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Synth Music Direct (UK)
With an absolute plethora
of Electronic musicians out there these days it can be extremely difficult
to know which path to take in this specialist field. Dorian is one of those
names that is completely new to me and apart from an effective cosmic cover
this album really doesn't give away anything about this talented musician.
There is a suitable blend of tracks both in length and style and this should
appeal to those into the more melodic, mildly cosmic side of things.
The album itself begins with 'Liquid Nitrogen' although thankfully not
literally. Unlike its counterpart this track comes across as quite warm and
soothing but with a slight hint of the mysterious. This just over three
minute piece is an excellent opener and most definitely influenced by the
more melodic and symphonic side of Klaus Schulze with its use of strong
synth pads, distant white noise and occasional cosmic overtones. Next up we
have 'Escape From Reality' which starts on a bed of melodic shimmering
textures. A mid tempo bass and percussion pattern enters under washes of
haunting synth pads. Then a solo lead line appears after the first minute
and the piece is very reminiscent of the works of Michael Cretu/Enigma. The
track recedes slightly but manages to pick up the pace again but this time
with additional sequencer patterns adding a new dimension to the sound.
The title track 3 is a
rather strange affair with its inception at mysterious almost reversed-loop
soundcurrent. Strange effects and persistent drone take over occasionally
adding arpeggiated patterns. Direction can be found through the inclusion of
a stable solo lead, subsequently ending in drone territory. A steady rhythm
section kicks off 'Lost Labyrinth' but it is not long before synth pads and
a definitive solo line enters. A new almost sequencer orientated lead heads
in and out of the mix followed by a steady gamelan bell styled pattern. A
solo lead line reminiscent of a horn enters and the piece ends in simplistic
fashion with white noise textures. A mid tempo/fast positive sequencer
pattern starts 'Expedition on the Pole' with a renewed energy. However this
is replaced with a more stable bass and percussion pattern together with
occasional choral stabs thrown in for good measure. A more definitive
choral-esque theme is introduced and for another moment one could feel as if
they were listening to the soothing sounds of Enigma at its best. Further
washes of synth pads and arpeggiated effects continue throughout the piece.
'Mysterious Forest' initially sounds very minimalistic but the true jewel of
this piece can be found deeper within its over four minute duration.
Starting with low resonating and somewhat delayed effects this piece manages
to create a slightly menacing feel before shimmering effects take over,
moving the piece into lighter territory. A simple electric guitar styled
solo line enters complete with synth pads creating a serene sonic paradise
for the listener. To add to this a beautiful and haunting theme gradually
takes this piece to a new level. Towards the finale a competent mini moog or
analogue style synth lead and a steady percussion pattern eventually
concludes things.
Believe it or not track 7 'Aurora Borealis' reminds me initially of Andy
Pickford and his first Psyborg Project album with it's sonic blast of bass
sequencer pattern and percussion section. A lead line takes centre stage
early on but at just over the first minute the bass sequence disappears. New
sequencer patterns arrive but the bass sequence pattern returns together
with the lead line. Variety is provided through the use of effective
transposition throughout the piece. Further lead lines and percussion
techniques take this piece to its conclusion.
The final and longest track on the album 'Hybrid' begins with an arpeggiated
section before a light percussion section enters at mid tempo. Further
effectiveness is created via the use of a bass pattern and pads. A bell
pattern takes hold before another of those effective solo lead lines enters.
After two minutes the percussive section ends under washes of gentle
electric piano chords, occasional white noise effects and minimal
percussion. At the four-minute mark its back to the steady rhythm as per the
start of the piece but additional lead lines create a somewhat pensive mood.
Mysterious resonating pads take hold at around the 5-minute mark and a new
higher pitched sequencer pattern enters over a slightly delayed percussion
loop. The piece finally comes full-circle and combines all of the elements
as encountered at the start, but this time with the addition of electric
piano adding to the main theme.
This is a decent album with enough variety to grab the attention of the most
hardened EM fan. Recommended listening. (DC)
Dave Law, 2005
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