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It takes a certain kind of guts to be seen as old school in contemporary music these days. In possession of such fortitude, UK Electronic Musician Mark Shreeve keeps putting it out there in a way more circumspect artists have never dreamed. His work under the name Redshift is rarely less than enthralling, and the album Life to Come (64'11") is one of the year's most engaging releases. Each of its seven tracks unfold with the simplicity of a fable, and the drama of a psychological thriller. Time after time Mellotron harmonic skirmishes give way to the locomotive power of pumping sequencer runs. Rising to nearly assaultive levels these lines of mechanically ordered notes ratchet, echo, transpose, expand and retract in frequently spectacular demonstrations. The plaintive voice of Shreeve's melodic synth leads falls in with the string and choral chords hovering above the steadily cranking arpeggio. Life to Come approaches the redline of its adrenaline quotient as the pulsing and heaving behemoth sequencer patterns head toward a point outside of our galaxy. Aural apparitions excite the imagination as ghostlier demarcations reveal deep, dark, secluded sonic recesses. The characteristic movement in Shreeve's music is ascension. As night moves over us clouds of ethereal flutes come in to relieve the weight of Life to Come's disquiet - the calm after the storm offering a measure of sublimity. The assuredness of tone reflects the theme of each realization, and show Shreeve's powers of evocation to be uncanny. Here he seems to be in his glowing prime. This electronic spirit knows about Spacemusic's secret heart. Far more than just stylish minimalism, his music is complex - not reducible to just an idea or two. Life to Come will have us stepping back, then moving in to inspect the details. But, the analysis is optional. The thrill is not.
- Chuck van Zyl/STAR'S END 29 October 2015 |
