Syn

Syn this is the synthesist David T. Dewdney from Scotland / UK. In 2002, he had impressed with the publication of his first opus Soundwave Traveller, classified 5th best EM title of the year.
Syn
Syn - Skyline

Artist: Syn
P: 2005
The first track on Skyline is called “Mellotropica,” but really that could be a fitting title for the whole album, as much a tribute to the Mellotron as Edgar Froese’s classic Epsilon in Malaysian Pale. Like Epsilon, Skyline uses the Mellotron as the main form of expression, keeping things very low-key and leisurely. No big sequencers, no crescendos that end in a big splash of synth leads and heavy rhythms, none of that. Well, okay, there is a slow marching tempo to “Skyline (Part-1)” that moves it forward, along with a cool squelchy vintage synth sound. But the Mellotron comes right back on “Distant Visions,” full of those tasty string sounds that are not quite like any other. Again, there is a pulse in the background to carry it along, but it is secondary. Tron flutes alternate with the strings, again showcasing this classic instrument as it was always intended. Of course, we can’t forget those choir sounds, and “Psytopia” adds those in abundance. At times, the similarity to Edgar is eerie, in this case “Psytopia” sounding a lot like Macula Transfer. This piece is more active than the others. “Skyline (Part-2)” goes back to Mellotron strings, again with a nice retro synth lead. Skyline’s 76 minutes will transport you back to 1976.


Here the last copy!

24,50 EUR
 
incl. 19% tax excl. Shipping costs
Syn - Soundwave Traveller

Artist: Syn
P: 2002
Over 70 minutes of Berlin School heaven split over three tracks. Think of AirSculpture, RMI, Jiannis and even some of Edgar Froese's solo albums. This CD is pure sequencer / Mellotron indulgence. There are many layers to the shifting analogue (that word can't be stressed enough on this album) sounds. The constants tend to be the sequences which get a grip then just keep chugging along. Subtlety isn't the order of the day here, they are rather relentless. Restrained electronic percussion is added from time to time providing extra interest just when it is needed. Enough of the generalities, on to the thirty minute (plus) opening title track. Lovely cosmic bleeps and whooshes give way to equally spacey drones. We then get some gorgeous 'Epsilon in Malaysian Pale' type mellotron sounds. A percussive lead line shimmers above the drones. In the tenth minute a lovely deep typical mid to late seventies sequence emerges. The tron sounds get better and better as the sequence continues to pulse away. It's now more like 'Macula Transfer'.
Little lead lines come and go. Some of them purposeful and some of them more meandering, similar to earlier AirSculpture. With four minutes to go the sequence departs and it now sounds like some of the more atmospheric moments from 'Stratosfear' then 'Encore'. 'Freefall' is straight into another sequence, this time faster than in the first track. More tron sounds back it up and a very decent melody comes and goes over the top. Another repeated melodic motif almost acts like a sequence in its own right. This number reminds me of a couple of tracks from 'Ages' melded together. With five minutes to go the sequence starts to subside and what sounds like spaceships hurtling by at warp speed take over. Things then take a much darker turn, thick eerie pads dominating. I get the feeling that this might originally have been a much longer piece, if so I would love to hear the rest of it sometime. Sequences and mellotron are again pressed into action from the very first moment of 'Sonus (Part 3)'. A lead line soars over the top as the tron swells and falls around wonderful pulsations. Gradually a rhythm is added. My attention is dragged towards the leads one moment, the sequence the next and then as it bursts forth the gorgeous Mellotron. At around ten minutes we get a bit of a breather for classic TD atmospherics. Things start to build up again a couple of minutes later but never rise above a slow comfortable plod.
With four minutes to go we start the wind down towards the end. Windy effects, the odd note played here or there keeping the interest until the final lovely melodic pads fade into oblivion. As is mentioned in the liner notes 'don't expect melodic music with little harmonies' but do expect relentless 'Berlin School' sequencer music.

Here the last copy!

28,00 EUR
 
incl. 19% tax excl. Shipping costs
Syn - The Glass Bridge

Artist: Syn
P: 2000 / 2006
Syn this is the synthesist David T. Dewdney. In 2002, he had impressed me with the publication of his first opus Soundwave Traveller, classified 5th best EM title of the year. At the time of an interview, he mentioned to possess more than 70 hours of recordings. The Glass Bridge did therefore leaves this gigantic musical bank that rests in the intrants of his creativity.
After an intro very floating, where the synthetic strates multiply themselves in softnesson of frugal laments, The Glass Bridge Parts I-III animates itself towards the final minute with a curled sequencer that recalls strangely the analogous dialect of Jean-Michel Jarre on Equinoxe. Piercing the rhythm progresses on of beautiful ones put to bed syntheticmellotron's, atmospheric percussions and a synthé blowing silky synthetic agreementsand sharp, in the even grinds that Jean-Michel Jarre on Magnetic Fields did. Shadowfall is a long title floating and very atmospheric. A crossroads between Meddle of Pink Floyd and Music for Airports of Brian Eno. Long, floating and very very touchy. Heart of Orion is a long tiraillement between the dense atmospheres and musical brightnesses that arise here and there, without really to taking form.
Syn's Glass Bridge, well.. is a personal opus. The creation kind that some says long on the character of an artist… Syn did big things, notably all from the beginning. For a reason that I am unaware of, the personage became bigger than its fans, than the music itself. This is an opus to the unfinished atmospheres. A title that should have remained in the the bank of Mr Dewdney. This squarely the production kind that did the delights of the journalists, and columnists, that would want to fall to shortened arm on the MÉ to disparage that this is cultural masturbation. Abstracted art. I do not like negativism, but with The Glass Bridge, Syn uses the reheated that already outfitted, fully and with more of originality, of others tables.

Here the last copy!

24,50 EUR
 
incl. 19% tax excl. Shipping costs
Show 1 to 3 (from a total of 3 products)