Miscellaneous Reviews

Various Artists

'The Oasis Explorer' & The Ambient Eclipse (Mirage MIR 302)

(Oasis OASCD 1017)

Since both of these magnificent compilations share quite a bit in common , i.e. artists labels, etc., I thought I would include a brief review of both on one page for your convenience. Lets begin with Oasis Explorer. This is an incredible combination of a very informative CD ROM and a collection of 14 well chosen works of ambient and neo-Celtic music. The album features music by Stephen Bacchus, Calverley, Keisuke Doi, Ron Korb, Bruce Mitchell, Stairway, The Silk Orchestra, and Robert Scott Thompson. This is a musical navigation of the inner spaceways. It contains some of the finest music I have ever heard. It's music that merges the primordial and the present with mesmerizing force and galvanizing power. It's like lifting off into an interstellar dream.

Slightly darker and more somber, The Ambient Eclipse features internationally acclaimed artists such as Steve Roach, Hiroki Okano, Mychael Danna and Tim Clement, Stephen Bacchus, Robert Scott Thompson, Jeff Pearce, Frank Quassar, David Knight, Peter Ball, and Paul Tedischini. This is a great place to start, if you're new to ambient music and want to explore. It's one of the finest collections ever assembled. These two compilations redefine the boundaries of ambient music. Highly recommended.

email: oasis@io.org

website: http://www.synapse.ca/oasis

Review by Ben Kettlewell

The Ambient Eclipse- (Mirage MIR 302)

A few weeks back, I reviewed Robert Scott Thompson's The Silent Shore on Mirage. This is yet another excellent release on the same label, dealing in exploration of so called space music, this time an assortment of artists from around the globe. Track 1 starts with the wonderful Hiroki Okano who last year brought out the excellent Heaven In The Koo, with Tenkoo Orchestra out of Japan. Thanks to Gio for putting me on to this one. This track follows similar themes, quite and gentle eastern meditations, drones, flutes, tambouras / sitars. All pretty minimal but effective. Does this mean there will be / is a full length feature album on Mirage. If so investigate at all costs. Next comes Australian Peter Ball, who recorded on the now defunct Archon label out of Australia. Archon was started by George Cruikshank who runs a program called Ultima Thule on 2MBS FM, but I assume due to poor distribution the label died a sad death, as is the case with a lot of one off labels. Ball's release with Kerry Norman was actually one of the better releases on Archon, of which I think there were five in number. His contribution is very much in Eno's Apollo sphere of influence, and maybe Mirage will re release this as more people should have heard it. Robert Scott Thompson goes into deep space with Frontier, which is the title of his second release on Mirage, to be reviewed later. This is quite an intense piece compared to the subtle beauty of The Silent Shore, and again highlights a different side of his creativity. Lots of spiralling effects as we penetrate into the deep cosmos. Michael Danna and Tim Clement bring us Ontario, starting with the sounds of nocturnal animal life. There is the presence of a wind, as the synths build up the imagery. This duo seems to end up playing bottom end synthesiser notes, which can be a bit weary. It looks like this was written in the early eighties which might explain this. As a rule, with space music anyway, I prefer the more celestial outings. Steve Roach makes his entrance with a ten minute piece called Slow Rapture. Now for pure atmospherics you can't beat this guy. He is the undisputed champion of this genre, and everyone knows it. A killer track. Steve Roach has made this style of playing very much his own and in the process inspired and motivated a range of new artists, and I think he must be able to churn this stuff out in his sleep. What a unique performer. Paul Tedeschini gives us Drifter, another fine piece of music which ambles along at its own pace. There are these background noises, like cow bells, which I could not identify proper, that keep bringing the piece back to a quieter level. Very subtle and affective. Last but not least Frank Quasar with Chiron. Well with a surname like Quasar it was only appropriate he would delve into the stratos. It's as nice a piece of space music you will ever hear and a lovely way to close this album. Steven Bacchus, Jeff Pearce and David Knight also contribute one track to this well thought out compilation. I believe it was bacchus who actually conceived and produced this recording as well. First rate. Mirage are obviously trying to make contact with all those listeners out there in the global community who enjoy music that takes them out of their ordinary earthly existence, and places them firmly into a heavenly state. The production is excellent, though some of the material is dated but has been digitally 20 BIT remastered. Take the time to explore this unique label. There are a lot of gems here for you to discover. 26/7/98

Hans Stoeve, Power Spot PO BOX 343 Paddington 2021 NSW Australia

ROBERT SCOTT THOMPSON

Air Friction (Aurec 9501-1-AMB)

The Strong Eye (Aurec 9201-1-CMS) see also "Frontier"

This has been something of a difficult review to frame. Robert Scott Thompson (RST from here in) was not happy with my review of 'The Silent Shore', and following an exchange of mail between himself, Jasper and me, it was agreed I would review some of his earlier material. Which put me in a bit of a quandary - if I was too nice it could be seen as yielding to artist pressure, but if I came down hard was it sour grapes? As usual, though, I have gone with my honest response. And while it hasn't changed my feelings about 'The Silent Shore' (which were actually quite positive) I have re-heard it through these earlier works.

The first release in the 'computer music series', 'The Strong Eye' presents 9 tracks which are 'composed, recorded and mixed in the digital domain'. Samples of voice, flute and cello have been manipulated with 'compositional algorithms, sound synthesis and digital signal processing'. A fractured continuity underpins the pieces - created from manipulated fragments which coalesce almost organically, as moment to moment change builds coherence, and questioning melodies emerging from chord sequences. There are many exciting sounds - the cascade in the middle section of 'Spontaneity knows its own discipline' or the crashing 'Oceans of desire'. Components shift between instrument evocations - piano in 'Spontaneity...' or the vibraphone, bells and guitar of 'Realcage' for example - and obviously computer generated twitterings and undercurrents. The three central works form a suite that fills over half the disc which allows for more development and exploration than the shorter, focussed pieces. 'Breath' opens to a gentle wash then flute samples modulating a melody, a deep drone creates a pause before more complex flute, and there follows an extended interplay between the synthetic and flute meditating on the concept of breath. This continues into 'Electric actuality' where a high pitched computer section leads into the reintroduction of the flute and a complex drum rhythm, followed by a long fade with some very jagged eruptions. 'Wreckingyard' flows from it, and is a more fractured, percussive work featuring some wonderful hollow sounds, growling and cello moments, and has a mellow, tonal close. Marvellous wind chimes feature on 'The spacious present', shimmering across the sound field before being joined by long synthesised notes: I would have preferred the wind chimes to continue as the synths seem almost out of place in this context, but it is not long before the chimes are back with whistling computer winds. 'Lonestar' is a gentle, stately progression, contrasting with the concluding 'A geometry of invisibility' an intricate computer-showpiece: long, everdescending ones, atonal echoing chords, moog-y distorted keyboards and percusion all in a very dense framework.

Overall, this is a 'warm' computer music. RST shows skill in manipulating, choosing and placing his sounds, and there is a continual tension between what is real and how it emerges from the computer: some parts could be live while others could only have been created through his processes. It is not as meditative or relaxing as the other pieces by RST which I have heard, but it is complex, engaging and rewarding.

'Air Friction', from 1995, is subtitled 'collected ambient music' and puts together 14 midlength (5 to 7 minutes long) gentle pieces produced from sythesizers, piano, percussion, guitar, cello, flute and computer. RST wishes the sounds as soothe and nourish, and combine his interests in computer, pop and ambient music. The piano is a strong presence in many of the pieces, providing a direct link to Satie's 'musicd'ameublement' which RST indicates was a guide. However, the melodies sit within a broad field of percussion, vocal tones and synthesizer washes typified in the climax provided by 'Atmosphere', the final track. We began, however, with 'The moon and certain angels' where high and querulous tones intrude into a deeper drifting meditation. Thissets the mood which will continue over the full 73 minutes: a mellow ambience which gently undermines itself to provide a slight (and interesting) uncertainty and unease. 'Pure vision through a looking glass', for instance, features a pair of melodies (computer generated, which sound like harpsichords (and, I must admit, are almost enoesque)) which are played in counterpoint producing some unsettling note sequences. A Baroque-feel continues in 'Air friction' where a 'clarinet' carries the melody over an orchestration of voices and keyboards.

As the disc progresses each track is presented like a jewel which is rotating before us - look in and focus on the different facets - the melody, harmony, rhythm or base - and be entranced by the sum and its parts. The distant tubular bell clusters in 'Sky of Albion' which punctuate the stately march of melody, subtle layers of percussion in 'The westward way' which also has some wonderful strange high-jittering which enters suddenly towards the end, or the cello winding through the layered voices and mysterious sounds of 'The shifting spheres'. 'The Strong Eye' is reflected in 'Essence' with odd sorties of sounds (metallic tinkles and computer-distorted flute) disturbing the synthesizer's flow or 'Ryongi' where garbled voices are deep in the mix. Surprisingly a middle eastern chant introduces 'Antrim' then disappears, and Ireland is apparent only in some bodhran notes.

Overall, this is a very satisfying album of ambience - the pieces are sufficiently complex to allow for repeated deep listening, while producing a mood which would satisfy those who want to relax to it (although in some places it is quite melancholic). In addition to the influences ao Satie and Eno which I have mentioned, I am also reminded of Bill Nelson's instrumentals - which struck me during 'A picture of moments' (also a Nelsonish title), particularly the vibrating-guitar sound, and I then heard in the earlier tracks (I am thinking of the 'Trial by Intimacy' set and 'Chance Encounters in the Garden of Lights').

Listening to Silent Shore in the context of these two presents it as a stage in RSTs musical development and evolution. While before it sat as an artefact within the 'ambient genre' and spoke to me of Brian Eno (though I accept that there are other 'ambient pioneers' who have influenced RST), the sounds on it are a continuation of the computer work heard on 'The Strong Eye' and in fact the complexity of their generation has been smoothed through the production, to create a work which demonstrates its genesis in some aspects of 'Air Friction'.

Jeremy Keens, Ambience Magazine, Australia

The Ambient Eclipse (Mirage MIR 302, 1997 CD)

This is the precursor to "The Ambient Expanse," reviewed last issue, yet is much more of an unconnected anthology than the Roach-driven classic. There are a number of newer artists on here, several from the Mirage/Oasis stable. The music here gives many facets of the ambient genre. There's Hiroki Okano's "Cosmic Wind," a dark drone with flute sounds like a merging of Robert Rich and early Kitaro. Peter Ball's long "Toll" is decidedly in the Eno school with hints of "Music For Airports." Up-and-comer Robert Scott Thompson previews his "Frontier" album (reviewed above) with an eight-minute piece, a strange, symphonic sound portrait. British synthesist David Knight gives us an eerie synth chorale, with some influence from the early Germanic school. Stephen Bacchus' contribution is much different than the music of his Oasis albums, "Subterranea" being in a strange, abstract style that he would explore further on the "Ambient Expanse." "Ontario" is by long-timers Mychael Danna and Tim Clement, who have released music on the Hearts of Space label. It is a combination of resonant synths and environmental sounds, and is one of the compilation's best tracks. Steve Roach gives us ten minutes of "Slow Rapture," clouds of melodic sound juxtaposed with oblique and mysterious fade-ups, as good as could be expected. Paul Tedeschini's "Drifter" is a great piece of moody ambient with synths and indigenous flutes and is of the set's deepest moments. Guitarist Jeff Pearce's "From The Quiet Hours" also nods to Eno, with Alesis Quadraverb and Lexicon Jamman mutating the guitar into muted, melodic chords fading in and out. Belgian Frank Quasar completes the 10-track set with "Chiron," the theoretical tenth planet, a sparkling ambient ending to an excellent set.

Expose Mazgazine

Robert Scott Thompson- Deeper In The Dreamtime (AUREC 9101-1)

14 tracks, over 70 minutes on Thompson's debut release, Deeper In The Dreamtime contains pieces of orchestral new-age music interspersed with polyrhytmic pieces and some ambient works. This release has been favorably compared to some of Peter Gabriel's work (Passion), Bill Nelson and Steve Roach, all valid comparisons.

-Griffin, CD Spectrum

Robert Scott Thompson- The Strong Eye (AUREC 9201-1-CMS)

The Strong Eye involves nine distinct movements of computer-generated music which Thompson refers to as "sonic biology" or "acoustic alchemy." Strange sounds, tweakings and avant-garde noises jump around the edges of the spacey sounds in the middle. This is a fine computer/new age release.

CDSPECTRUM

Robert Scott Thompson-Ginnungagap

Ginnungagap is ambient/world music for fans of the Eno/Bowie/Gabriel world music concepts. It's all here: world, pop, rock, avant-garde, classical, and is unique in its arrangements. The music and performances are first-rate throughout and will strongly appeal to fans of more energetic ambient music, if there is such a thing. This is not my favorite Thompson release, but then again I prefer his more subtle ambient textures. If you prefer your music with more of a bounce and variety, this release may be the one for you.

CDSPECTRUM

Robert Scott Thompson- Shadow Gazing

A 7 track, 72 minute suite of computer music composed by ambient-musician extraordinaire Robert Scott Thompson. Shadow Gazing was recorded over an 8 year period and involves some of the most original and advanced computer music produced to date. This release sounds warm, unlike many other computer-music releases which sound as though no human involvement was part of the project. Recommended for fans of new age, computer music worldwide.

-Griffin, CD Spectrum

Robert Scott Thompson- Air Friction

Ambient music fans rejoice! Air Friction is available at CD Spectrum and what a great release it is. The music is a drifting, meandering collage of synthesized sounds a la Brian Eno which creates a very subtle but always interesting background of beautiful sounds. This release satisfies the major premise of good ambient music in that it can be listened to on a number of different levels- I have listened to this while working and appreciated the serene calm it produced when concentration was necessary. I have also listened to this release as my primary interest and was amazed at the diversity of the 14 tracks contained on this release. This is a stunningly beautiful release and very highly recommended.

-SME, CD Spectrum

Blue Day - AUREC 0011-1 (2000)

American ambient artist Robert Scott Thompson is continuing to gain notoriety for his shimmering dark textures. Firmly rooted in the same sonic landscape as Steve Roach and others, Thompson embellishes on this with his own unique signature. Fans of his prior solo releases will find this much to their liking. The sound is similar to his work on "Frontier" and "The Silent Shore," but it is certainly distinctive enough from those to warrant seeking out. As usual, a variety of sounds and textures are explored, ranging from small vignettes around a minute long, to epic 20-minute masterpieces. Deep drones mix with soft wind chimes on "Origin." "Lattice," as the name implies, is complex, carefully arranged, and delicate. Soft metallic shimmers melt into ominous choirs and assorted atmospheres. It is dark, brooding, and haunting. By contrast, "Illusion of Orderly Progress" is light and beautiful, though practically over by the time you can utter the title. This leads into the first of two centerpieces, the 20-minute "Sign and Symbol." I'm reminded a lot of the minimal ambient drifting of Mathias Grassow, and a little bit of Steve Roach and Robert Rich. Slightly dissonant drones mix with something resembling wood flutes, perhaps flute samples that have been processed in some way. The music swirls in formless fashion, taking both light and dark turns through the mist. "Lament" adds mournful piano to the ambience. This brings us to the 25-minute title track. Male choirs dominate, again lending a dark tone to the proceedings. "Blue Day" is blue indeed, very melancholic, but beautiful. After another very brief track, the disc closes with "Effulence," perhaps the closest Thompson has come to a structured composition with discernible melody. Piano wanders throughout the piece, each note being played very deliberately, with the barest trace of a pause between each note, not quite legato. A female wail is heard, and a simple beating drum. It is a most unusual juxtaposition of musical elements, making for a challenging and interesting way to finish another successful outing into Robert Scott Thompson's unique brand of ambient textures. 2000 © Phil Derby / Sequences Magazine

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