Sonus
starts soft and slow with the piano and gentle synths of “Sonus (Part
1).” It plays like a prelude, the real start coming when “Part 2”
picks up the energy with classic synths and sequencing, part Jean-Michel
Jarre and part Tangerine Dream from the late 70s or early 80s. The next
three parts make up the bulk of the disc, totaling over an hour between
them. “Part 3” starts with a good moderate tempo and an enjoyable
vintage synth lead line. Mellotron strings add a nice touch. As it builds
some percussion is folded in. The main theme progresses for the first 10
minutes, then it settles back into a mellower section as bright synths flow
in a circular pattern, breathing in and out. Eventually the main theme
returns, as does the retro lead synth, before floating into a dreamy passage
for the last 5 minutes, with a classic organ sound like parts of TD’s
Phaedra or Stratosfear. “Part 3” is an impressive addition to Syn’s
résumé. Just as good is the percolating sequence that starts “Part 4”
off and running. Again the flavor is very much vintage Tangerine Dream, or
Edgar Froese solo work from the same time period – but not simply a copy
or cheap imitation. “Part 5” has more twitters and sweeps and deep space
sounds, quite reminiscent of Klaus Schulze’s Timewind. But it too finds a
catchy sequence and builds around that, even as the shrill twitters continue
to rise and fall throughout. This is all excellent stuff, and reminds me why
I loved Syn’s debut Soundwave Traveller. “Part 6” is clearly done with
a wry smile on Mr. Dewdney’s face, as it is actually his version of
“Oxygene Part 6” from Jean-Michel Jarre’s classic debut from 29 years
ago. Great ending to a great CD that I highly recommend.
Phil Derby, 2005
Cover designed by Lothar Lubitz w/ photos taken on North Shore of Oahu,
Hawaii on 23rd September 2005
Synth Music Direct (UK)
The album is split into six
tracks, all different parts of the CD title. Part One begins with
lovely soft pads over which a bright lead is played, accompanied by piano
detail. Part Two follows on in similar fashion but without the piano
and if anything with even denser dronal backing. It isn't long before a
sequence starts up and as with Syn's other albums before this the whole
thing has a very Berlin School feel to it. The pulsations bounce along
nicely without forcing the issue.
The Third Part has more sequences right from the off, this time combining
with some wonderful mellotron sounds and excellent melodic lead lines.
It's here that for me the album really starts to take off. This is
classic retro styled sequencer music. Subtle rhythms also add another
welcome dimension. It's a track which seemed to be like a cross
between mid seventies Klaus Schulze and 'Epsilon in Malaysian Pale' period
Edgar Froese. During it's duration we get some lovely cosmic wind
effects but it's the way the mellotron sounds are handled which impressed me
most. In the tenth minute things are stripped down to soft pads / a
little haunting tron and the odd bass sequential flourish. The
rhythmic content slowly starts to increase again. Now I am reminded
more of 'Macula Transfer' period Froese. At just before the
fifteen-minute mark a lead line is introduced again, and very nice it is
too. Things continue in a blissful slowly pulsating dreamy fashion
until five minutes from the end when again we return to cosmic winds with
the odd note droplet here and there. It isn't long before Part Four
deploys the sequencer, a playful little melody bouncing over the top.
This time I am reminded of The Nightcrawlers with a little Rolf Trostel
thrown in for good measure.
Part Five features cosmic winds then wonderful twitters. Gorgeous soft
melodic pads play in the background completing a rather spacey image
perfectly. Within a couple of minutes however the inevitable sequence makes
its entrance, again rather Schulzian. Even the lead line has echoes of
the great man. It's a track where again the feel of the mid to late
seventies, the first age of sequencer driven music, is recreated
wonderfully. Lead lines come and go but the sequence rumbles on
relentlessly without letting go for an instant for the next twenty-three
minutes! That is all but until the last few seconds of the track.
The final part starts with half crashing / half breathing effects. I
know I have heard something very similar to this before. Even the
sequence and lead lines are fairly familiar, Again it has something of an
Edgar Froese feel, but then again is it reminding me of something from one
of Peter Bauman's first two solos albums? - Ahhh, I wish I could remember!
Anyway, whatever, it is a superb little number full of nostalgia. The
sequence bounces along almost playfully, the lead line hitting the spot
perfectly. A nice way to finish off the album. (DL)
