Signal To The Stars CDS Review......

Easily one of the finest “Synth” music albums to be released in 2004 and certainly some of the best music Dave Wright has been involved in since his highly acclaimed ‘Walking with Ghosts’ album!
‘Signal To The Stars’ is the perfect mix of melody and mood, old school and new school, delicacy and dynamics, passion and power. Delving into influences from the past such as Tangerine Dream and Vangelis, the duo have come out with a seventy minute album of classic, and classy original “electronic music”, choc full of memorable themes and hypnotic rhythms, with plenty in the way of inventive sequences, atmospherics and spontaneous keyboard solos along the way.
Yes, ‘Signal To The Stars’ is one of those albums that captivates right from the start, as you begin a journey that takes in a lot of gorgeous musical scenery along the way.
‘Sycorax-Part 1’ starts the trip on a high note, and the thing you first notice is just how much is happening in the mix, as you take in a perfectly produced sound where electro-percussive rhythms, twinkling backdrops, expansive synth strings, loping electronic bass and flying, Dyson-esque keyboard lead melody lines are all evolving into a musical panorama of horizon-stretching proportions. As the rhythms slowly drive and the lead synth melodies gradually appear on top, the mood is almost tranquil, but the sound is solid and the effect is enjoyable as this promising musical journey begins. Rhythmically, it’s a mix of past and present, sequential and ambient, and evocative to the point where you can’t help but sway like a palm tree in the breeze to the so addictive rhythmic base. The sequencers take center stage over the electro-percussive elements, but then switch slowly back as echoed synths and soaring lead melodies are left in a completely atmospheric finale at just past the seven-minute mark, when it segues seamlessly into the next section of the 2-part, thirteen-minute ‘Sycorax’ suite. The mood and pace continue as before, this time more subdued initially, but then a swooshing synth comet gives way to a meatier mix of electronic and electro-percussive rhythms, as more and more layers of synth backdrops, Vangelis like melodies and moods are added. The journey is now accelerating as the scenery flashes by, all like a train-ride through unfamiliar, but just gorgeous musical terrain, as synths solos take to the skies and back.
The 3-part sixteen-minute ‘Iosphere’ starts with distant choral effects drifting on the breeze, then a beautiful, emotional melody line (a bit Vangelis this!) fills the air against a backdrop of string synths. Just over three minutes in and the sequencers, again mid-paced and seriously languid, follow in almost unnoticed as the melody line wails into the heavens. The mood and structure of the music is maintained for ‘Part 2’ as it seamlessly rolls in, and here, the theme really hits a point where the sound is pure vintage Vangelis, and seriously expansive too, as the synths and rhythms slowly flow by in quite glorious fashion. Although it is in a slightly different synthesized setting, the thematic qualities of the 1st part are still running through it like a vital artery. There’s even a touch of the later period instrumental Mike Oldfield about it, as the melodies take on a more anthemic role and the whole mood becomes serene and uplifting, and there’s almost not a dry eye in the train. The seven-minute ‘Part 3’ then builds up to become a thing of symphonic greatness as the journey moves upland to reveal the vast expanses of the plains far below, a (musical) landscape that takes your breath away.
Atmospheric space waves introduce ’Elara’, a delicate five-minute tune that starts with a light sprinkling of sequencers and phased string backdrops. Then a beautiful Vimal style synth melody and a flute-like lead come in amidst a backdrop of string synths to provide a positively charming break as the journey briefly comes to a temporary halt.
‘Part 1’ of ‘Setisphere’ is drifting, cool and spacey, with a crystalline melody that comes in on top, evoking passing through an expansive stretch of wintery landscape. A rhythm strikes up to slowly accelerate through the icey cool climate of the current setting a little faster, starting as a slowly pumping heartbeat at first, then as mallet percussion-like synth tinklings further in. As swathes of gorgeous phased string synths enter and deep choral voices are added to fill out the background, this web of soothing melodies slowly covers the horizon, almost like going through a mist where the scenery remains evident throughout, and somehow it’s so tranquil and ethereal, yet the rhythms continue to pick up speed and continue our journey on towards the next passage.
Another seamless crossover takes us into ’Setisphere’-Part 2 with high register synth melody lines over a light backdrop of Mellotron like sounds and spacey strings. Half-way through this part of the 3-part, seventeen-minute piece, the pace picks up as beefy sequencers and meatier electro-percussive sounds increase the rhythmic force, and the vast expanse of strings and melodic synths all gather together to form a richly textured collage of melody and rhythm that spills over into the final stage of the journey, where, after a brief rhythmic break all these massed sounds become all the more intense and powerful. The synths sizzle and squirm as they try to pierce the edge of the massive sound cloud from all angles, swirling this way and that, as this fantastic, huge-sounding mix of melody and rhythm continues to build to dramatic proportions, with keyboards, sequencers, ambient rhythms and melodies flying towards a destination with purpose and determination, eventually emerging from the scenery in the closing moments where the suite ends in a pool of clockwork rhythms and background effects.
The next 3-part suite is called: ‘Naiad’ (of which one part features as a completely different remix on the current, issue 18 of ‘Inkeys’ CD), and the travel is slow at first, as strings, tinkling piano melodies and deep bass are set at the heart of things, with more layers and textures appearing as the movement begins. The ambient rhythms eventually gather pace as the journey commences, and the whole canopy of synth strings, Mellotron waves and other various keyboard textures is so gorgeous as it all unfolds before you. As ‘Part 1’ draws to a close the sequencer comes up in the mix and for the 2nd part, then things get distinctly beefier, as the rhythms really let go and swell up with synth melodies towering over the top as the pace intensifies. You can feel the train having one final charge as it sails ever closer to journey’s end with increased levels of rhythmic torque driving the musical machine harder and faster than at any poinr before, with strings and lead synth tunes flying out on top, as destination point is reached. The 3rd part, with its four minutes of gentle piano and delicate synth violin textures, allows you to leave, reflecting on the amazing experience you have just undertaken - A journey of epic and breathtaking proportions, as you sit there, looking back, almost tearful and oh so eager to repeat the journey.
Luckily, you – the listener – can do just that by just pressing that “play” button again.
A “Synth Music” album of pure class and quality!