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New reviews include: Food for Fantasy, Brainwork, Stefan Erbe and a revised review on Ron Boots

Bass 305 Departure (DM Records)  Think of this duo as America's Kraftwerk.  Pulsing mid-tempo beats interspersed with some vocoder and computer generated voices (not lyrically based), technological sound effects, and a few up-front melodies all take center stage in this, their fourth studio album.  As their name suggests, they are not content to just remake any electro-pop tradition and Departure, as their other efforts, never lacks booming bass lines and even hints of the house scene.  Each of their recordings has demonstrated artistic growth, and the future looks even more entertaining.

Ken Blanchard World In Motion (Zero Gravity)  Ken Blanchard's album World In Motion contains a more traditional American approach to new instrumental music.  Musicians such as David Arkenstone, Davol and Jeff Order come to mind as comparisons.  The sounds works off  a smooth, perpetuating relaxing feeling throughout the album. Blanchard attempts slight genre variations while mixing in analog-like sequence rhythms with the current digital instrumentation of the day.  A few songs are worth noting.   Track five, “Toybox,” consists of a dreamy piano sure to stir the listener.  The minor keys of track six, “The Rhythm of Something Else,” stand often unheard in American new age and give this track some added spice.  Track eight, “World in Motion,” does just that as well.  This composition's kick is more reminiscent of the group Exchange.  Finally, track nine, “Geometry,” changes from the traditional percussive beat feeding the listener a nice variation.

Serge Blenner Amour (Sky) Amour is what many musicians strive for their entire career--a moving, yet restrained work that can simultaneously reveal artful sensitivity and technical accomplishment.  From the opening, melancholy melodics of "The Deserts" (that could serve well as the opening title soundtrack of a motion picture) to the resplendent tones of "Voyage," Blenner leads the listener through a variety of well wrought soundscapes.  Amour may be one of Blenner's finest albums to date, which is saying quite a bit in a solo career that spans nearly two decades.

Serge Blenner Vision et Poesie (Sky) Upbeat rhythms, sparkling melodies, and some characteristically grand chord patterns make Vision et Poesie yet another fine creation by Serge Blenner. While his French counterpart Jean-Michel Jarre has been bringing spectacle to the majority of Europe over the last few years, Blenner has been making an impact in subtler style. Evolving his hard to categorize sound with everything from orchestral samples to human voice, Blenner remains the more sonically adventurous of the two, despite remaining very accessible in style.

Blue Knights Neon at Night (Innovative Communication) Few really good new instrumental recordings can claim one of the supposed hallmarks of the recording industry:  big sales.  That's no doubt because it is an industry, not a non-profit aesthetic consortium.  Nevertheless, some groups do have knack for being able enjoy their craft, create some nice tunes, and reach a wide audience.  Blue Knights is one of these.  Formed by Curtis McLaw (Dancing Fantasy) and keyboardist/pianist Jay Heye, Blue Knights combines the influences of dance and house into contemporary jazz.  Many "smooth jazz" artists are now doing this to some extent, but very few with the verve of the Knights.  Neon at Night deepens their trademark sound with more guitar and group members contributing on the composition side.

Brainwork Back to Future (Cue) About three years ago, those visiting brainwork.net, the artist’s web site, were presented with two tracks from Brainwork’s next studio album. The style was described as “Berlin Bass,” denoting a synergy of Berlin school sequencing with the breaks and beats of drum n’ bass music. It has been a long three years waiting for this album to be realized. Even though these early mixes were just low-fi RealAudio files, it was already very apparent that this would be a powerful and alluring album.

And now we have the pay-off. Brainwork’s latest album, the first since Sensual Reflections (1997), is a real burner. The first two tracks, “4am Machines” and the title track, are the two songs originally previewed on the web. The next track, “Sand Dunes” leaves you thinking this is album was unquestionably worth the wait. Drum ‘n bass has long seemed to hold the potential to do something more musically complex than the repetitive, droning songs that have emerged from clubs and DJs yet very few artists seemed to have pushed this envelope (a notable exception would be the excellent Arno album Obsidian released shortly before the IC label folded). Nearly each track on Back to Future is a study in how that style can be infused with fiery sequences, chord work and effects to create great music. Those that have followed Brainwork will not be surprised Uwe Saher, the main creative force behind the project, could pull this off so well. His superb track record of deftly handing everything including short melodic songs, long but interesting sequencer-driven pieces, impassioned live performances, and high energy trance music in his side project Element 4 is a resume many can only dream of owning. Back to Future is the perfect next chapter in the evolution of Brainwork.

Brainwork Live and Unreleased (Cue)  The live sound of musical groups is frequently criticized as being looser in composition and poorer in sound quality. The latest album from Brainwork is something of an exception. This album features a high energy mix of compositions from several concerts that blend well together and sound as well recorded and mastered as many studio works. The fast and near furious sound of songs such as "Pulsating Element" are a joy to the ears with their strong rhythms, precise sequences, and tuneful melodies. The two closing studios tracks are slow, more reflective pieces.

Bas B. Broekhuis Synchronicity of Life (Manikin) There are not many album length recordings where a high level of consistency permeates every piece; this, however, is one of them. Synchronicity of Life, Broekhuis' second solo album, flows brilliantly from one track to another mixing trance-like sequences and purposeful drums/percussion with remarkable bass lines and sound arrangements. Broekhuis' hand is subtly melodic and the recording benefits from each listening as you find new elements. The composer has worked with many of the top New Instrumental artists in the world including Ron Boots and Venja, and his music shows that same calibre!

Ian Boddy The Deep (Something Else) The Deep is one hell of a musical undersea odyssey! An album packing a big punch from infectious high-powered melodies to deep choral moments, the album takes you where few have been outside of watching The Abyss. Several songs showcase Boddy's exceptional compositional ability while also having an knack for picking an educated mix of digital and analog sounds. When you come back from Boddy's water world you'll be asking for more. Those only familiar with Boddy's more recent DiN work will be surprised at what a wonderful gift this man has for melody and tighter, somewhat more traditional musical structures.

Ron Boots Detachment of Worldly Affairs (Groove/Cue) During the early 90s, as the new age phenomenon waned in popularity, more than a few progressive music aficionados were questioning what artists would emerge from this period of commercial decline and continue developing great new instrumental, just as a smaller group had before the new age movement. Thankfully, several have emerged--particularly in Europe--to carry on and further expand the great work began in the 70s by new masters such as Tangerine Dream, Jean-Michel Jarre and Vangelis. One of the most remarkable of these musicians is Dutchman Ron Boots. By the time Boots reached Detachment of Worldly Affairs, his fourth major studio album, he was in full stride creatively.

A variety of both driving and spacey compositions with a strong sound tablet make this one of Boot's finest albums to date. Detachment is proof that Boot’s style had developed to a point that clearly elevated him beyond many “electronic” artists content to re-invent the 70s or simply put out a number of mediocre productions. Boots’ compositions often develop subtly but purposefully with a tapestry of sequences, rhythms, melody, and great programming. Detachment also contains another hallmark of great albums—excellent variety of composition. The album opens with a powerful mix of rhythm and sound, the first part of the title track, but soon moves to a slower tempo reflective piece, “Cool Down.” The album also contains one of Boots’ best ambient pieces “Far Boundaries” which is somewhat enigmatic even after years of listening. Boots must have thought so as well because he followed up the composition with a sequel the next year on his subsequent studio album.

CC: Dome  The Dream Furious EP (Cursor Club) Cursor Club, an American label based in Hollywood, has quietly surfaced on the progressive music scene over the past few years with a series of limited edition CD maxis.  Dream Furious, CC: Dome's second release contains five tracks, including two remarkable compositions "DR 12 (The Glistening II)" and "DR 11."  Neither feature very trendy elements but sound very contemporary.  Dome, as in their earlier song "DR1," have a knack for hitting a deep vibe through mid to slow tempo rhythm, constructive chord work, and occasional melodies and effects.  Imagine  music for a compelling, reflective passage of an unproduced motion picture.  CC: Dome will help create that movie in your mind's eye.

Delerium Karma (Nettwerk) This increasingly well known side project from Bill Leeb and Rhys Fulber is really a main project these days.  The mix of popular styles will create comparisons to Enigma, Deep Forest and others, yet there are moments of real originality on this recording as well.  Leeb and Fulber deftly use vocals and lyrics to colour, not dominate, their songs.  The results can be memorable, even if not groundbreaking, tapestries that really have some nifty qualities to them.

Double Fantasy Food for Fantasy (IC) This is one of the finest albums released in the mid 1990s. With that said, the music is not revolutionary, but a finely crafted mix of tight songs featuring soaring guitar melodies, well controlled synthesizer backdrops, and a nice mix of sounds. This is in the tradition of the original Double Fantasy that was replaced by the McLaw/Williams duo of Dancing Fantasy. The original album, now considered a classic in some circles due to its broad appeal, Universal Avenue (1987), was produced by Robert Schroeder.  This new incantation maintains that vibe by including two remakes from that record.

EKO Connection (Cue) [Not to be confused with the Higher Octave folk-jazz group] EKO, which is Sanskrit for one, is Gerald Paetsch, who in this second effort has created a varied and stimulating recording. The sound comparisons that come to mind range from mid-period Tangerine Dream to Dancing Fantasy. The EKO sound is definitively lyrical in its melodies that are as continuous in sections as Edgar Froese's solo work. This is the kind of record you can play for people with all kinds of listening backgrounds to take pleasure in.

Stefan Erbe Digital Entrance(Cue/Groove)   Stylistically on the same level as Brainwork, Stefan Erbe brings us an album of percussion-heavy, deeply sequenced electronic music that will get more than just your toe tapping.  The highly melodic and generally upbeat tunes make Erbe's third album in a word, fun.  For example, with the piece "For Motion and Emotions" you can't help but get a big smile on your face as you shift back and forth to the beat.

Stefan Erbe  Intermediate  (Cue/Groove) Those who live, at least in part, to appreciate music, love to see an artist deepen explorations with a new work.  The flow of moods through Erbe's latest studio album Intermediate meshes loneliness, self reflection, and hope into a soundscape of modern life.   From the well thought out graphic design of the packaging to the closing minute of the final track, "Lost in No Man's Land," quality of vision persists.  This album musically showcases Erbe's recognizable fresh fusion of crisp drums/percussion, catchy melodies, and integrated sonic depths.

Stefan Erbe  Particular X  (Cue/Blue Room) Stefan Erbe’s latest album is the kind of release people could overlook by simply labeling it as another compilation of unreleased music. That would be a big mistake. In fact, Particular X may not have the incredible unity of Erbe’s last studio album, Intermediate, but it is filled with tracks on par with his best work. As usual, Erbe demonstrates a broad range of tempos and styles while staying true to his unique sound. Just in the first few tracks you are presented with songs that range from upbeat electro in “Not a Game” to somewhat whimsical in “Flying Cows” to the melancholy and engaging in the title track.
In a recent interview I conducted with Erbe, he stated one of the most important qualities in making music was uniqueness. Arguably, this is something of the problem in the electronic and progressive music field with the large number of 70s analogue improvisations artists seemingly revising tunes again and again. Erbe, on the other hand, is true to his philosophy. His unique blend of crisp rhythms, electronic sounds, atypical bass lines and catchy melodies are just the basis for what makes his music so enjoyable and worthy of remark. If you have not explored a full album from Stefan Erbe, treat yourself soon. You’ll probably find that uniqueness addictive and enjoyable.

Stefan Erbe Timeless (Blue Room) Despite the enormous number of recordings that emerge in our connected world on a weekly (if not daily) basis, few recordings seem to professionally combine two critical attributes: innovation and accessibility. It is intriguing to see how the pop culture run of techno, house and ambient has brought electronic-based music back into the consciousness of artists looking push the envelope. Still, as one would expect, much of the material found across the Internet is lacking in more than one way. How fortunate that an artist such as Germany’s Stefan Erbe, who has been around the music scene for a decade or so, can show us a brilliant combination of innovation and accessibility in the form of his album Timeless.

Erbe’s music has often contained a fair amount of energy, but Timeless collectively has more amps/volts flowing through it than any previous recording (or most electronica released this year for that matter). Where raw energy, as in the form of techno or hard trance, can quickly be numbing, Erbe controls his energy like an advanced neural net. It is energy that enlivens, demands attention and constantly adapts into new forms. That occasionally stunning adaptation easily makes Timeless one of the most important recordings of the year.

Rob Essers Raincolors (Cue) One would never guess that this incredible work of art is the debut CD of an artist. Rob Essers has crafted an album of songs that feature a polished, fresh compositional style that mixes uncommon ear catching melodies, sequences, and textures into an uncommonly consistent collection of music. Essers' style can not be easily compared to any one artist or type, and that is one of the reasons to listen to it. To those who think electronic based music isn't progressing, hear here.

Food for Fantasy The Secret of Dreamin’ (Spheric) In 1986, a project came on the progressive instrumental music scene that seemed destined to break through borders, categories and preconceived notions of success. Robert Schroeder and Charley McLion did exactly that with Double Fantasy. Their debut album, Universal Avenue was released on the German label, Innovative Communications, but soon found airplay in the USA on California radio stations. The interesting, but not unusual, mix of laid back grooves, electronics and guitar work clearly moved German electronica into much wider potential audience.

Unfortunately, as so often occurs in this sometimes petty industry, legal squabbles and other factors doomed Double Fantasy from further breaking into the American mainstream. Their name would not be seen on a recording again until the mid 1990s, again on IC, but with other musicians at the helm. By that point, the band’s successor on IC, Dancing Fantasy, had already become a transatlantic darling routinely showing up on US charts and smooth jazz radio stations across the country. But as Dancing Fantasy built a bridge on jazz influences in their grooves, they had moved further and further away from that warm, surf-feeling electronica of the original Schroeder/McLion duo.

Now, good fortune is looking on us because nearly another decade on, Schroeder has resurrected the project under the name Food for Fantasy. With a new guitarist completing the duo, Schroeder stays consistent with the formula that started the phenomena some two decades ago in California. Catchy grooves and melodies merge in easily accessible trancey songs sure to once again break categorization. The new album feels more retro than some would hope (the project’s genesis was after all being “innovative” in its sound) with retro gear, rhythms and sounds present throughout. Nevertheless, it is nice collection of music and should be a welcome addition to many a music library.

Christopher Franke The Celestine Prophecy (Priority)  The smooth, warm grace of Franke's ethereal sounds coupled with the ethnicity of Celtic musical heritage comes together in this 1996 release based on the book by James Redfield of the same title.  The mysticism of The Celestine Prophecy is derived not only from pan flute, acoustic string instruments, and gentle female vocals, but from Franke's innovative sound design which allows for not only artistic signature, but a heightened emotional experience.  The album's theme, while Celtic in origin, takes on different flavours including smooth jazz, oriental, Gregorian and the epic orchestral one may expect from much of Franke's recent soundtrack work.  The theme will keep listeners focused.  The varied influences will keep them interested.  It is a musical voyage.

Interface Circles and Squares  (Innovative Communication)  More than a few music aficionados talked about Interface as a best newcomer when burst on the music scene in the mid-1990s.  Great new ideas and new twists on tried and true textures make this an album of successes.  From electro-grooves to dramatic melodies, Michael Gross and Marcel Thebach deliver in high style.  Remember the energy to felt when you first heard Tangerine Dream, Jean-Michel Jarre?  There is definitely some of that here!

Kistenmacher/Grosskopf  Characters (Green Tree)  The duo of Bernd Kistenmacher and Harold Grosskopf teamed up in the early 1990s and produced Characters, a studio album, and Stadtgarten Live, a concert recording. Both are clear evidence how two musicians with different styles and instrumentation can collaborate to create something in a slightly new direction for both artists. Kistenmacher, well known through Europe for his hypnogogic sequences and textures has a great teammate in Grosskopf, an experienced drummer and percussionist with strong roots in electronic and progressive music. Characters moves all over the map from mid tempo songs layering sequences and melody with dynamic rhythmic elements to more ambient affairs. Regardless, you will stay interested because each composition shows the benefit of two minds bringing some of their best ideas to bear.

It can be argued that many collaboration projects either create something new and remarkable or something pretty much forgettable with little middle ground in between. Characters is an album in the former category in that you really hear the intertwining of two fine minds. Kistenmacher has never lacked in the ability to create entrancing moods throughout his career; Grosskopf’s presence just brings out new flavors that make the music more easily accessible without losing integrity.

Patrick Kosmos Virtual Reality (IC) Deep inside a science fiction universe lies the musical vision of Patrick Kosmos.  From his large outdoor special effect ridden concerts to the astronomical images on his albums, one shouldn't easily forget the space in which Kosmos paints flowing music, coloured by both analogue and digital synthesizers and the occasional voice of electric guitar or saxophone during the waxing of more intense movements.  Set up a surround sound system and create your own home-planetarium to this modern day cosmic courier.  The progressive crescendos of "Shuttle Lock," or ambient-jazz of "Mooncity Avenue" work to make Virtual Reality Kosmos' most varied album to date.

Mars Lasar  11:02 (Sonic Images)  When was the last time you listened to a recording and thought, man, this is fun stuff! 11:02, the conceptual follow up to possibly Lasar's best known album The Eleventh Hour, is exactly that--a major good time. Lasar works with crisp, contemporary beats; smart melodies, a nice overall sound pallet and great production to make 11:02 an album you will want to listen to repeatedly. Lasar became one of the bigger names in the new age/new instrumental scene in 1980s and 90s through a number of successful recordings and exposure everywhere from radio to science museums, IMAX theaters and the star-studded Omni magazine audio collection.

The fresh attitude of 11:02 is indicative not only of Lasar’s diverse musical styles but also where he brings his art to its highest level. So much rhythmically focused music, including what’s left of trance, techno, and other dance derivatives, feels flat or even soulless fairly quickly. With his eleventh hour series of studio albums, Lasar takes us somewhere special by seizing the energy of upbeat rhythms and using them as the backbone for great melodies, effects, and purpose. His latest, 11:04: Panorama, follows this tradition.

LaserDance Hypermagic (Hotsound/ZYX) If you can imagine "dance meets Jan Hammer" in a solid fashion, then you can imagine several of the best tracks from this fast paced album.  There are plenty of 120 bpm beats to keep up perpetual motion, but also plenty of upfront melodies and solos to keep the listener paying attention.  LaserDance has been a force in instrumental dance music since the late 1980s, and has an extensive discography to prove it.  Hypermagic is one of their finest.

Latitude Blue Curve (EarthFlight) The long awaited return of one of America's most remarkable, and more successful, new instrumental bands came in July with the release of Blue Curve. Guitarist John Putnam joins Craig Peyton to deliver a somewhat different Latitude, due at least in part to Putnam's bluesy electric, steel string, and acoustic guitars. There is more live instrumentation, but tracks like "Closer to Love" and "Altitude" will impress all kinds of instrumental listeners for sure.

Megabyte Coral Sand Paradise (IC) This recent album released by the exciting group Megabyte is an interesting affair to be sure. Those familiar with Megabyte's previous rhythmic, picturesque compositions will recognize the familiar polish that accompanied their music but with a heightened use of ethnic samples. Similar in some ways to Deep Forest, they meld the sampled notes into hybrid composition that are not unfamiliar to your ears but also very fresh. Some of the songs' melodies are truly compelling, truly envisaging.

Mind~Flux  Konception of Space (IC)The latest sonic excursion by the adventuresome duo that made a name for itself by fusing musical ideas from 70s space music with 90s stylistics may have put together their best effort to date in Konception.  The opening track "Destination Unknown" is quite simply one of the best songs of the year (whether or not ranking is silly) with its alchemy of a flanging beat, pulsing sequencer lead, and just the right human touch in a well handled vocader-voice.  The massive (70+ minutes) album also includes a live track sure to stir the hearts of aficionados of the longer, evolving sequencer epics of the cosmic couriers.  The top-notch art work design just goes one step further to prove these guys posses a well defined artistic message.

Mind~Flux Source & Destination (IC) Mind~Flux are two German musicians working hard to synthesize 90s technology and trance/dance music with the 70s spirit of electronic music. They are at least partially successful on both counts by performing the most interesting trance music you're likely to encounter. Fans of both Kraftwerk and mid-70s Tangerine Dream will find significant homage paid in terms of sounds and styles, not to mention the fact that you can really dance to this stuff.

Moodswings Psychedelicatessen  (Arista)  After disappearing for many years after their debut, Moodfood, this unusual group explodes back on the scene with a follow-up that's twice as good as the original.  Right from the beginning you know you are going to be taken on a journey through sound as each song flows into the next.  Their upbeat music takes on moodswings from fast-paced, carefree highs to insightful, thought provoking slow pieces with occasional female vocals brightening the music further.

Dino Pacifici Acquiescent Resonance (CMC/Dance Plant)   When artists exercise the freedom to evolve their art in new, even surprising directions, wonderful things can happen.  Canadian artist Dino Pacifici has produced two respectable contemporary jazz albums, an award-winning ambient album and now this--Acquiescent Resonance, an album to truly take note of whatever your specific musical tastes.  Resonance has a fresh late nineties organic sound of original dub-influenced beats, flowing melodic sequences, leads, and bass lines.  A few of the tunes are taken into ambient-jazz territory with Pacifici's polished jazz guitar and sensibilities.  As Pacifici remarks, this is "ambiance with an attitude--a positive attitude!"

PCM Rhythm and Bytes (Cue) Peter Mergener, former and now current member of the mercurial group Software, has put together along with fellow synthesist Ralf Hess, an instantly likable collection of songs in this side project. Far from Mergener's longer, building compositions, PCM shoots to the point (often in three to five minutes) with catchy melodies and grooves. The style incorporates a variety of textures with accessible composition that has a real "group" feel. PCM would be great live with their energetic, electric sound.

Peru The Prophecies (Red Bullet)  Peru has traditionally been referred to as Holland's equivalent to Tangerine Dream, yet this project is more than a departure from that analogy.  Ambient dance textures so well produced they would embarrass a host of artists in the popular "ambient" realm dominate the album.  The concept of the album lies in dark, sometimes cryptic and Biblical prophecies that form a thought provoking and memorable collage.  Take in Peru's last studio album, an episode of the Fox/Ten Thirteen (The X-Files) show "Millennium" and consider the possible futures.

Craig Peyton The Web (EarthFlight) The moniker "ambient-jazz" typifies the finely crafted music on this album. Combining ambient influences with the dancey sound of acid-jazz, Peyton brings a pleasant synthesis to fruition. The alchemy of tracks like "Sol 3" meld sampled loops, synths, and mute trumpet into what proves Peyton is doing with jazz ideas what Enigma did with Gregorian chant. The Web is the perfect recording for those of us who are tired of music that blatantly and pedantically falls into one category.

Frederick Rousseau  Woods  (Origins)  Perhaps most widely known as a key programmer and sound designer for Vangelis and Jean-Michel Jarre, Frederick Rousseau is also a mercurial and talented musicians in his own right.  Rousseau’s studio albums such as Illustrator 5,a varied collection of great tracks ranging from aggressive to laid-back, to Abyss, a brilliant ambient record influenced by exploration of the deep ocean show he has much to offer.  Woods is an incredible album not just because it includes well produced songs that deftly mix melody and rhythm.  Listening to Woods, it become quickly apparent why Vangelis and Jarre must hold Rousseau in such high regards for his genius with sounds and synthetic voices.  Within just the opening track, the listener will find musical voices that sound both ancient and modern, familiar and emotionally provoking—and they all complement each other.

Robert Schroeder Mindwalk (News/Cue)  One of the finest and most consistent new instrumental artists of our time has fashioned a simply wonderful collection of varied compositions in Mindwalk.  Schroeder takes great care to use original programming for much of his sound tableau resulting in fresh sound designs.  Much of Mindwalk is a studio version of a 1993 concert simulcast on German radio.  New compositions round out the album, yet it flows almost seamlessly from high powered electric guitar courtesy of Charley Buechel (formerly of Double Fantasy) to ambient synth voices.

Eric Serra  The Fifth Element [OST] (Virgin)  In this film, by French director Luc Besson, for once in a recent major film the director was obviously not afraid of exploring many music venues through a score that plays an intrigal part in the viewing experience of the film.  The album displays one of the widest ranges of music styles heard on a soundtrack--from rock/pop, to new instrumental, dance, orchestral, reggae, slow jazz, rap, and opera.  A mid-eastern flavor slips into a fair number of songs providing for unique instrumentation that is new and refreshing.  Some of the slower more emotional pieces are reminiscent of Vangelis.

Jack Edward Smith  Mundo Fantasia(Endless Records) Acoustic guitar can be one of the most expressive instruments on Earth when played with passion and stylistic variety.  Jack Edward Smith does exactly this with Spanish guitar, solo guitar and electric bass.  Joined by colleagues bringing other instrumentation to the table including flute, recorders and drums, Smith spins several interesting songs that sound as if they have influences from across the planet.  Listen and you’ll see what we mean.

Mark Snow The Truth and the Light (Warner Bros.) Finally, someone got the message. Yes, The X-Files composer Mark Snow's music has thankfully been released complete with a variety of themes from the show as well as a sprinkling of show voices. The show is probably one of the finest examples of scoring on television, and this soundtrack is a nice representation of the incredible amount of music that Snow has written for it. The only confusing thing, aside from Carter's obscure liner note, is why not put another twenty minutes of material on the album? The music is out there.

Symbian No Man's Land (IC) An interesting movement in instrumental music is working out of Belgium, and the group Symbian is on the forefront of it. This new ambient sound lies close to Vangelis and Patrick O' Hearn, putting what has been called ambient in the U.S. to shame. Symbian melds intricately subtle chords and melodies through deep soundscapes. This patient, yet enthralling style shows how music can be very powerful without being bombastic. Check out Ambient Nation volumes one and two and three for more artists in this movement.

Symbian meets Venja Floating Silence (BrainFoodMusic/IC) The power of water is undeniable; it impacts our lives in physical and spiritual ways as few elements in nature. Symbian and Venja have come together to create a moving set of compositions exploring this in Floating Silence: The Spirit of Water. Moods range from modernistic soundscapes to simple melodic structures to stirring orchestral passages while developing an overall conceptual and aesthetic unity. Each piece has been well crafted to mix into the next song, yet nearly every composition on this collaborative album has something of a unique sound. From mid-tempo, beautiful melodies, to ambient yet engaging moments to entrancing, patiently paced rhythms, Venja melds into the duo of Symbian as if they were already an experienced trio. The coda, “Myths of Creation,” is one of the most stunning songs you will hear in quite a while, and would make Vangelis proud.

This is also the type of record that will not only test your spiritual connections, it will also test your audio perception and your stereos' dynamic range. True high-fidelity systems should disappear into the music as deep acoustic drums pound in a brilliant production of deep soundfield pads, sampled wind instruments and nice effects. Both artists also have excellent discographies on their own that should not be missed as well.

Tangerine Dream The Dream Mixes (TDI/Miramar) Techno, ambient, and trance have exemplified the pop-capacity of electronic music for a handful of years now, yet truly lasting compositions have not exactly been abundant in the movement. Now, in the mid 1990s, one of the groups that brought synthesizers to the forefront of music (and who has been copied, sampled, covered, etc.) takes the influences of dance head-on. The result is frankly amazing. It is as if seasoned, visionary musicians picked up some of the same tools ambient groups have only been fooling around and showed everybody, "Well, this is how it can be done." The Dream Mixes single handily show what can be done with loops, beats, breaks, stabbing synth lines, and effects when in the hands of geniuses. The two-disc version is on TDI from Germany, the single disc version is from Miramar in America.

Ultrabass Planet SYS (IC) This album is, in my mind, the finest ambient music can possibly sound. An evolution above Deep Forest and vintage Klaus Schulze, Ultrabass is one of the freshest artists I have heard in the 90s. Hypnotic loops and masterful sequencers synthesize with ethnic samples to really enhance the emotional intensity of this music. If you have any interest in what ambient/trance can offer new instrumental music, this is it--it doesn't get much better than this.

Various Artists Cool-Blue and Rouge & Noire (IC) These are two compilations that set a high standard for their kind. New and remixed songs fill the song list, and the artist roster is incredible in breadth of styles with a sterling production. Software, TeeKay, Megabyte, Dancing Fantasy, Win Kowa, Interface and others strut their stuff showing why they are some of the best instrumental artists recording. From Software's inventive, infectious erotic synths to Kowa's stunning guitar, to Interface's great synth melodies and sequences, there is not a dull moment to be found.

Various Artists  Didgeridoo Trance Dance (Music Mosaic) The slightly odd wind sound of the Australian didgeridoo has to be one of the most unique voices in world music, but can you use it as the basis for a concept album?  In a word: yes.  By taking the upbeat nature of contemporary trance music and infusing it with a mix of didgeridoo, human voices and  electronics, several artists hit the sweet spot groups such have Deep Forest and have helped map out.   Gondwana's drum and bass flavored lead track "Gurrupurung," the Axis track "Blue Labyrinth" and Lost at Last's track "Awowedas" stand as perfect examples of this.  Overall, the album presents a nice variety of contemporary tones even stretching into the ambient groove feel being made famous by Thievery Corporation evidenced in Didjworks "Factory Farm."

Various Artists  Magic Fly presents New Instrumental Music Vo1. II (Cue)  This collection of previously unreleased music not only crosses several styles, it contains some big names as well. Ron Boots, Bernd Kistenmacher, and Optical Image all contribute tracks sure to please their fans and complement each other.  The album ranges from the heavily laden sequencer lines of Boots, to rockish melodies from the group Driftin' Thoughts, to the deep space/dance hybrid of Cosmic Baby.  The real standout track, however, comes from Rudolf Heimann whose "Coral Island Memories" alternates between driving passages full of bouncing piano chords, catchy melodies, and a nice production.

Venja  Dash of Soul (IC) There are musical talents that possess a sound remarkable in quality but also in individualism that deserve special recognition.  Not since Patrick O' Hearn came on the scene in the 1980s has an artist done this with quite the finesse of Venja.  Not afraid to use angelic female vocals or to span from deep ambiance to more traditional songs, Venja's strong musical sensibilities can remind one just how good it is to hear a truly good tune.  Dash of Soul, his third major studio album,  has been his most popular album to date, but it signals the continued artistic growth of an already interesting discography.

X-Static Software System Crash Dance Ware (IC) This recording features some of the most adventurous dance music you're going to find in any ambient/trance/house range this year. This is due in large part to the fact that the base compositions for several of the pieces were written by Software teams and taken to a new level of energy (and speed) by the X-Static outfit. If you have any leanings towards dance, this is a must have, and the same goes in you're a Software or Peter Mergener fan.

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