Mind-Flux - Body-Beat-Box

Artist: Paul Lawler
P: 1997
His debut release from 1997 offers 58 minutes of powerful electronic music.
A versatile array of electronics operate in conjunction with e-perc to produce stirring tuneage. Many of the sounds are keyboard triggered, but a percentage are textural in nature, yet flow with greater puissance than a normal atmospheric demeanor. This generally stalwart character infuses the music with a vibrant authority, escalating the importance of each chord to incredible proportion.
Keyboards generate a wide variety of sounds, from delicate to sparkling to darkly ominous to robustly demonstrative. This full range of temperament provides the music with a delightful potency that is excessively applied to produce tantalizing tuneage.
An amount of sampling is employed, further fleshing out the melodies with different horns and other instruments, expanding the music to a comprehensive level. The percussion is powerful, throbbing with evocative command and lending ample propulsion to the already vigorous melodies. The rhythms are complex, multitracked to boost their verve to awesome scope.
Lawler's compositional expertise is remarkably capable. These songs pulsate with bouncy vitality and captivating charm. They resound with prestige and portentous appeal. At the same time, the melodies convey strong emotional content, stimulating a diversity of moods.

Artist: Max van Richter
P: 2002
At last the long prophesied album by ex Arcane member Max van Richter is released. The story of how this album came to be is strange indeed, for more details see the footnote to the review. However, in keeping with the Arcane albums, it encapsulates and extends the classic melodic/sequencer style which TD used to perfection in the early 80's.
The opening title track demonstrates this perfectly, building on a wave of pulsations it produces a massive symphonic melody which sticks in the mind long after the piece ends. In many ways this is another Arcane trait, the infectious nature of the pieces is undeniable and completely irresistible.
'The House of Visual Transference' repeats the recipe, a sumptuous flowing concoction of heavy symphonic themes and low pulsating sequences, topped by robust drum lines. 'The Abduction Syndrome' opens with superb electronic effects and builds the atmosphere superbly. A sequence opens up reminiscent in mood to those on 'Sorcerer', then more melodic and intricate sequencing takes over. It's great! The synth themes blend perfectly with the structure, the track changes emphasis and style but never loses its grip. As 'Prophecy' opens up a distinguishing feature starts to emerge from the Arcane material. Max's own work seems to have a harder perhaps slightly darker and symphonic (but no less melodic) edge. Instead of 'Livemiles' or 'Logos' the style is slightly more towards the melodic/sequential parts of 'Thief', 'Sorcerer' and 'Firestarter' for example.
'Psychokinetic Hymn' reveals a slightly lighter edge, opening with a delightful sequence which builds from simplistic roots into a mesmeric collage. The patterns then fade to leave a silky ambience which invites another sequence to emerge. The lighter stance remains but, oh, the melody. So infectious, it acts almost as a premature close to the album such is the magnificent nature. But no, two more tracks remain. 'The City of Walking Hallucinations' opens in more subdued fashion but soon bursts into a symphonic crescendo, constantly underpinned by superb sequencing. Piano and guitar detail give the piece a slightly modern edge, but it's still all in keeping with the van Richter sound. Finally 'Last Exit' opens with chugging rhythm and sequence but again the piece builds into a heavyweight piece with massive symphonic chords meshed with guitar style detail.
Debate still occasionally surfaces about the pro's and con's of using comparisons in reviews, but when you hear an album like this it is totally appropriate to make comparison with the very best EM ever made. Had Schmoelling or Froese released this as a long lost TD solo work no-one would have batted an eyelid as to its credentials, and it's stature as one of the best solo albums to emerge from the scene.
It is totally magnificent, totally captivating, totally essential.

GG