Burning Igloo by Saul Stokes
I bought this after hearing one track, 'Haight Pacifica', demoed on the front cover cd of a U.K. music magazine - Future Music. I was impressed not only by the track but by the fact that Saul had built his own modular synth and sequencer which features heavily on the whole tape.

The opening track, 'Sunburn', immediately brings pictures of the shimmering mirage effect seen on a bright, sunlit, desert road (and this was even before I'd realised what the track was called). One of the nice features about this album is Saul's use of the more far eastern percussion as used on this track. Interspersed with tabla type percussion sounds float in and out until a short, too short, percussive section comes in. I agree with the original reveiwer from FM who said that this sounds like a half finished idea - but it is a very good, half finished idea!

'Mantimorphis', track two, is much more rythmic throughout. It does seem a little long and runs out of steam towards the end yet the melody, sounds and rythms come together well reminding me of the electronic side of Peter Baummans _Romance '76_ album.

The demo track, 'Haight Pacifica', opens with a sequence of electronic "Cricket" sounds behind a haunting melody line which sticks in the mind long after the track has finished. Sounds, chords and interesting rythm patterns languidly float ian and out until without warning the track finishes! Is this the beginnings of a new trend for last tracks on side one (see my review of Stephen Ray Martin's _A Passing Thought_)?

Side 2 and an ascending 4 note sequence introduces 'Pioneer'. Unfortunately the sequence get's a little irritating and takes away from the more interesting sequences that mingle and interact with each other.

With short and sweet analogue sounds featuring on the short but sweet 'Zerk' this is definitely a track that could have built into something more.

The final track, 'Placenta', is very much in the _Throne of Drones_ field of music. A very hypnotic, dry sounding, background chord off sets a tuneless melody (I know it's a contradiction in terms but I couldn't think of another way to describe it ) which comes in an out like chasing a thought you never quite catch.

Demo track's on magazines and sampler albums do work as I'm glad I bought _Igloo Burning_. It would probably appeal to lovers of Aphex Twin and Future Sound of London as well as mid to late 70's Tangerine Dream fans.

For further information contact Saul

Evolutions by Kudzu (Reviewed 1 May, 1996)
There are instrumental albums that are a collection of pleasant, catchy tunes with melodies that you can whistle. There are others that are more sound canvasses that can be used as something in the background or examined in minute detail and there are those albums which are very visual... and this is one of them.

The brief introduction 'Quanka's Camp' sets the scene as a traveller arrives and lays down to dream...

The liquid chords of 'The Ferry' carries the dreamer downstream under a jungle canopy of background sounds, watching and wondering at this netherworld. But, as with all dreams, the scene changes with the blink of an eye and our dreamer finds himself following a desert caravan, 'Mysterious Caravan', driven on by the fiery rhythm of drums, melodies and lead sounds not quite eastern and not quite western. And as our dreamer stops to rest, he watches the caravan move on into the distance until he notices the pool of cool water appearing and the hears the call of the dolphins.

'Swimming with Dolphins' opens with a melodic sequence, rising and falling, which holds the whole track together as, like playful swimmers, other melodies and sounds come to the fore and then retreat. The main sequence captured my attention so much that I've almost worked it out on a penny whistle so that I can play it for myself.

Leaving the dolphins to fly over the cliffs that have grown around the pool we watch the angular 'Witchdance'. Syncopated drums propel their shuffling feet as they call out there incantations one by one, their voices represented by the use of different lead sounds taking turns to play slight variations of the melody.

The full and sombre chords of the funereal(sp?) motif that is 'Village of Lost Souls' paints an image of stooped shouldered beings walking in lines, wondering to themselves - why?. And as the music grows the dreamer pulls back from close-up to wide screen panorama which balances well with the singular feel of 'The Death of Jari'. A low register flute plays over a simple two chord arrangement augmented with natural insect sounds presenting an image in twilight. Is this Djari realising the end of his time is before him and so he gracefully prepares himself - as simple as two chords may be the interest in this track kept by the changes in timbre.

Still in a dream state the startlingly realistic sound of thunder heralds 'After the Storm'. A rhythm mix of natural drums and electronic sounds lay the firm roots for a winding melody. And as people come out of hiding from the storm it builds into a dance of joy that all too soon dies away - this is one track that could have really been extended, the climax is all to short.

The final track 'Communicado' and short drum breaks behind sparse keyboard sounds eventually fall into a hypnotic pattern. Our dreamer watches a circle of faces 'round a burning campfire, swaying together as they watch the flames painting pictures in the night sky. And as the knocking on a door will raise you from slumber so the change in to a stoccato rhythm panned from left to right like the outside world crossing to the dreamworld so the album ends. However, unlike a dream, you can recapture the imagery again and again with this extremely well crafted album.

Throughout the production is crystal clear. One thing I noticed is that the record level lcd was pushing well into the red on my cassette player with no distortion to the sound at all. I take it this is due to the Digalog cassette which is something I've not come across before.

For further information contact Kudzu

Mountains (Symphonic Suite No. 3) by Paul Lloyd Warner (Reviewed 22 July, 1996)

In these days of synthesizers recording anything in one take without the use of overdubs or sequencers is unusual. Recording a complete album in this way is VERY unusual - especially when you hear the fullness of sound achieved on some of the tracks.

Sub-titled Symphonic Suite No. 3 the listener is presented with a variety of classically influenced tone poems inspired by the mountain region of the Pacific Northwest in America. Paul has his own mobile studio which he travels America with to record what nature inspires so I believe many of the tracks are recorded in situ.

The opening track, _Sunny_, is a simple melody tinged with sadness played on piano with occassional string background. While the second track, _Yosemite_, has a much fuller, denser sound (brought about by I presume by using two or three midi'd sound expanders) which builds from a gentle intro to an anthemic fanfare with images of towering, craggy outcrops of rock brought to mind. And this alternating between between simple and orchestral like arrangements is carried on through the album.

My favourite track is _Jenny Lake_. A simple arrangement of harp and acoustic guitar sounds augmented by a deep effect. Beautifully relaxing I close my eyes to find myself floating in a boat, floating along to the main melody and it's many avenues of interpretation.

Other tracks of note are _Ring of Fire_ which has a dark feel to it with sounds like volcanic lava bubbling to the surface juxtapposed by the cold feel of images of wind blown, snowy mountains brought to mind. _Spring Waterfall_ is very reminscent of of Rick Wakeman's Country Airs solo album and _Great Northwest_ is a very sombre yet respectful tone poem which more than any other track impresses on this listener how powerfully inspiring mother nature can be.

Paul's unique way of recording in one take does lead to some interesting points. There's no drum machines in the background; in fact there is no percussion of any sort used here - piano and synthesizer only. Also a slip of the fingers can take an improvised peice off to a different and unexpected version of the original melody or chord structure though Paul still manages to bring each track to a cohesive finish. However, as on _The Rockies_ (another solo piano/strings peice) the occasional fluffed note is heard and some phrases can sound a little rushed in places.

However, this does not distract from an album which if you like your instrumental music with a classical feel to it should interest you as well as those who'd like to hear someone trying something a little different.

For further information contact Paul

Sinking of the Titanic by Gavin Bryars (Reviewed 22 July, 1996)
A little while back I mentioned how this album had 'called out to me' over the years as one to buy - in fact I now recall it was started by reading a review in a Tower Records magazine. Anyway now I own a copy I thought I should review it as well...

An ideal companion for this album is Dr. Robert Borland's account of his search and discovery of the remains of the Titanic. The tragic majesty shown by the accompanying photographs really brings home the aching sadness of this hour long version of the composers original work.

The dying sounds of the ocean liner introduces the listener to the first variation of the hymn (Autumn) which was apparently played by the Titanic's orchestra at the very end. The variations of the hymn that follow are made more haunting by the deep resonance of the background timbres - possibly representing the aural presence of the Titanic. Though I wouldn't class it as ambient the mix of acoustic instruments and ethereal sounds makes this an album one that today's ambient fans would find interesting.

Throughout, the recording is interspersed with sounds (including actual interviews with survivors) which enhance rather than intrude; for me in particular is the poignant sound of the ships bell. And as the final track fades (there are 11 in all with no discernable break) the silence left behind is filled with the listeners own thoughts of that tragic moment when the Titanic's maiden voyage was brought to an end.

How many albums can truly be called haunting? Well this one certainly can. And while it leaves this listener a little sad at the end it is not a depressing album. One for those more contemplative moments.