Recorded live at the Hampshire Jam 5 festival on October 21 2006.
- Long way out
Ian Boddy - electric piano, synthesizers, software, sampler
Julian Shreeve - synthesizer, electric guitar, sequencer, sampler
Mark Shreeve - synthesizers, sequences, samplers, effects
"Last" features music which Redshift played live on Hampshire Jam 5 in October 2006.
For this concert, Redshift performed as a trio, as no other than Ian Boddy joined Mark and Julian Shreeve on electric piano, synthesizers, software and sampler.
For years, Redshift is known for their strong retro music (with a dynamic concert when they perform live) which has the versatile outcome of Mark Shreeveís huge modular system as core sound.
The music on "Last" still contains a lot of great pumping sequencing and varied vintage sounds, but one can also not deny some slight experimental edges popping up in the music.
In general, this applies to the transitions between the six tracks, and e.g. the pieces "Nightshift" and the title track. This element gives the overall music something extra, adventurous and daring.
It makes the outcome a bit less predictable, but in the end and after various listens, the album still sparkles in its own way.
2007. Bert Strolenberg / Sonicimmersion.org
There is presently nothing out there to match the power of Redshift. Starting from the groundbreaking Phaedra, their music traces an unbroken line across 30 years of innovative spacemusic. The live album Last (65'44") contains all the mad poetry and quiet drama one has come to expect from this group's endeavors.
From space-eating atonal sound collage to excruciatingly intricate sequencer manipulations, there is nowhere for the listener to hide in this music. Founding member Mark Shreeve provides the power and direction. His hands-on, on-the-fly, in-the-moment approach to performance runs opposite to the safe digital concerts of the laptop generation. His music really breathes, and sometimes pants, as the musicians meld together into a potent sonic force - which is at the foundation of this mode of expression.
With faithfulness to the soul, form, content and passion of the original, Redshift is extending beyond the vision of its inspirator.
2007. Chuck van Zyl / Star's End
If this is indeed the Last of Redshift, it is a fitting send off to a great 11-year ride. Though decidedly retro, Mark Shreeve always gave the band an aggressive edge that is unlike other Berlin school acts. Sometimes dark and brooding, sometimes rocking out, always intense, Redshift has put together an impressive catalog that EM fans will appreciate for years to come. The source of this album is Hampshire Jam 5 from October 2006.
Though warm applause is heard at the beginning, it is studio quality sound throughout.
"Tormentor" is a 16-minute sound fest that alternates between the bandís two major styles, all-out sequencer blitzes and moody atmospherics.
Speaking of moody, it segues into "Nightshift" which spirals downward into a cool series of electronic gurgling noises. Sequencing returns in short order on the title track, mesmerizing as usual. Subtle sonic textures and effects are gently folded into the background, and the intensity builds just so. Itís a fitting last stand, condensing Redshiftís best tools and tricks of the trade into one 11-minute blast.
After the soft interlude "Long Way Out" we move into the 20-minute epic "Damage." An ominous, edgy beginning is joined quickly by more sequencing that carries us a few minutes in before it all is stripped away, going into one of the dreamiest passages Redshift has ever done. It feels a lot like the really minimal moments from Tangerine Dreamís Rubycon or Ricochet, space music down to its barest essence. Fantastic.
Finally comes "Torn," and if this really is the last of Redshift, itís as good a way as any to close the book, dark atmospheric book ends with all sorts of nifty retro bits in between.
Well done guys.
2008. Phil Derby / Electroambient Space
This is a recording of their performance at Hampshire Jam 5. The band this time were Mark Shreeve, Ian Boddy and Julian Shreeve.
Dark symphonic pads sounding almost like a swarm of bees get the opener "Tormentor" underway. Very deep slow pulses rumble forth as a wonderful slow sequence forms underneath. Itís the sort of sequence that is thick, powerful and above all moody. The sounds created through Markís big Moog really aren't producible by any other instrument and when this instrument is wielded by such an expert the results, as here, are simply devastating.
Things subside slightly only to rebuild wonderfully and as with many of the tracks here things continue to build, reach the most devastating of climaxes but just when you think that is the peak there is yet another surge which takes us to even greater heights of ecstasy. The sequence is never just left to run, it morphs this way and that, rising and falling all the time and just when I thought we were gently winding down for a finish it surges once more to the most incredible explosion of power.
"Nightshift" on the other hand is rather short but still ominous and moody bringing up images of being alone in an underground station at night, faint metallic sounds in the distance and a chill wind blowing down the tunnels. It reminded me a little of some of the more atmospheric tracks from ĎSorcererí.
A tinkling melodic sequence materializes for the title track. The pulsations gradually become more intense then another heavy sequence falls into formation with the first, complimenting it wonderfully as things become increasingly exciting. A virtual guitar type lead lets rip and I am in Heaven! Again there is an ebb and flow to proceedings, the intensity only being reigning back to make the next surge even more devastating.
We get the second and last interlude with 'Long Way Out'. All rather relaxing in a haunting sort of way.
'Damage' initially continues through in a similar mood before the pulsations and locomotive type rhythms start on their devastating journey of build, morph, intensify, spit venom, intensify once more than go ape. Each crest and trough brings fresh waves of excitement as we journey from one to the other on the most awesome organic sea of sound. In the seventh minute all descends to the subtlest of sonic coloring. Just a touch here, little motif there. This is very different to anything else on the album so far, subtlety taking over from raw power. By the eleventh minute moody stabs of raw energy are ripping apart the peaceful atmos as gradually things become more aggressive. We are back in full flight as another sequence is cranked up, gaining extra bite by the second as we return to the rise and fall of awesome walls of blistering pulsations. Incredible stuff!
The audience demand more and are rewarded with the encore ĎTorní. Little melodic note droplets juxtaposition with an almost bestial backing. All structure momentarily departs then the biggest mother of a sequence it can surely be possible to create literally tears through the air, vaporizing atoms as it goes. The lead lines are pretty damned devastating and uncompromising as well. What a track!
What an album!
This album by Mark Shreeve & mates is vintage Redshift analogue EM. Itís overflowing with "spacy" soundscapes, surging sequences and spatial guitar that create a dense, surging wall of synthetic sound. Of all the Euro EM bands today Redshift ranks right up there at the top when it comes to making incredible electronic music. Not to be missed!