Turbo Recordings: Cat. # MARCD00152
Year Released: 2001
Track List:
1. Skymning (5:37)
2. The Wireframe Fields (8:01)
3. Temple Of Opposites (5:47)
4. Floating Points Of View (4:25)
5. Love Theme (6:49)
6. Precious (5:21)
7. The Desert White (6:02)
8. Interstellar Superstructure (5:38)
9. Trenches Of Time (4:23)
10. Spiralling (3:48)
(2010 Update:
A bit overzealous in this one, I must admit. I hadn't quite gotten the hang of positive hyperbole when describing music. Eh, at least I never succumbed to idiotic fanboyism. By the way, if you still haven't checked this album out, for the love of God, why? It's great! Get it, damn you.)
IN BRIEF: Criminally overlooked gorgeous music.
Those thinking this is a typical Turbo release with plenty of house, techno, or electroclash are in for a bit of a surprise. Indeed, Peter Benisch manages to create a timeless piece of downtempo grooves with lush ambient textures that, like the album's name suggests, demands a major motion picture to accompany it.
Like the opening credits of such a movie, the incredibly lush Skymning is the perfect piece to open an album with. After a bit of industrialized percussion starts out, somber pads gently glide about in the background. Extra elements such as flowing ethereal voices and atmospheric effects weave about as they are introduced until a simple acoustic melody joins as well. Everything mingles throughout the song, creating a stirring piece of sonic rapture.
Ominous mechanical effects and rhythms take us forward into The Wireframe Fields. Before long, hauntingly ethereal voice pads are introduced, setting up for a synthesized flute to play a somber intro. Yes, that's right. All this is just the appetizer for the The Wireframe Fields. Once the main portion washes over this song -gorgeous, sweeping synth pads- you are seemingly enveloped in heaven. While these three elements come and go, even join together at points, deep sub bass accentuate the pads beautifully as little electronic effects flutter in and out throughout. This is an incredibly stirring piece of music and not to be overlooked by anyone.
As its title suggests, Temple of Opposites is divided by two very dissimilar sections. Starting off with synthetic grooves, menacing strings pads, and eerie female vocals, this song creates quite the foreboding atmosphere. Some three minutes later, things shift as the song breaks down into benign bells accompanied by synth pads. Oddly enough, the percussion remains the same, though elements of it are progressively stripped away as the song moves towards its end. Temple Of Opposites is quite a contrast of moods but is held together remarkably well by some great production work.
Floating Points Of View is not quite as focused as the first three tracks on this album. Relying more on little electronic blips and bleeps along with a simple, subdued electro melody that only really plays for half the song, I get the impression Peter Benisch was more interested in making this merely a transition between songs rather than standing tall like the others. Not an entire letdown really, just not as immediate as the rest.
Fortunately, Love Theme makes the transition worthwhile as another hauntingly beautiful number. Ethereal female singing, mellow percussion, and tinkling piano melodies are wrapped together in a blanket of sub bass as airy effects weave about. Following a more traditional chorus/verse structure, Love Theme seems to be able to tell a touching tale without a single word. It is a song that truly deserves to be shared with a loved one's tender embrace.
Picking the pace up a bit is Precious, yet another richly textured song. After an intro with dark synth pads and atmospheric effects, brisk mechanical breakbeats and more ethereal female voices float about. Some simple electronic riffs and bass make their way in a few minutes, providing nice, supporting melody to go with the bulk of this song. Not a song desiring to go for a big moment, Precious rather subtly uses its elements to set mood, and leaves almost as soon as it seems to pick up. A bit of a shame, really. I'd have loved to see Precious go far a climax.
As if heading the call, industrialized percussion and a bassline that makes good use of alternating stereo effects start us out on The Desert White, providing another brisk pace. Synth pads soon escalate into epic proportions as an ominous, indiscernible voice sample flutters in the background at points throughout. Always wise to never overdo their grandeur, these pads provide so many layers of sonic texturing as they overlap one another that it creates ever changing soundscapes; yet another sonic treat on this album.
With big, sweeping synth pads and a tinkling synth arpeggio, there are some good ingredients for more resounding soundscapes in Interstellar Superstructure. However, the percussion element isn't quite as interesting as many tracks before it and the main elements to the song don't really build much further than what we're given from the start. Probably the lack of any focal melody is what renders this song into something more transitional like Floating Points Of View. There are a few other elements like female singing and pad effects but these don't gain enough prominence to make them anything more than just background. Still, this track does create the image of its title quite vividly.
Slow percussion fed through a bunch of reverb starts things out on Trenches Of Time as a mysterious, gentle pad emerges from the background. Slowly, the pad builds upon itself, soon taking on more striking textures with a mellow bass line adding itself to the fray. A simple bit of extra percussion is added and a pad melody joins as well. I'm expecting quite a climax with all these layers being added but, as the song does a breakdown, it fades out. A pleasant enough track but it feels short considering the way elements are progressively added. Hnn... must be too weaned on music of that nature of late.
To close out this saga is the perfect song to end an album on: Spiralling. As menacing mechanical growling starts things off, it soon fades away to make way for soaring, benign pad work and an ethereal female voice gently sings a rousing melody. Just lay back and be swept away.
I have to hand it to Peter Benisch. I'd never heard of the man before this release and was turned into an instant fan when I listened to this. Turbo's track record of releasing quality albums only grows with Soundtrack Saga, this time adding downtempo to their catalogue. However, just lumping this album into a downtempo category would be unfair as tracks like Precious and The Desert White are definitely of danceable pace while keeping with the ambient texturing that dominates this album. It's a bit of a shame the individual songs themselves slid a little in overall brilliance towards the end of the album but it isn't to say they aren't without their own merit nonetheless, as they fit quite nicely into the overall impression of Soundtrack Saga. Fans of music containing lush textures should definitely search this album out for their collection.
SCORE: 9/10
ACE TRACKS
The Wireframe Fields
Love Theme
The Desert White
Written by Sykonee. Originally published 2004 for TranceCritic.com.© All rights reserved.
Year Released: 2001
Track List:
1. Skymning (5:37)
2. The Wireframe Fields (8:01)
3. Temple Of Opposites (5:47)
4. Floating Points Of View (4:25)
5. Love Theme (6:49)
6. Precious (5:21)
7. The Desert White (6:02)
8. Interstellar Superstructure (5:38)
9. Trenches Of Time (4:23)
10. Spiralling (3:48)
(2010 Update:
A bit overzealous in this one, I must admit. I hadn't quite gotten the hang of positive hyperbole when describing music. Eh, at least I never succumbed to idiotic fanboyism. By the way, if you still haven't checked this album out, for the love of God, why? It's great! Get it, damn you.)
IN BRIEF: Criminally overlooked gorgeous music.
Those thinking this is a typical Turbo release with plenty of house, techno, or electroclash are in for a bit of a surprise. Indeed, Peter Benisch manages to create a timeless piece of downtempo grooves with lush ambient textures that, like the album's name suggests, demands a major motion picture to accompany it.
Like the opening credits of such a movie, the incredibly lush Skymning is the perfect piece to open an album with. After a bit of industrialized percussion starts out, somber pads gently glide about in the background. Extra elements such as flowing ethereal voices and atmospheric effects weave about as they are introduced until a simple acoustic melody joins as well. Everything mingles throughout the song, creating a stirring piece of sonic rapture.
Ominous mechanical effects and rhythms take us forward into The Wireframe Fields. Before long, hauntingly ethereal voice pads are introduced, setting up for a synthesized flute to play a somber intro. Yes, that's right. All this is just the appetizer for the The Wireframe Fields. Once the main portion washes over this song -gorgeous, sweeping synth pads- you are seemingly enveloped in heaven. While these three elements come and go, even join together at points, deep sub bass accentuate the pads beautifully as little electronic effects flutter in and out throughout. This is an incredibly stirring piece of music and not to be overlooked by anyone.
As its title suggests, Temple of Opposites is divided by two very dissimilar sections. Starting off with synthetic grooves, menacing strings pads, and eerie female vocals, this song creates quite the foreboding atmosphere. Some three minutes later, things shift as the song breaks down into benign bells accompanied by synth pads. Oddly enough, the percussion remains the same, though elements of it are progressively stripped away as the song moves towards its end. Temple Of Opposites is quite a contrast of moods but is held together remarkably well by some great production work.
Floating Points Of View is not quite as focused as the first three tracks on this album. Relying more on little electronic blips and bleeps along with a simple, subdued electro melody that only really plays for half the song, I get the impression Peter Benisch was more interested in making this merely a transition between songs rather than standing tall like the others. Not an entire letdown really, just not as immediate as the rest.
Fortunately, Love Theme makes the transition worthwhile as another hauntingly beautiful number. Ethereal female singing, mellow percussion, and tinkling piano melodies are wrapped together in a blanket of sub bass as airy effects weave about. Following a more traditional chorus/verse structure, Love Theme seems to be able to tell a touching tale without a single word. It is a song that truly deserves to be shared with a loved one's tender embrace.
Picking the pace up a bit is Precious, yet another richly textured song. After an intro with dark synth pads and atmospheric effects, brisk mechanical breakbeats and more ethereal female voices float about. Some simple electronic riffs and bass make their way in a few minutes, providing nice, supporting melody to go with the bulk of this song. Not a song desiring to go for a big moment, Precious rather subtly uses its elements to set mood, and leaves almost as soon as it seems to pick up. A bit of a shame, really. I'd have loved to see Precious go far a climax.
As if heading the call, industrialized percussion and a bassline that makes good use of alternating stereo effects start us out on The Desert White, providing another brisk pace. Synth pads soon escalate into epic proportions as an ominous, indiscernible voice sample flutters in the background at points throughout. Always wise to never overdo their grandeur, these pads provide so many layers of sonic texturing as they overlap one another that it creates ever changing soundscapes; yet another sonic treat on this album.
With big, sweeping synth pads and a tinkling synth arpeggio, there are some good ingredients for more resounding soundscapes in Interstellar Superstructure. However, the percussion element isn't quite as interesting as many tracks before it and the main elements to the song don't really build much further than what we're given from the start. Probably the lack of any focal melody is what renders this song into something more transitional like Floating Points Of View. There are a few other elements like female singing and pad effects but these don't gain enough prominence to make them anything more than just background. Still, this track does create the image of its title quite vividly.
Slow percussion fed through a bunch of reverb starts things out on Trenches Of Time as a mysterious, gentle pad emerges from the background. Slowly, the pad builds upon itself, soon taking on more striking textures with a mellow bass line adding itself to the fray. A simple bit of extra percussion is added and a pad melody joins as well. I'm expecting quite a climax with all these layers being added but, as the song does a breakdown, it fades out. A pleasant enough track but it feels short considering the way elements are progressively added. Hnn... must be too weaned on music of that nature of late.
To close out this saga is the perfect song to end an album on: Spiralling. As menacing mechanical growling starts things off, it soon fades away to make way for soaring, benign pad work and an ethereal female voice gently sings a rousing melody. Just lay back and be swept away.
I have to hand it to Peter Benisch. I'd never heard of the man before this release and was turned into an instant fan when I listened to this. Turbo's track record of releasing quality albums only grows with Soundtrack Saga, this time adding downtempo to their catalogue. However, just lumping this album into a downtempo category would be unfair as tracks like Precious and The Desert White are definitely of danceable pace while keeping with the ambient texturing that dominates this album. It's a bit of a shame the individual songs themselves slid a little in overall brilliance towards the end of the album but it isn't to say they aren't without their own merit nonetheless, as they fit quite nicely into the overall impression of Soundtrack Saga. Fans of music containing lush textures should definitely search this album out for their collection.
SCORE: 9/10
ACE TRACKS
The Wireframe Fields
Love Theme
The Desert White
Written by Sykonee. Originally published 2004 for TranceCritic.com.© All rights reserved.
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