'Voices in the Dark' acts as an atmospheric
opener using thick floating slabs of sound over which an intense lead
burns its path. 'Sharmila' features a no nonsense, pin sharp rhythm that
really kicks. The backing synths are used sparingly giving plenty of space
for the drums to have full effect. Even when the sequence enters things
don't seem cluttered. Everything has its purpose and is given just the
right emphasis. This is a very well composed track and is hugely
enjoyable. 'Temple of Beyond' follows a similar pattern to the previous
track and is some of the most enjoyable "modern ambient" I have
heard in some time though I am not sure how accurate that term is as most
Electronic Music fans that enjoy rhythmic music would be into this. In
fact when the rhythms really crank up at the three and a half minute mark
words like stunning come to mind. 'Black Ocean' begins with waves of sound
whooshing from the speakers, we then get another infectious rhythm which
builds and builds in to a real stonker, just try keeping your head still
to this one! 'Behind the Walls' is straight into a menacing rhythm with
suitably mean atmospherics and a half heard vocal samples, oh my, this is
good!
Now what on earth can I say about the next track 'Silver'? Well for a
start the drum machine sound is decidedly basic and so far removed from
the immaculately produced drum patterns of the first five tracks. It has a
sort of mid eighties sound, a little OMD even. I can only assume that the
effect is intentional and it certainly is very bouncy and combined with
some superb melodies I actually found myself enjoying and dancing around
to it despite myself. The thing is though that it sounded so out of place
compared to everything else that had gone before it. 'Violet Winds' begins
with suitably windy effects through which a fast sequence emerges. A
wooden block rhythm is added providing a structure round which the
melodies weave. The rhythms are added and it develops into the sort of
track that would get you driving way too fast.
'Exploring Mountains' sounds like Edgar Froese's 'Macula Transfer' or
'Ages' but with a cyclical double bass loop effect used to provide rhythm.
'Confused Direction' begins with a weird sequence over a collage of
sounds. It is rather appropriately named however as, even though it is
very interesting, a bit like being on a train while in a fevered state, it
just seems to exist without really going anywhere. 'Sharmila X' brings the
album to a close in blistering fashion with a driving rhythm and
infectious melodic motifs. Nice one. (DL)
This release from 1999
features 59 minutes of rather exciting electronic music.
Rey is Ulrik Rey Hennigsen from Denmark. Samples by electronic legend
Conrad Schnitzler are utilized in two of the ten tracks.
Techno and rave techniques abound in this contemporary electronic recording.
Electronic textures and sequences are peppered with numerous rhythmic
elements that propel the music with sinuous effect. Keyboard riffs unfurl to
liven the atmospheric foundation and creating a dynamic sonic countenance
that removes any chance of the music remaining a background presence.
Cavorting in full view, these sonic flows interplay with the rhythms. This
gestalt is attractive and intensely melodic.
Although some voices (heavily filtered by treatments) occur, this music can
be considered generally instrumental.
Rey's compositional capacity is quite complex, fusing ambient sensibilities
with nimble riffs that do more than flesh out the soundscape--they create
passages of ecstatic resonance, tuneage that vibrates the air and stimulates
the brain. The sweep of keyboards and the tempo of synthetic beats conspire
to produce rewarding and engaging entertainment that is appealing to ravers
as well as fans of contemporary electronics.
