Artist: Sam Vitoulis
Tracklist:
01-Notice
02-The name of Jenin
03-Echelon is watching you
04-Notice
05-Thought crime
06-I´m Winston Smith too
07-11 S or room 101
08-Love to Big Brother
09-The two minutes of hate
10-War is peace
11-Julia
12-Palestine
13- Notice
14-Magma
15-Departure
This album recorded in 2003 was composed as a tribute to George Orwell's '1984' and is certainly a fitting tribute to the author.
I can safely say without a shadow of doubt this is an exceptional release that is firmly placed within the realms of the 70's Vangelis school of thought, with powerful neo-classical arrangements which are stunning. And it that's not enough there's even a retro Tangerine Dream moment thrown in for good measure too. Sound textures are supplied via a vast array of analogue and digital synthesizer technology, together with a small string/acoustic section. The set also comprises brief narrative pieces to help set the scene. The first track, 'Notice' is one of these narrative sections and indeed is an informative start to the album. Then its' straight in with 'The Name of Jenin' where drums and effects combine to great effect and it is here already that you can sense the Vangelis 'Albedo/Spiral' connection. A mid tempo bass sequence pattern takes hold under grand symphonic textures then a confident piano motif is added creating a most awesome overture for the set. 'Echelon is Watching You' enters with effects then a dark soundscape enters with 'phone-pad' effects at intervals. A bass synth is then apparent which is efficiently transformed into a proper sequence under a wash of effects. A new and effective delayed sequence line is added and another Vangelis styled lead follows. Track 4, 'Notice' (again) is another narrative piece. The neo classical orientated 'Thought Crime' begins with synth effects and is shortly followed by a piano melody and eminent orchestral stabs. A mid-tempo percussion loop enters the foray under a slightly melancholy lead line. White noise and sundry effects starts things off for the oddly titled 'I'm Winston Smith too'. A definitive timpani and choral section comes forth then a resonant sequence is added. A bass sequence pattern then enters together with bass percussion sounds. An effective main theme takes hold and further gentle percussive elements creating a profound sense of serenity are apparent. '11 s or room 101' is off the mark immediately with a catchy bass sequence pattern. Percussion is added with effects. There is a slightly mysterious feel to this piece and the addition of a Dulcimer solo together with occasional timpani helps to keep the intensity of the piece. 'Love to Big brother' primarily encompasses the sounds of acoustic and electric piano. A string section and intermittent sequencer pattern enters and once again there is a feeling of serenity. A Dominant percussive section takes hold and a satisfactory synth lead follows. The addition of an orchestral stab sequence at around the 2 minute mark adds depth to the piece before returning to the melodious overture of the piece. 'The Two Minutes of Hate' again enters with piano and effects. A brief narrative is then added progressing to an obscure orchestral sequence complete with an effective drum and timpani section. An analogue lead line then appears under a vast ocean of sequencer patterns and effects.
'War is Peace' begins slightly differently with its almost Vangelis 'Beaubourg' orientated lead line. Effects and a suitable bass sequence pans in and out of the mix to the finale. 'Julia' builds with intensity via use of its effective bass sequence and synth strings. A slightly obscure percussion loop enters and eventually a new pattern replaces this at about 2 minutes. This is sonically enhanced via the use of flute styled samples and choral effects. 'Palestine' includes low synth patterns and various effects. Additional percussives and an almost low oboe styled main theme takes hold to the end. Track 13 is the final narrative piece 'Notice' and ends the album as such. However the listener is treated to two bonus tracks that were recorded live in July 2003 and it is here that we sample yet further sonic brilliance of this musician.
In a complete contrast to the Vangelis orientated epics encountered throughout the main course of the album this track heads off in strict Tangerine Dream seventies tradition. The effective and awe inspiring sequencer patterns are reminiscent of 'Ricochet' period Tangerine Dream while the lead lines are similar in style and structure to Stratosfear' with mellotron samples a plenty! The second live piece throws the listener straight back into Vangelis territory one more time and is one of the most stunning finales I have heard! Bass sequencers, synth textures and grand thematic lead line help to create this awesome power fest of a track! This is just one stunning album – I can't say any more than that! (DC)
