Stokes, Saul

Artist: V/A
P: 2003
New and unreleased material , compiled by Databloem and mastered by Ron Boots.

Artist: Vir Unis, Vidna Obmana, Saul Stokes u.a.
P: 2003
"The latest release from Foundry Records, "sub.terra" is a fascinating compilation based around the concept of creating a series of pieces using only a trumpet as source material. the artists all started with a set of trumpet recordings and from there processed and treated the tracks until they came up with the works contained herein. and a very impressive collection of works it is! featuring tracks by Vir Unis, vidnaObmana, Saul Stokes, Michael Bentley and Interstitial, "sub.terra" provides not only an excellent group of challenging pieces, it also serves as an introduction to some of the best artists in the field of electronic music today. with each of the artists contributing their own interpretations, each adding their own particular sounds and flaours, "sub.terra" crosses a range of styles and ideals. from the dark drones of Interstitial, through the percussive groove of Vir Unis, the space and movement of vidnaObmana, the hypnotic chilled electronics of Saul Stokes, and the dark deep-space explorations of Michael Bentley, "sub.terra" is an excellent collection, and well worth checking out." rik maclean

Artist:  Vidna Obamana, Ron Boots
Alpha Wave Movement, Jeff Pearce, u.a.
P: 1998
This double CD features 142 minutes of previously unreleased material by musicians exploring the non-physical realm. This 2-CD set released on the Hypnos label is a must for devotees of drifting space synth music.

Artist: Saul Stokes, Vir Unis, James Johnson u.a.
P: 2002
All new titles, each artist was asked to create a self portrait in sound.

Artist: Vir Unis + Saul Stokes
P: 2002    
This CD 2002 offers 68 minutes of flowing electronic music. In this collaboration, Stokes is responsible for hand-forged electronics, sampling and rhythms, while Vir Unis handles synthesizers, treatments, grooves and manipulations.
Textural layers play a more prominent role here than in the above releases, serving as ethereal foundations for lively electronics and compressed rhythms. The main electronics are softer too, existing as surging sweeps which are embellished by additional sounds. Rotary noises often surface and ebb, as if striving to break through and infect the tunes with more agility. A pronounced liquid quality renders the songs with a softness that attributes them a remote demeanor. This soothing mien is also found in a variety of the sounds, like the fuzzed nature of numerous pulsations (an effect that stands in direct inverse to energetic crispness of those sounds). This coexistence of sharp and soft imbues the tunes with a distinctly entrancing appeal. Suppressing hyperactive chords in this way results in a slushy resonance, one that is highly attractive in its basic novelty.
The rhythms tend to be rather frantic, yet they are muffled so that the tempos flow instead of propel. The beats are highly synthetic, and are often actually non-impact sounds utilized in a rapid succession. Meanwhile, viable impacts sound more like slaps than hits.
These compositions pursue a lovely blend of ambience and animation, crafting melodies that flow in a relaxed manner while laced with prominently agile layers.

2009. Matt Howarth / Sonic Curiosity