vendredi 22 mai 2015

SKOULAMAN: Dreaming of the Future Reflecting the Past (2015)

“What we have here is a fine album filled of analog rhythms and cosmic tones which will seduce those who still miss the sweet analog years of EM”
1 Dreaming of the Future Reflecting the Past 11:55
2 Without Boundaries 9:18
3 Sardegna Coasts 8:33
4 Islands in the Ocean 10:20
5 Arabian Arp 7:59
6 Orbital Moves 9:06
7 Voices of an Analog 7:37
8 Sardegna Roads 6:31
9 Far Away Worlds 5:28

Skoulaman Music (DDL/CD-r 76:51) ****½
(Cosmic EM of the analog years)
The magic of the social networks! It is by means of a video published by my good friend FB Rob Hartemink that I was interested in the universe of Skoulaman. A musician/synthesist who likes minimalist movements moved by echoes and reverberations, Skoulaman is part of this generation of new artists who are influenced by the analog EM from the 70's. From Tomita to Jean Michel Jarre, including Tangerine Dream, Vangelis and even Mike Oldfield, the music of Skoulaman crosses its identity phases until “Dreaming of the Future Reflecting the Past”. A 4th album where the Berlin School style binds itself to an EM with a more contemporary essence. The fusion is great. The result is surprising of a freshness which resources of its old fragrances with a very cosmic approach where emerge and revolve patterns of rhythm to fine permutations. Chronicle of a very beautiful album which is going to exhilarate you until its last second, both by its movements of sequences and its very lunar synth layers.
Delicate arpeggios, molded in a little bit dark tints, skip delicately in the harmonies of a synth line perfumed of a fluty essence. From the first chords of "Dreaming of the Future Reflecting the Past", we feel that our ears penetrate a sound universe filled with the charms of the analog years. The approach is minimalist, delicate and even dreamlike. Sequences skip with hardly perceptible alternations in the pace, weaving a peaceful wave motion which sometimes will fit to the delicate curves suggested by the discreet impulses of a bass line. The synth divides its harmonious perfumes with tears a little bit piercing which get loose from the mist of flutes, exposing even solitary chords which sound as a pensive guitar in bank of manipulated by nice orchestral arrangements. What jumps to ears is this feeling of attention to details which livens up the musical writing of Skoulaman. Nothing is left at random and every phase grows richer of the previous one with nice variations in the tints and the tones. We thus notice hardly the progression of "Dreaming of the Future Reflecting the Past" which accelerates a little its pace at around the 5th minute point. The pace is more sure and enriched the perception of this ascent which is always perfumed by a synth of which the multiple fragrances are walking our souvenirs through the ages of EM. Let's says that it starts pretty good! The approach of Skoulaman is very Cartesian, on the verge of simplicity. His rhythms are knotted in the spirographies of the linear and/or rotary movements from the sequences among which the shadows, the echoes and subtle gaps between the editing command the obedience to bewitchment. More lively, more fluid "Without Boundaries" weakens its indefatigable circular loops in a more incisive pattern of rhythm, but always static, beneath the concerts of arpeggios which ring in the furrows of long twisted synth solos. After a very bohemian approach in "Sardegna Coasts", which is a relatively relaxing piece of EM, "Islands in the Ocean" throws us in
Steve Roach's movements of Empetus. Superb, the track spreads lines of rhythms which attach their harmonious approaches as in a long roller coaster of which the moderate slopes and curves are undulating in cosmos. The electronic effects a little the genre of Jarre. We follow the crazy race of the sequenced movements with "Arabian Arp" and its deep kicks which oscillate in a dense magma of cosmic tones. The contrast between the slow orchestral envelopes and the deep movements of the sequences is as much delicious as those in the movements and the evolutions of the structures of sequences, like in "Orbital Moves". Sometimes quiet and sometimes agitated, the movement shows its nuances with silvery tones which sparkle in a universe in constant movement. Here as anywhere else, the synths snivel constantly, spreading slow morphic pads whose nasal fragrances remind me of Remy, by ricochet of Klaus Schulze, and counterbalance marvelously the variable flow of the structures of the sequences. "Voices of an Analog" perpetuates the sweetnesses of "Orbital Moves", but in a magnificent lento. Although slow, the flow is furtive with more bass pulsations which skip slowly in clouds of mist. A delicate melody is blooming through the tears of synths, conferring to "Voices of an Analog" the stamp of the most beautiful ambient track that I heard in 2015. "Sardegna Roads" has nothing to do with "Sardegna Coasts". Here, the rhythm is more than lively. It oscillates, it undulates with swiftness, multiplying loops on loops in a very ambiocosmic structure filled with pads of voices and where ring arpeggios which try to draw on an anvil an astral melody. The contrasts are as much fascinating as the subtle upward gradation of the track. "Far Away Worlds" ends this opus of Skoulaman with another pattern of rhythm sculpted in its contrasts and which spreads its attractive volutes in cosmic corridors decorated of starred sparklings.
Object of seduction which wakes in us these delicate memories where EM have made compete, made sparkle its sequences into morphic and cosmic synth layers, “Dreaming of the Future Reflecting the Past” from Skoulaman is an album which will know how to seduce you. If some people hear sonic perfumes of
Tangerine Dream there, it is rather true with the fluty synth, and even of Klaus Schulze, for the atmospheres of ether, me I hear influences of Roach, Jarre and even Ulrich Schnauss, for the small fragments of melodies scattered through these labyrinths of skeletal rhythms. But chiefly; I have spent more than a pleasant moment with the some 77 minutes of “Dreaming of the Future Reflecting the Past”.
Sylvain Lupari (May 22nd, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Skoulaman Bandcamp page here

mercredi 20 mai 2015

MORPHEUSZ: Tantalizing Thoughts at the Dawn of Dreams (2014)

“The music of MorPheusz is what does best in this universe where we try to join the poles of a music without concession and free of any commercial constraints that those of EM and of prog rock”
1 Psychedelic Poetry 11:54
2 Tantalizing Thoughts 13:55
3 Arousing Imaginary Vortex 7:33
4 Oriental Insomnia 18:03
5 Dawn of Dreams 15:43

Groove|GR-209 (CD 67:08) ****½
(Mix of Netherlands School and Prog Rock)
I had been very impressed by the solid Days of Delirium and Nocturnal NightMares, which was the first sonic chapter of MorPheuSz back in 2011. We looked forward to the second. We even thought that this project which unites the Dutchmen Ron Boots and the brothers Eric and Harold van der Heijden to the German guitarist/synthesist Frank Dorittke was on tablets. We saw well the band here and there performed on festivals, but nothing more. And finally, after almost 3 years of wait, the group makes a strong comeback with an album which transcends the first 2 opuses. Set ablaze by the influences of Pink Floyd, Van Der Graff Generator, Ozric Tentacles and even Alan Parsons, the music of “Tantalizing Thoughts at the Dawn of Dreams” redefines the standards of this fusion so wished between EM and progressive rock. In particular because of the imposing presence of Harold van der Heijden on percussions (boy is he good!) and Frank Dorittke, and it without wanting to take away anything to two others, who carries the music of MorPheuSz towards another level.
A delicate movement of sequences escapes from the thick cloud of psychotronic noises which feeds the intro of "Psychedelic Poetry". The guitar draws wandering airs which float in clouds of mists as well as on this movement of sequences of which the soft tom-toms sculpt an ambient rhythm which is very near the electronic ballads of
Ron Boots' repertoire. But we cannot also avoid this sensation to mislaid our thoughts in Roger Waters' Amused to Death and The Ballad of Bill Hubbard. The guitar and the soft intrusive rhythm are so similar. The emotions soar, as the crescendo gets intensified. The percussions of Harold van der Heijden make "Psychedelic Poetry" running in a kind of cosmic blues while the movement of sequences unfolds parallel lines of ambient rhythms which wind the structure with the complicity of a six-strings and of its more incisive solos. And, a little before the 6th minute point, "Psychedelic Poetry" explodes into a huge heavy progressive rock where it looks like Carlos Santana had replaced Peter Hammill in VDGG. The rhythm is heavy and surprisingly lively where the harmonies of Eric Van Der Heijden and Ron Boots bicker with Frank Dorittke's solos. Noises and electronic ringings, as well as these movements of sequences became stroboscopic, confer a splendid sound wealth which will seduce the music fan throughout this 3rd opus of MorPheuSz. I often make a reference to Pink Floyd? The voices and the hesitating arpeggios which open "Tantalizing Thoughts" would remove all of my credibility if I don't write about it. We are in the Animals era (Sheep). Only the rustlings of Frank Dorittke affix the signature MorPheuSz. Muffled and steady pulsations support a ghost rhythm which pulses in an ambient setting decorated by the guitar of  F.D. Project's founder. A splendid guitar which takes care of charming our ears with sweet solos which take the shape of the harmonious curves of the keyboards. The drum and the pulsations become louder, more insistent and synth solos whistle over this ambient bicker which drops some very beautiful harmonies. I hear Ashra here. But for a brief moment. Because "Tantalizing Thoughts" falls under the wraths of the drum and the bites of a six-strings' riffs which weigh down and transport the ambiences towards a solid rock which will stay under the charms of the fluids synth solos. Simply superb! While the synths and guitar swap harmonies and peaceful solos, the very effective Harold van der Heijden clubs the rhythm with violent strikes and "Tantalizing Thoughts" sinks into the heaviness and the psychedelic perfumes "Psychedelic Poetry" where Frank Dorittke unchains his anger. This is a great track of which the conclusion revisits the harmonies abandoned by its intro.
You love Ozric Tentacles? You are going to devour "Arousing Imaginary Vortex". It's a nervous track which is knotted around a strong meshing of sequences and percussions but also pierced by the solos of a guitar with Arabian harmonies. Breezes, as black as accentuated, and pastoral ringings are bickering its rather ambient opening. Sequences are roundly skipping in tones of starving gargoyles and the percussions of Harold van der Heijden hammer a rhythm which espouse a kind of furious gallop. It's a solid piece of music which finds its charms in the light and subtle inclination of its movement, initiating a very good duel between nervous riffs, both from
Frank Dorittke's six-strings and from the synths of the Ron Boots/Eric Van Der Heijden tandem. It takes some magic fingers to match the capacities of the synths. As says it the guide press; Frank Dorittke plays a bigger role on “Tantalizing Thoughts at the Dawn of Dreams”. A brilliant guitarist! And his Arabian fragrances persist on the very beautiful "Oriental Insomnia" which is more or less ambient and very rich in its perfumes of EM. Except for the finale which is as much explosive as the wild structure of rhythm which devours our ears from the 6th minute of "Psychedelic Poetry".  "Dawn of Dreams" is also marbled by a more electronic approach. After a rather ambiospherical intro, a meshing of sequences and pulsations, as resonant as glaucous, sculpt an ambient rhythm which deeply pounds without exploding. The structure is tinted of black is of used as base to keyboard riffs and synth mists which seem to smothered the rollings of percussions, but not these delicate guitar solos which reveal some harmonies difficult to ignore. After a brief ambiosonic phase, "Dawn of Dreams" falls in a heavy but stagnant rhythm, where the guitar unfolds solos as heavy as the strikes of the drum in a sonic decoration which yet merges marvelously the borders of EM and of progressive rock.
The wait was long, but was worth it. The music of
MorPheuSz is what does best in this universe where we try to join the poles of a music without concession and free of any commercial constraints that those of EM and of progressive rock. Except that, as Pink Floyd or yet Alan Parsons, the music of “Tantalizing Thoughts at the Dawn of Dreams” rejects the corridors of dissonance or simple improvisations to offer a music to which we will become accustomed to a bit more easily. And never previously, the guitar and the drum will have served never so well this fascinating marriage of sonic forms.
Sylvain Lupari (May 20th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Groove web shop here

lundi 18 mai 2015

WAVESTAR: Moonwind (1987/1998/2012)

“Surprisingly, this kind of fusion between the styles of Kitaro, Tangerine Dream and even Pink Floyd which is Moonwind releases sonic perfumes and electronic anthems which are totally bewitching”
1 Voyager 12:13
2 Edge of Morning 9:18
3 Cabala 8:56
4 Troll Valley 7:32
5 Moonwind 8:19
6 Chase the Evening 19:53
7 For the Wales 13:36

Bonus Tracks
8 Jabular 9:25
9 Lunar Shadows 5:02

Groove 010 (CD 79:52 / DDL 94:20) *****
(E-rock from the Jive EM era)
Here is an album that I completely ignored when people had extolled it some years ago. It's been a lot of moons since that I had heard about Wavestar. During my night-explorations and during my chats on Napster in the early 2000's to be exact (A little reminder here; we had and still have so few information, connoisseurs and music guides and music stores in Canada that the only way of knowing things was with Napster and MSN at the dawn of  the 00's). In these chats I had heard so great things with a great deal of enthusiasm about the band . Some of my new Internet friends had insisted even to say that it was the best EM album made in England. The first one especially to make the charts and to have received very good reviews. I ordered it then at Groove. I didn't go through the first listening. "Voyager" sounded to me as a weak imitation of Tangerine Dream and the very Kitaro style in "Edge of Morning" had totally disillusioned me. Within the framework of the 20th radio show of Murmure du Son, I started a small exploration of the England School model. I was thinking of artists like Mark Shreeve, Ian Boddy and Andy Pickford. And there, an acquaintance of mine puts me back on track and tells me: you forgot Wavestar. I have explained my first attempts! In front of his insistence and especially a post on my Facebook contacts about “Monnwind” (sometimes celestial bodies really align themselves strangely), I reattempt the adventure but this time with a more professional approach; it was a matter of credibility of our radio show. Thus this time, I shouldn't miss my shot; I understood clearly that this “Monnwind” from Wavestar was and still is a major album in the field of EM in England. And perhaps the springboard of England School. And it's a little bit true...
A delicate line of flute falls like a sonic drop in the ocean without sounds. Electronic effects, a little like bangings, resound in the room. And the line of flute becomes a wandering melody which whistles in cosmos. Layers of voices spread a veil of serenity while the fluty singing that of esoteric charms. Explosions and effects of mist surround this introduction of "Voyager" which, subtly, draws an approach a bit dramatic with layers of mists which become now orchestral emotions. I have to admit that this slow and very ambient introduction of "Voyager" is more attractive today than that time where I was looking for more beats, for furious rhythms or for structures of sequences a la 
Poland style. A delicate rivulet of sequences shines behind the 5th minute of "Voyager". The movement gallops and the fat sequences zigzag, go up and come down with grace. With fluidity. It's catchy. It's very appealing. The rhythm becomes fury with a mixture of tones in the sequences and with the addition of percussions. The synth pads which fall remind this period splendor of the Dream and of its 86 tour. What had annoyed me in 1999 still annoys me today, but a little less; the synth and its fragile fluty harmonies which sound so much like Kitaro on rock. They are omnipresent. But beyond this, we have to greet the very good work of stereo and the play of sequences and percussions. The nuances and the subtle gap between the strikes are elements of seduction which remind so much the work of Chris Franke. And it sounds so much like the period of Underwater Sunlight.  But with long twisted synth solos, which was really rare in this MIDI era, which overfly, glide and decorate an electronic rhythm as furious as very catchy. My mind became easy to gain: I was now hook on this album. Certainly there are always these ambient harmonies a la Silk Road from Kitaro on "Edge of Morning", but my girlfriend Lise just loves it. I ended by succumbing too. "Cabala" is a strong electronic rock with a meshing of sequences and percussions where float brief fluty harmonies but especially very good synth solos. These solos are the main advantage, according to my tastes and to the evolution of EM, of this “Monnwind”. The synths are great. "Troll Valley" is a track filled by very lugubrious, very intriguing moods borrowed to the dark and haunting charms of Walter Christian Rothe's Let The Night Last Forever, released 2 years before. It's kind of very disturbing. Like a music theme for a horror movie where spirits run after our soul in long endless corridors. I adored this track which had totally escaped me in 1999. There are scents of future Shreeve, Redshift even ['ramp] on it. The title-track? Ah...This one is very beautiful. It's a nice cosmic blues which does a full of references to Pink Floyd, both in Dark Side of the Moon and in Wish you Were Here. Solos, we would say a mixture of guitar and synth, float with a beautiful lasciviousness on a heavy, slow and soft rhythm. That sounds so much like Pink Floyd, in particular with these delicate synth pads where one would believe that Rick Wright was part of Wavestar, that it can delighted as well as irritated. It depends. The comments received during the recording of the broadcast are going in both ways. I have found it very good. Immersive, relax and a bit sensual. But not as much as my Lise who has really adored it. When the weepy harmonies of Kitaro meet the sequenced rhythms of Tangerine Dream, it gives "Chase the Evening" which is a long musical piece in the purest of  the 70's traditions, but with a tone of the 80's. The intro is very ambiospherical with some enveloping synth layers full of drizzle and prism. Dark chords resonant of threat fall there, adding a bit of angst in a place where we have the feeling to be swallowed by the cosmos. A line of sequences escapes. The movement of the rhythm is fluid and draws parallel lines which brush themselves with some subtle gap in the jumping keys of the sequencing. It's like uncountable roller coasters trails where is missing rails. It's very good. Lots of good solos. And it is so like the heart of the influences of the England School movement. And it ends with long plaintive solos which cry in a very ambiospherical finale where ring these carillons from which the constant presence fainted in this tornado of rhythm which ate the heart of "Chase the Evening"."For the Wales" is more ambiospherical. It's rather a long cosmic movement with evanescent synth lines and where are dancing some innocent arpeggios on muffled and slow impulses of a keyboard with lot of progressive rock perfumes. A mythical album, and with reasons, “Monnwind” has had a number of editions. This one from Groove is the best according to my ears. A downloadable version appeared at the end of 2012 and presents 2 unreleased tracks. One is in the same lineage of "Cabala", be the fiery "Jabular", as well as a more ambient track, a more cosmic Kitaro genre, in "Lunar Shadows". They are not necessities and I find that the sound makes very retro. As if something was missing.
I owe some apologies to those who praised me this “Monnwind” from Wavestar. Yes I needed a couple of listening, but in the end I found that very good. One of the finest EM opus in this area for sure. Surprisingly, this kind of fusion between the styles of Kitaro,
Tangerine Dream and even Pink Floyd releases sonic perfumes and electronic anthems which are totally bewitching. There are these solos also. Their long twist bring us back to the basics of EM and filled our ears of this magic of the 70's. In brief, it's a wonderful surprise that I discovered on the late.... But it's never too late. Isn't it?
Sylvain Lupari (May 18th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Groove web shop here

samedi 16 mai 2015

DAVID WRIGHT: Beyond the Airwaves Vol. 2 (2015)

“A mix of New Age, modern EM and Electronica, Beyond the Airwaves Vol. 2 is yet another rendezvous with the world in constant motion of David Wright”
False Dawn 4:19    Sirens 3:12
Dreaming Desire 5:23
Remembering Where we Were 8:11
Point Two 4:37   Sign of Three 3:44
Where we are is Where we've Been 5:35
Animism 2:23
Ghost Dancer 6:35   Vision Quest 2:15  
Return to the Plains 9:37   Earth and Sky 3:02

Bonus Tracks:
Call to Me 7:56
Walking with Ghosts, DJMass Chill Out Mix 5:39

ADMusic | AD 141 CD (CD 72:26) ***½
(New Age, modern EM and Electronica)
It feels good to hear new music from David Wright. There were rumors! His health. The possible closure of his label ADMusic. And especially this silence. But no! Everything seems to be fine. The proof? This last opus which is a logic continuity, announced during the launch of Beyond the Airwaves Vol.1. Constituted in 3 parts; Dreaming Desire, Return to the Plains and the bonus section, “Beyond the Airwaves Vol. 2” offers two structures knotted in slow evolutions which will reach their own zenith very separate for each one. Altogether, it's yet a beautiful album. A very musical one (are we surprised?) where the imprints of Carys and Robert Fox sign a very ethereal first part. Some will say a New Age part, and I have to agree but I'll add with a more tribal Electronica zest. The mix is quite good. While that Return to the Plains is more in David Wright's tradition. But no matter the ways taken to solve “Beyond the Airwaves Vol. 2”, the perfumes of Walking with Ghosts are there extremely present. Which in the end sounds like some very good news.
That comes by far! That comes from a part of the country where the ether is the elixir of serenity. A long breeze full of sun spreads a soft dreamlike veil where a synth filled by scents of flute play harmonies of a Kitaro genre on a delicate bed of prisms to silvery reflections. The first bastion of “Beyond the Airwaves Vol. 2” passes by the very meditative introduction of "False Dawn". Effects and electronic noises, as well as some elements of sound drama, are perturbing the serenity of the moment, introducing even a shape of rhythm which skips and will skip as the singings of a paradisiacal bird. An enthralling voice as much acuteness as spectral adds a phantasmagorical touch to the finale of "False Dawn" which little by little falls under the charms of a slow tempo, decorated by the suave voice of Carys which spreads its bewitchments over the line of bass sequences of which the slow pulse pounds delicately in a meshing of riffs and percussions which raise dusts of the light rhythm of "Sirens". The electronic effects and the poignant orchestrations accentuate a filmic approach, even a dramatic one, with this slow rhythm which increases its heaviness in the moods of "Dreaming Desire". Here also the voice of Carys and the orchestrations dominate a rhythm which aims to be a little more insistent without ever overflowing its delicate dreamlike envelope. We are in the field of quiet music. "Remembering Where we Were" leads us to the first pinnacle of “Beyond the Airwaves Vol. 2” with a delicately more insistent structure of rhythm. It's a nice morphic down-tempo with a zest of électronica adorned of delicious synth solos of which the strident charms can confuse a listening which wonders if it's not the voice of Carys that we really hear. A guitar comes to decorate this seraphic duel which brings out some Dreaming Desire of its New Age envelope. This is a good track which grows finely in intensity and gets lost for a while in  "Point Two" where the voice of Carys and these synth breezes which sing like astral mermaids rule over the ambiences of a very ambient tribal genre. In very well-kept arrangements which push a more lively structure, "Sign of Three" and "Where we are is Where we've Been" take back the role of "Remembering Where we Were" where the voice of Carys mixes its charms and introduces ambient/rhythm duels in luxurious orchestral arrangements. This sounds very
Robert Fox at times.
"Animism" opens the more electronic part of “Beyond the Airwaves Vol. 2” with a pattern of ambient rhythm which multiplies its disordered pulsations in the ringings of a rebel xylophone, electronic noises, foggy gases and synth pads waterlogged of apocalyptic rustles. If Dreaming Desire flirted with the ghosts of
Walking with Ghosts, the harmonies and the very light rhythm of "Ghost Dancer" throws us downright there. Lee Morant's guitar is as good as the one of a fine bluesman, while the paradisiac rhythm awakens the souvenirs of a certain album in 2002. "Vision Quest" cut out these ambiences quite abruptly with a surprising tribal ambient approach where shamanic murmurs and other ones closer to schizophrenia are melting to the beams of a sonic hoop and of its metallic glints which propagate until the introduction of "Return to the Plains"; the climax of “Beyond the Airwaves Vol. 2”. Under the bites of Lee Morant's six-strings, "Return to the Plains" gets transformed into a solid up-beat. A rhythm which gallops of its intertwined pulsations/sequences and which forges the limits of a heavy techno always decorated of these shamanic prayers which shout in splendid orchestrations. And the qualifier of splendid here is very weak. This sounds very Code Indigo. "Earth and Sky" takes us to the lands of melancholy where, always very bluesy, Lee Morant's guitar caresses our ears with the same poetry as Carys' voice. We are in the bonus tracks part with "Call to Me"; a piece of music written with Carys. It's a very deep relaxing Chill Out. Same goes with "Walking with Ghosts" which is a Chill Out Mix done by DJMass. Those are bonus tracks. Thus it is to be taken or ignore. I took them. Listened and was pleased as it's still good material from David Wright. And this Carys...what a voice she has. But still there: voices are not my cup of tea.
In all honesty? I had to struggle hard to tie bonds with this “Beyond the Airwaves Vol. 2”. Mainly for the Dreaming Desire part. But he still wins. Little by little,
David Wright goes away from this David Wright who has amazed by his musical esthetic. A signature which challenged the laws of modern EM of an England School style. But wasn't it always that? The man always avoided the etiquettes, being happy to do what he knows how to do best; offering a good melodious and dreamlike EM. Sometimes even a little bit progressive and audacious by flirting with the free style that is Electronica. And it's very exactly of what is made “Beyond the Airwaves Vol. 2”. If the extremely seraphic voice of Carys and Robert Fox's arrangements bring the Dreaming Desire segment near to New Age, it's done properly and never we fell it insipid. Even if sometimes orchestrations try to shake the sleepy tears of our soul. But Return to the Plains? WoW! This is 24 minutes of pure delight which gives us the taste to hear again what David Wright has more to offer.
Sylvain Lupari (May 16th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the AD Music web shop here