RARITIES

Artist: Andy Pickford  
P: 1996
Opening with the title track, we have an intro by Ashley Franklin (BBC Radio Derby) "It's going to be a stunning show I'm sure". The first thing apparent is that this music has been heard before. Much wracking of brains leads me to believe that this is a reworking of 'Twilight in Valhalla' from 'Terraformer', a much more upbeat and dancey version. 'Night of the Long Knives' will be familiar to Sequences subscribers. It's classic Pickford with heavy driving, but at the same time melodic, sequences. Next comes 'Topaz', with its catchy intro (try it LOUD on headphones!). As the track develops it again harks back to the 'Terraformer' period, with synth washes evolving into some heavy guitar sounds. Tracks 4 & 5 are a bit of a conundrum, the running order having been inadvertently reversed on the sleeve listing. Instead of correcting the error, a card has been enclosed pointing out the mistake and perhaps making this first pressing a collector's item! The version of 'Apocalypse of Love' featured here is Andy's own interpretation, not the Beaumont Hannant / Delta versions which were previously released. After repeated listenings I'm sure there's the distinct sound of TD style synths akin to 'Thru Metamorphic Rocks'. 'Space to Breathe' opens with gentle piano it develops into a melodic flowing track which is quite interesting, but seems to be lacking in something. Referring to TD again, it does seem reminiscent of some of their later works - so perhaps this is why! 'Annihilator' opens with phone call humour Pickford-style and turns out to be a much better track with light bubbly synths and heavenly voices developing into a very distinctive and powerful synth pattern producing another very upbeat outing. With a title like 'Sarcophagus' you expect a deep, dark, doomy sound and this piece duly delivers. 'Solitudes Shadow' opens with more 'Metamorphic' TD sounds before introducing a 'Maelstrom' style sequence and some of Andy's "singy bits". This is true Pickford power with lead synths overlaying a powerful driving sequence. A great track concluding with a thunderstorm which runs into the final track 'Reflections', and what a contrast here. A classical, sentimental piece which wouldn't be out of place on Radio 2. Don't let this put you off though, it does grow on you! Overall 'Xenomorph' doesn't have the immediate appeal of 'Maelstrom'. It lacks a "storming" track with the dimensions of 'Hells Gate' or 'Tetsuo' and it doesn't have a track to match the beauty of 'Cathedral'. But it's a damn sight better than a lot of other releases lately! A couple of closing points. If you like 'Annihilator', look out for a release in the near future (hopefully) by Julian Bishop whose track 'The Sentinel' is very much like this. Finally, if I'm right with my TD references in the review, I'm perplexed by Andy's enthusiasm to "slag off" the so called "retro" artists. I believe that "retro" is an unfortunate phrase for what many believe is the classic form of Electronic Music, and it certainly has a place in today's EM. After all, Andy wouldn't want everyone to copy him would he? (Steve Smith)

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Artist:  Apeiron
P:  1991 / 1994
The follow-up to 'Imagic', though the bulk of the tracks here were penned in '91 with the remainder in '94. In isolation the opening quintet of tracks are not bad at all with various synth motifs accompanied by rhythmic backing, and track 2 'Flowing Away' is especially powerful, however compared to 'Imagic' it's difficult not to be disappointed because of the high standard which has been set. Once 'Part 2' of the title track gets going though all disappointment is brushed aside by 11 minutes of blistering sequences and powerful synth leads. One of the best EM pieces I've heard this year so far. 'Part 3' winds things down superbly, leaving three more tracks in the 6-7 minute bracket to close the album. 'Floreal' is one of the 1994 pieces and is a fine uptempo outing with more searing synth leads, and 'Little Nika' will again appeal to fans of rhythmic, melodic EM. The sleevenotes end "...but now it's time for a change...". On this form I really don't see any need to.

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Artist: Arcane
P: 2000
With this 2000 release, Arcane takes a more science-fiction route, producing 62 minutes of galactic drama. Dark futures and twisted states of existence are the key notes here.
The title track launches into a savage timestream of gripping sequencers and twilight zone sonics. Spectral keyboards drift along as the listener is transported to a future world of desperate and dismal nature. Additional keyboard loops crowd their way into the mix, until everything falls into a desert pit of tension atmospherics and cloudlike chords. The music's rhythmic aspects crawl their way from this hellmouth, reemerging with fresh wonders of chromium blades and cosmic armor. These riffs enter into a pact with demonstrative percussion; together, the steel army peaks with shrill effect and energetic tempo. "The Plastic Eaters" starts in darkness with sinister tones. Those spectral keyboards are back, this time in conjunction with insectoid e-perc. Soon, more involved melodies creep into being, swamping the darkness with their horn-like blare and heroic chords. Building to a crescendo, the riffs fuse into a menacing finale. "The Visible Empty Man" follows this pattern too. Ethereal intro leading to simmering tension. Once the tension evolves into a nest of loops, the riffs agitate the music with their business. Once they have demonstrated their power and glory, these riffs and compelling rhythms retreat back into the darkness, allowing pensive reflection to command the outro. This authority is challenged at the very end by a sudden reminder of the riffs and their influence. "Planet of the Blind" is no stranger to this pattern either. The melody gets quite caught up in its epic definition, expressing itself in terms of shiny surfaces and dynamic rhythms.
Throughout this release, Arcane has replaced the macabre with a cosmic sense of wonder. Still tinged with an eeriness, this music is more adventurous and gripping. Now the darkness holds mysterious discoveries, not hungry ghosts.

Matt Howarth / Sonic Curiosity

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Artist: Arcane
P: 1999
Lovers of the early works of Tangerine Dream will likely love this release too. Not only are there several similarities in compositions - although a bit more 'mature' - the used sounds will often be very familiar too.
An excellent initiative and by ricochet an excellent opportunity to put the hands and the ears on a wonderful album which transcends the periods of the Dream, from 1973 till 1982.

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Artist: Arcanum
P: 1999
Bernd Franz Moritz Braun, who records under the shorter moniker Arcanum, brings us another very good sample of German electronics. He blends relaxing, drawn out synthesizers with pleasant arrangements and melody, creating the sort of mood that new age enthusiasts seek, but without sounding "new age."
The disc consists of three very long tracks, beginning with "Close to the Edge." Bearing no resemblance to the classic Yes track/album of the same name, this is a slowly evolving piece which evokes feelings of warmth and peace. Though the music changes slowly, the music does cover a lot of ground, becoming quite energetic as it goes along. The last six minutes or so strike me as a bit over the top, with one repeating passage in particular seeming a bit melodramatic. Fortunately, the music crests in this fashion only a few times, then levels off, leaving the end result still largely enjoyable. "Shadowland" is a very nice track that reminds me of a lesser-known emusic artist, Apeiron. There is a little more restraint here, and I love the crisp, unusual percussion toward the end as the energy once again intensifies.
Synth oboe strains open the 33-minute title track, begging immediate comparisons to latter-day Tangerine Dream, but it is much better than that. There are beautiful melodies sprinkled throughout the song, which is subdivided into six parts, though they flow quite seamlessly together. The melodies are made with harp, acoustic guitar, and harpsichord-like tones. Halfway through, drums come pounding in, lending a much more majestic tone. This carries through nearly to the end, then the oboes return to close out a very beautiful musical journey. Arcanum manages to create synthetic music with a depth of emotion that isn't always found in the genre.

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Artists: Arno
P: 1997
This is the rare release of the IC-label CD: Aquaphonia from 1997. The music brings back your harmony into life. Nice tunes with watersounds in harmonic new age style.

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Artists: Arno
P: 1994
This is a musical dream journey, that tales the listener to the imaginary worlds of Arno.
He realises these worlds with an electronicmusic style of melodies and sounds like Vangelis uses to play with.

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Artist: Ashok Prema
P: 1997
Good electronic music that reminds on Wavestar, inspired by Tangerine Dream.

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Artists: Ashra
P: 1998
Recorded at February 1997, Osaka and Tokyo, Japan.
Performed by Manuel Göttsching, Lutz Ulbrich, Harald Grosskopf and Steve Baltes.
This double CD set contains remastered versions of the original CDs @shra and @shra Vol. 2
Composed largely by Manuel Göttsching, both serve as diverse, hypnotic breaks from the grind of standard progressive. It’s the kind of music that Robert Fripp has made in his best moments, a cross pollination of the dance beat days of Discipline-era Crimson and the mournful but compelling lines that have graced his best soundscape work. But these discs stand on their own, far above and beyond a number of releases that are presented as bold and imaginative works but prove to be only so in the minds of marketing executives. There’s an other-worldly atmosphere here, a kind of laid-back, late-night charm that leaves you in a pleasantly dumbfounded state of mind as the four members of the ensemble (Göttsching, Lutz Ulbrich, Harald Grosskopf and Steve Baltes) weave jazz and prog and chill out-inspired webs.

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Artist: Asmus Tietchens
P: 1982 / 2003
LTD 600
Tracks 1-20 originally released on Spät-Europa LP (Sky, 1982).
Tracks 21-22 are bonus tracks.
Experimentel studio recordings from the early 80s.

Artist: Astral Dance
P: 1992
Astral Dance is Pelle Handen, a Swedish synthesist who has always proved his worth as both an exemplary synthesist and composer. Here, on his third release, he reveals himself as a multi-instrumentalist of great adeptness. All in all, this is certainly his most varied and inventive album to date, cutting across and blending a wider range of styles most effectively. A sense of atmosphere plays a key role here and thus an energetic soundtrack-like mood is created. Structural simplicity and complex shifting timbres animate all thirteen pieces in this collection. What sets Pelle apart is not just that he's using new musical tools, it's how he uses them. You hear it in the sensitivity of interaction with each element, balance of timbre, texture and mood. "Dreamscape" will show a new, more innovative side of Handen's work, i.e. the purely electronic sounds. Additional musicians on the CD are Bjorn J:son Lindh on flute, Irene Tuomaninen on backing vocals and Kent Strom on additional keyboards. I found it fascinating, hypnotic and transfixing right to the end.

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Artist: Atom Heart
P: 1996
This is a tecnoide, rhythmic ambientrelease by Atom.

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Artist: Aural Float
P: 1995 / 2001
Breathing and floating rhythmic elecronic music from the best times of the new era with Space Night on TV in the mid 90s.

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Artist: Autopilot
P: 1999
e1000001cd
Producer Andreas Stollenz has already released a couple of 12inches on different labels under the name Froyd. With his project Autopilot, he now delivers the album The Voice Inside, which was recorded especially for Elektrolux. In a decent and flowing manner, organic Elektro gets combined with psychedelic influences. The CD explores the connections between Elektro and Laid Back Listening, while the more club orientated Dj friendly double vinyl (12 tracks) contains partly different tracks and mixes. Berlin Electro producer Froyd introduces his new project Autopilot with this organic album. While the CD is more homelistening orientated, the DJ friendly double vinyl contains the club tracks with pumping electro beats.

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Artists: Axess & Maxxess
P: 2004
Electronic music meets progressive music.
This sound material combines electronic music with rockmusic. Electronic soundsculptures and rockmusic were combined to an unity, never been heard before.
Maxxess (Max Schiefele) - electric and acoustic guitars, native synths
Axess (Axel Stupplich) - analog, digital and native synthesizers

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Artists: Axess
P: 2010
The Pyramid Peak keyboarder Axel Stupplich presents us a special jewel of electronic music: "Axess - Fusion" His previous album "Axess -Voices Of Dawn" already featured fine, dreamy-atmospherical sounds. Axess picks up this style. This time he has been inspired by astronomy, by the sun and its energy and by the night sky. In comparison to his previous album "Fusion" puts more weight on sequences. By this his new CD has turned into an excellent Berlin School album with sensitive melodies and sounds within a fantastic dreamy atmosphere.

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Artist: Baked Beans
P: 1993
The first release by Baked Beans on the defunkt Recycle or Die Label.
This is the Digi-Pack version.

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