NAPRA ReView Volume 10, Number. 5 September/October 1999

This is an album for those willing to just sit and soak it in. Of course, it could be used as relaxing background music, but the soundscapes of this third gallery of atmospheric, minimalist, and sequencer-based music all evoke landscapes or mindscapes as well. Loren Nerell's Alter by Stillwater is a gentle gamelan-inspired Indonesian garden. Dean De Benedictis invites the listener to sit with the desolation Just Outside of Black Rock City, which is "half earth and half sky." When I played Ashley/Story's Poppies for Irene, I said immediately, "These are Dorthy's poppies!" Sure enough, the liner notes let me know that Irene had cancer and this music was composed to complement the morphine. At times the album is a little too minimalist for my particular taste. But other passages such as in Thomas Ronkin's A Lovely Drowning are quietly evocative in the best traditions of impressionist tone poems. AM

Groove Unlimited

The third compilation of ambient and electronic music from Lektronic Soundscapes is an excellent assortment of artists in the genre. Ranging from established names like Ron Boots, Tim Story and Roedelius, to relative newcomers and lesser knowns like Thomas Ronkin and Stratosphere, the CD is a wonderful collage of ambient soundscapes. According to the album, all of the music is new original compositions. So, if you are a fan of the artists on the CD, you apparently won't find these songs elsewhere. Being a self-confessed big Ron Boots fan, I was thrilled with the opener, Sleepless Motions, though Boots' trademark energetic sequences, even a little laid back, are somewhat out of place with the rest of the CD. The stark contrast is apparent as it fades and the solo piano of Tim Story and Roedelius' track begins. Carnickel and Pocketboat is definitely going to appeal more to fans of new age music, less to ambient and electronic fans. It is, however, undeniably beautiful. Equally serene is Temps Perdu?'s Timepool, a gentle electronic floater, with some subtle tribal elements in the latter half of the piece. The blend of sounds is very effective. Sometimes, the fun in compilations is an artist that runs counter to expectations. Loren Nerell's albums have often been influenced by Indonesian music, particularly gamelan music. However, on recent compilations, both Soundscape Gallery 3 and the Hypnos compilation Weightless, Effortless, he explores dark ambient territory. The only hint of his more primitive influences is the occasional chanting heard in the background of Alter By Stillwater. Many different styles within the genre are represented, but the common denominator seems to be high quality, and a willingness to experiment. Of note is Dwight Ashley's track, Denial, a very bold experimental work. It is a disjointed, but fascinating piece of music. Even the most accessible songs on Soundscape Gallery 3 offer a richness and complexity that will greatly reward attentive listening. Phil Derby

Ujamaa's Ambient Experience

Soundscape Gallery 3, the latest compilation of exclusive ambient and electronic tracks from the Lektronic Soundscapes label, continues the series' trend toward a broader and deeper view of the genre. Bringing together a wide variety of little-known but deserving artists, this compilation presents an excellent overview of some current activity within the world of ambience.

A notable inclusion is Denial, the first released solo piece from Dwight Ashley, who has released two albums with Tim Story as Ashley/Story, which also contributes Poppies for Irene to this compilation. Ashley's solo track is dark and abstract, with a variety of metallic sounds competing for the listener's attention, while the Ashley/Story piece is thicker and murkier. Story also contributes Carnickel and Pocketboat with Cluster alumnus Roedelius. Roedelius' haunting piano melody joins Story's trademark light atmospheres for an aura of mystery.

Atmospheric ambient tracks from Temps Perdu?, Loren Nerell and Thomas Ronkin are balanced by sequencer-driven, rhythmic pieces by Ron Boots, Dean De Benedictis and Stratosphere to round out the album. Overall, the diverse collection of tracks flows together very well for a pleasing listening experience that also serves to introduce the listener to these worthy artists.

Synth Music Direct

The best track on the album is an otherwise unavailable piece by Ron Boots (lasting almost eight minutes). It is subtly rhythmic in modern ambient fashion. The drum sound is rather wonderful as is the beat itself. The floating cosmic backdrop is also just perfect. When it arrives the melody is first rate. Half way in the rhythm is cranked up and the track becomes rather dynamic. It does however give a rather false impression as to what the rest of the album is like. The Soundscape Gallery series has been a show-case for some of the best space music and Steve Roach like ambient music around and this volume is no exception. The Ron Boots track therefore seems somewhat out of place but so what - quality is quality.

Carnickel and Pocketboat by Roedelius and Tim Story is tranquil and piano based, ideal for just chilling out to. Timepool by Tempus Perdu is a fine example of drifting synth drones slowly mutating and drifting over each other causing a meditative effect. There is some slight rhythmic detail but it is so low in the mix that it mainly just provides intrigue and focuses the attention. After by Darkwater by Loren Nerell as the title suggests is a much darker affair. Thick synth drones and the sound of strange creatures moving around in the depths make this a tremendously descriptive and atmospheric piece - great creepy stuff.

Just Outside of Black Rock City by Dean De Bendictis uses gentle echoing notes to conjure up images of circles slowly spreading on an otherwise mirror like pond. The metallic note droplets become more prominent then a restrained sequence again sounding full of echo acts like the sunlight being refracted into rainbows in the mist above the water. Another superbly atmospheric track. Too much happening for it to be described as ambient but a lovely piece that still fitted in with the mood of the album. Poppies for Irene (!) by Tim Story & Dwight Ashley is a traditional ambient type floater, very peaceful.

If all was Clear by Stratosphere uses synthetic plucked strings to provide a melody that can just be heard amongst the swirl of synth drones. Next up is a solo track by Dwight Ashley. Denial is very spooky with the sound of the wind blowing through deserted buildings and clattering objects still hanging from the walls of long deserted houses, those are the images it creates for me anyway. Great stuff. Last up we have Thomas Ronkin with his track A Lovely Drowning. Again we are in traditional ambient mode, the mood being extremely melancholy. Its all very floating but with loads of changes.

Recommended for fans of trad ambient music or Ron Boots. DL

L'entrepot

As in previous editions, it features new original compositions and thought provoking comments by three generations of what we think are some of the most interesting performers of atmospheric, minimalist and sequencer-based electronic and electro-acoustic music. Featured artists are; Dwight Ashley, Tim Story, Roedelius, Temps Perdu, Loren Nerell, Dwight Ashley, Thomas Ronkin, Stratosphere, Ron Boots, Dean De Benedictis. This Recording is most beautiful when played in its entirety. You will hear works inspired by thoughts, feeling and how we, as people, fit into desolate places' Need i say more? The bio said evrything.

One of the dangers some people find this his strength of soundscapes that it becomes to much air, that it never had enough tention or power to hold the listeners 'concentration'. Than it becomes background music, muzak. Something as the wallpaper. That is also the case with some songs of this CD. But not al the compositions has that problem. Carnickel and Pocketboat of Roedelius & Tim Story, is I think a mastepiece, mostly because of the depresed sound of the piano. But another title Sleepless Motion, is I Think, a little bit wrongly chosen.

A CD that mostly makes you scared, but sometimes makes you sleep beware for nightmares. Sarah Wolfe