Recorded and mixed at Distant Sun studio between December 2003 and September 2004
- Oblivion [10:28]
- Leave The Light On [5:54]
- Flow [12:31]
- Under The Sun [3:00]
- Runes [14:45]
- Small Bright Light:Gone Out [6:40]
James Goddard - electrixc piano, sampler, mono and polysynths
Julian Shreeve - sampler, mono and polysynths, modular synthesizer and sequencers
Mark Shreeve - modular synthesizer and sequencers, monosynth, tape delay
Ian Boddy - electric piano and polysynths on track 3
And then there were three. Rob Jenkins has regrettably left Redshift, but the spirit lives on with Mark Shreeve, Julian Shreeve and James Goddard.
The title track begins with typical Redshift haunting echoes of sound, then a classic Mark Shreeve riff with pulsing bass and a dirge-like processional. Intensity ebbs and flows, hitting a crescendo then laying back, then peaking again, another Redshift trademark. Itís an auspicious beginning, with the promise of even more good things to come.
"Leave The Light On" tells you what itís about Ė dark atmospheric touches that are perfect for Halloween or just spooking yourself for fun. If the title track sounds like an ARC piece, itís because Ian Boddy makes a guest appearance. This one percolates along with just the right amount of tension and release, again with a beautiful bass line and top-notch sequencing as expected.
"Under The Sun" is more abstract and in a way darker than "Leave The Light On". This flows effortlessly into "Rune,", the longest and possibly best piece.
Node fans will like this one a lot, as it has the same industrial edge to it. Male choirs dominate "Small Bright Light: Gone Out". Mellotron strings also make a strong showing, creating an appropriately melodramatic closing.
Redshift continues to show why they are head and shoulders above most of the competition.
Phil Derby / Electroambient Space
Independent-minded music is usually realized as a reaction to something. For Arnold Schoenberg it was World War I, for Roger Waters it was the death of his father and for Redshift (James Goddard, Rob Jenkins, Julian Shreeve and Mark Shreeve) it is tomorrow; a tomorrow where music is stored and experienced digitally, unchanging and perfectly intact... its humanity vanquished.
Their albums Oblivion (53'20") and Faultline (74'20") are a fable from the future, refracted in modern skepticism. One, a studio album which vibrates with restrained intensity, the other energized by the ritualistic nature of the live performance, are characterized by their breakthrough in tone, elegance and complexity of intentions. These works derive their magnitude from the unresolved tension between old and new music technology and consciously evoke a bygone day of music making. At its most potent Redshift delivers a range of strident electronic rhythms. From resolute and propulsive syncopated pulses of tone to the metronomic, mesmeric cadence of cycling sequencer patterns, the motifs and arrangements are rhythmically intricate and meticulously woven. This brand of Spacemusic demands attention. The raw intensity is riveting and offers little time to drift off in contemplation. As space will change shape by twisting, expanding and warping, so then does the music, eventually arcing downward into fantastic passages of enharmonic timbres and nonspecific washes of sound.
Redshift puts forth a level of craft as opposed to pure mechanistic message and takes this music to the edge of possibility. Spacemusic's most unique attribute is that it changes, and is experienced, over time. On these albums, imagination finds form in sound. Somehow, amidst all the technology, the creative spirit rises.
Influence can always be measured easier than greatness. Redshift fights the notion that this music belongs to history rather than the present. It's more than a continuation of a lost tradition; Spacemusic is an art, a mode that is inexhaustible.
Chuck van Zyl / Star's End