
From Out Of The Vast Comes Nearness is packaged in a dual gatefold presentation, in the tradition of the vinyl record jacket, with beautiful photography from master artist Pablo Magne, whose visual style will be familiar to fans of Paul’s other works such as Silent Conversations or Echo System.

13,90 EUR
 
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Paul Ellis - I am Here

Artist: Paul Ellis
P: 2012
It gives me great pleasure to announce the release of my latest Ambient album "I Am Here". It is a return to large canvas soundscapes of interlocking sequencers. Two 20 minute tracks and one 30 minute of unfolding synthesizers patterns.

2012. Paul Ellis

Abandoning the tranquillity of the musical landscapes of “From out of the Vast Comes Nearness”, Paul Ellis attacks “I Am Here” with a surprising rhythmic fury. Heavy and threatening rhythms which pulsate in all senses under the bites of tens of undisciplined ions are forging the surprising soundscape of “I Am Here” which is also coated by amazing impulses of synth with poly-formic layers flying with madness over the striking reminiscences of Tangerine Dream and Jean Michel Jarre. A strangely powerful (and disturbing I should add) opus, “I Am Here” is taming with all the patience that Paul Ellis has put there to weave this surrealist musical pattern which is inspired by the paintings that the prehistoric men painted formerly on the walls of the caves of Columbia River Gorge. Ready? Jump on your headphones cause it’s gonna rock like seldom for an EM work composed by a North American synthesist, the land of serene poets.

A knock of percussions awakens a strange choir with breaths of silvers when synth blades made of a strong Dreamish scent covers the first rattles of "She Who Watches" sequenced ions. These sequences waddle shyly in emptiness, embraced that they are by a whirlwind of synth layers which is controlling this lascivious ascent. This intro is of an implacable sound wealth with a rhythm which turns on itself under a dense synth panorama. The heavy warning shots of the powerful chords are resounding among sequences became puny and under the tortuous breezes of a synth with poly-formic breaths. And slowly "She Who Watches" changes its rhythmic skin, suspended in the twists of a motionless maelstrom from where flee metallic gases before that the 2nd part bursts out under the knocks of big drums. The wind turns and the breaths of synths swirl with strength, multiplying tenfold the velocity of sequences and these heavy resonant chords which will escape in order to form a fluid and harmoniou s rhythm which pours of its sparkling curves under of melodic synth solos. The winds of "Chinook Wind" sing of their dissonance, but mesmerizing, voices on a bed of carillons which tinkle among metallic gases. Turning in minimalist loops, these howling winds are holding onto the heavy impulses of an implosive synth to create a powerful sound storm from where a multitude of jumping ions are running away. The movement calms down at around the 7th minute to embrace some more ethereal reliefs with muffled winds which blow over the lamentations of a shaman Berber isolated between mountains sides. Nearly 3 minutes after the silence of the lost souls, the movement takes back its strength of origin but with more furious sequences which pound in all senses under of cyclic singings which remind me strangely some of acerbic Meredith Monk's incantations. I have to admit that it's a piece of music difficult to tame.
And the ambiguity, as much as for rhythms as ambiences, remains all entire with "1 A.M. On an Island in the Columbia River". This long title of 30 minutes will destabilize more than an ear. The intro is stuffed with head winds which blow in a strange vocable multiplicity. Strange tones are pulsating while that the rustlings which rustle on metallic walls add even more to the hearing confusion which invades the listener. Far off, a pulsation made of vapor increases quietly its strength to resound with all its echoing timbre in a temporary void before forging a heavy and pulsating rhythm which bangs in a space-time fills of related tones. Another rhythmic phase is settling down and winds this heavy pulsation whereas that a tender mellotron pushes the breaths of its mellifluous flute over a heavy resounding rhythm. And so is made "1 A.M. On an Island in the Columbia River". Strongly inspired by Tangerine Dream’s Stratosfear era this long epic track evolves by inter-linked segments which brings us to the borders of the taciturn atmospheres of the Dream and the cosmic ones of Jarre. The mellotron is charming, the glaucous pulsations are disturbing and these lines of sequences which crisscross a universe in continual movements add a disarming touch to a title as much furious as poetic which rages and softens in the will of Paul Ellis's ancestral visions.

“I Am Here” is an intense work. This Paul Ellis' 13th opus is a real running fire of rhythms which seethe in intense magmatic envelopes of synths molded in the fluids of anger. I rarely heard a so intense and powerful album which depicts the fears and incredulities of the first peoples on a continent set up on the mystery of the planetary upheavals. This is intense and dramatic Berlin School which swirls in a fascinating mixture of old and new musical orientations of a genre which never seems to dry up. The avant-gardism and audacious ears are going to make a real delight of it.

2012. Sylvain Lupari / gutsofdarkness.com & synth&sequences.com

14,90 EUR
 
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Paul Ellis - Infinity Room

Artist: Paul Ellis
P: 2006
Six tracks: six times ten minutes. This is the result of “The Infinity Room”. This fast growing power in electronic music switched from a Berlin School-orientated style with the band Dweller At The Threshold and on his early solo works, to an impressive mixture between Berlin School, ambient and lots of own inventions on his albums.
His last album “Silent Conversations” was no less than sensational; on “The Infinity Room” he does it again.
As said, all tracks clock exactly ten minutes. It starts in “Tick Tock” with a softly thrusting piece of music in which at the end slowly the sound of the Big Ben in London is played. Paul’s music clearly shows traces of the well-known names in electronic music but has so much own input that can be stated that he has a certain style of his own.
“Forever Endeavour”, for instance starts dark and evolves into a great sequencer track. Again, kind of quiet and slow.
The quietness is also present in another sequencer piece, the excellent “Flesh And Blood”.
After the brilliant ambient piece, with Mellotron flutes, Paul hits the sequencers again cleverly in “MirrororriM”.
This man is capable of something. This music is powerful, professional and very beautiful. And the cover by Pablo Magne is also great again.

13,75 EUR
 
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Paul Ellis - Into the Liquid Unknown

Artist: Paul Ellis
P: 2001

INTO THE LIQUID UNKNOWN by Paul Ellis (best known as 1/3 of Dweller at the Threshold, a group whose new disc OUROBORUS is the other new release on Hypnos/Binary -- see below), a bright and distinctive piece of modern electronic music. Those of you who are more interested in true e-music -- shifting synthesizer patterns, beautiful resonances, expressions of the soul of the machine -- will delight in this fantastic, fresh recording. Using a dash of classic European e-music as a reference point, but never for a minute sounding like an artist exploring any path buts Ellis's own, INTO THE LIQUID UNKNOWN supplies that modern synth music "fix" for listeners who remember their excitement at first hearing Wendy Carlos, Jean-Michel Jarre, Synergy, or early Tangerine Dream... but for people who already own all those albums and don't want to hear them re-done. Like the first albums of Alpha Wave Movement and Synthetic Block, this album utilizes just the right limited measure of "classic" and moves on from there to create something new.  Working within a theme of the exploration of the ocean's depths (see the title), Ellis takes the listener on a nearly exhausting musical roller-coaster of pulsing arpeggios, cascading mechanistic sequences, lilting melodic passages, and gradually to brief interludes, before cranking the energy level up again. Definitely not for people who hate synthesizers that sound like synthesizers!

 

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Paul Ellis - Last Hiding Place of Beauty

Artist: Paul Ellis
P: 2009
With “The Last Hiding Place Of Beauty” he might have released the ultimate mix between electronics and acoustics and perhaps have created a style of his own.With only four tracks on this album, these compositions are afforded ample room to establish themselves and exhibit charming evolutions. The melodies are pacific and superbly capture a sense of beauty that is often absent in modern EM. Instead of being expansive, these tunes tend to constrict the listener’s attention, helping them to focus on details both audible and internal.

13,75 EUR
 
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Paul Ellis - Moth in Flames

Artist: Paul Ellis
P: 2015

Electronic music maestro Paul Ellis continues his lifelong exploration into the aesthetics of minimalism, ambient, space music, and the classic sequencer-driven “Berlin school” sound, on his third Spotted Peccary Music release, Moth In Flames. The veteran artist meticulously crafts restrained pulsing electronics that provide the measured momentum to steadily move through a morphing soundscape of classic analog synth moods and atmospheric textures, on his most refined work to date. As a composer, Paul Ellis has always been deeply inspired by the minimalist and ambient aesthetic as much as by the Germanic pulsing sequencer style pioneered by such legends as Klaus Schulze, Edgar Froese and Tangerine Dream.  “Sometimes the music is painted in bright modern lines and shapes with clearly defined melodic and harmonic movement, and sometimes it is expressed through ethereal and abstract geometries floating around you,” Ellis explains.  “I am interested in creating a musical space that has enough musical motion to hold the interest of the listener without arbitrarily changing the mood; a space that mesmerizes with slowly shifting patterns and enough air and tonal color to allow the imagination to freely go where it will.” Indeed, like a perfectly placed pendulum, the music of Moth In Flames steadily moves through the blurred boundary where melodic and ambient music overlap, pulling from both worlds while never straying too far into either.  Its accessible appeal and expertly produced sonic highlights make Moth In Flames an album which can be listened to deeply, or played over and over again in the background as a continuously looped true ambient experience.

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Paul Ellis - Sacred Ordinary

Artist: Paul Ellis
P: 2004
On Sacred Ordinary Paul’s artistry of creating a palette of rich emotional sounds sets a foundation from which he weaves a series of electronic web like pieces with a keen sense of melodic invention and dimensional symmetry. There is an hint of nostalgia in these tracks as well if one has been privy to the classic melodic sequencer style electronic music periods over the past few decades. This brings another kind of depth to the experience while at the same time this music is really about the here and now as it unfolds with a kind a graceful patience and awareness to detail that keeps pulling you in deeper with each play.

13,75 EUR
 
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V/A - Beyond Me

Artist: Vidna Obamana, Steve Roach,
Thom Brennan

P: 2001
The sleevenotes read like a veritable "who's who" of current synth artists: Paul Ellis, Nemesis, Free System Projekt, Robert Carty, Rudy Adrian, Kubusschnitt, Dave Fulton, Synthetic Block, Paul Nagle, Arcane, John Christian (from AirSculpture) and Ramp. This project was borne from the internet chat group "beyond_em", a thriving source of news, information and general gossip which has hundreds of subscribers, including the artists here and many more. As Paul Ellis, the co-ordinator and "guy to blame", as he describes himself, says on the sleeve ".....I was surprised by the number of other musos on the list and the high quality of their work. I threw out an idea where one musician would pick up the musical thread of the previous musician and make an album that way......"
'Beyond Me' is the result, a virtual embarrassment of riches. There is so much tempting music on this album you really won't know where to start. The majority of tracks are new, only the Arcane piece has appeared previously on the 'Alterstill' CDR, and Paul Nagle's track has appeared in remixed form on 'Blue Book'. Just before I dive into the tracks, one mention for the sleeve graphics especially the inside cover featuring cartoon cameos of all the artists - it's very cleverly done.
Fittingly Paul Ellis gets the show on the road with a fantastic piece called 'Into the Liquid Unknown' (8.19). It features magnificent sequence contortions which are sometimes left to twist and mutate in isolation, at other times accompanied by perfectly judged silken pads. Next up is 'Nemesis' with 'Siloportem'(7.25). A punchy beat underpins expert sequencing and some classic mellotron sounds. Again it's a top notch synth outing, and blends perfectly with the former piece, and the next track for that matter - 'Pharos' (5.27) from 'Free System Projekt. This really does bring to mind mid 70's EM with mellotron timbres painting a patchwork of sound which could be straight from 'Phaedra'. Half way through the piece those trademark FSP pulsations start up and we are on another roller coaster of rampant moog style sequences and epic synth textures.
Robert Carty contributes 'Outside Influences' (5.10) which opens with strange alien utterings before a slow but mammoth beat appears around which all manner or electronic detail is layered. It sounds slightly tribal, Aztec culture comes to mind, such as the more atmospheric work of Richard Burmer. Next it's Rudy Adrian with 'Secrets in Sahara Sands' (6.42) which carries on the atmosphere and style perfectly, yet stamps a very different interpretation with a choppy sequence and ethereal synth layers. Kubusschnitt's 'Vantage Trick' (6.18) will surprise (and disappoint) no-one, being a classic slab of retro sequencing with electric guitar angst pitched perfectly in the mix. Dave Fulton's 'Falling Away' (5.32) takes the baton, a strangely beguiling collection of electronic throbs and drones while 'Flash of Attention' (1.45) by Synthetic Block is a brief but perfectly formed cameo which features syncopating oscillations.
Paul Nagle's 'Adventure' (8.37) opens with a marvellous arpeggiating sequence and an infectious melody. John Hickey contributes foreboding words before "the cave closes" to allow Arcane's 'Alterstill part 3' (6.00) to be unleashed. If by some twist of fate you haven't got this track, the situation needs to be rectified immediately. First aired at Jodrell Bank, this is possibly the only track which has ever left myself and Dave Law speechless at the same time.'Heathkit Interociter' (4.12) by John Christian is a fascinating and quite unique sequence based track - wonderfully inventive in construction, very melodic and hugely entertaining. Finally Ramp serve up 'Rapture of the Deep' (6.21) and this has to be heard to be believed - atmospherics from the Gods.What an album! No matter what your taste in EM this has it all, in one cohesive high quality package. Buy without hesitation. (GG)

13,90 EUR
 
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Various Artists - Analogy Volume 1

Artist:
P: 2006

There is always much to do amongst musicians and/or fans of em about analog or digital? Will we use the warmth of analog or the more reliability but less character of digital? This album has become a sort of contest where each artist could use only three genuine analog synthesizers to create a piece of music (although modern recording techniques were permitted).
"Analogy, volume1" contains music by some of the finest em-musicians of today.
The music ranges from traditional sequencer-based berlin school (create, syn, altres, modulator esp), via melodical (remotion, emmens, aerts, tescee), ambient (ellis and roach, 4m33s) to experimental (nerell, roach and oken, storey).
All music was played and recorded with care and love for the music and the instruments that it’s played on. "Analogy, volume1" is a great and eagerly awaited project.

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