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Synth Music Direct (UK)
'Plugged' is a Berlin
School, analogue, sequential masterpiece. The shortest track is eighteen
minutes so things are really given plenty of room to develop and mutate
creating pure aural heaven. 'Erstes Schattenspiel' (catchy title) begins
with lonesome synth sounds and vocoded speech in the manner of 'Chromium
Echoes'. Don't worry these vocals are used more as a sound, not singing. As
soon as the opening sequence takes its first tentative steps low in the mix,
fitting perfectly to the washes of synth, you just know that you are in for
something VERY special. The sequence beefs itself up and is accompanied by
another sequence of a more ballsy variety. The lead line is a real stunner
and sends the spine a tingling rather than screeching through the cranium,
just right. It is constantly changing and being put through all manner of
effects and I was hypnotised by it. Things calm down a bit at the eighteen
minute mark (can't believe the track has been running that long already) but
builds up again shortly afterwards over sequential themes that keep the feel
of before but are combined differently. The lead line when it returns is
even more effective than before and with even greater variation, the
sequences adjusting perfectly.
The second track 'Zweites Schattenspiel' (another cracking title) starts
with a noise half way between the wind blowing across an alien landscape and
a space ship coming in to land. We then get sequences similar to early Jean
Michel Jarre ('Oxygene' / 'Magnetic Fields') which initially are rather laid
back and to which a more typical Berlin School sequence is added. The lead
lines are straight from 1975 / 76.
The final track 'Drittes Schattenspiel' starts with more haunting winds
before massed chords add to the melancholy feeling and a lonesome lead plays
over the top. Seven minutes in a bubbling sequence is added and the lead
dies away. This sequence builds and a different lead comes to the surface.
Just as we are getting used to this groove a rhythm fades in then drifts
lower into the mix. The sequences, lead lines rhythms mutate all the time
creating an ever evolving brew. At the twenty minute mark all but the main
sequence and the drones die away but after only a short while all the main
elements are introduced again one by one with the addition of a second
rhythm. The track then fades gently away. I can really give no greater
accolade than to say "move over RMI and AirSculpture and make room for
a new EM giant". (DL)
Dave Law, 1997
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