1. Space Border Patrol MP3 soundclip of Space border patrol [2:59]
  2. Mars - The Rusted World MP3 soundclip of Mars - The rusted world [2:59]
  3. Venus - The Cloud Sphere
  4. Starfields MP3 soundclip of Starfields [2:59]
  5. Kuiper Belt
More great sequences from New Zealand. While listening to randomly selected fragments, as presented in the wide array of current atmospheric space music, the decision to order my next CD is predicated on the unique and slightly different approach this artist applies in his soundtrack, ranging from extatic to melancholic in an unpredictable, but in an amazingly 'flowing' fashion,culminating into one cosmic journey!
His music is to a high degree 'therapeutic'. Truly a very gifted artist, like so many other Dutch composers, I am discovering.

The music alone makes me want to go back to the country I left 35 years ago. Ik ben trots om Nederlander te zijn!

2009. Ron Scholten / U.S.A. Rudy Adrian is a very busy man. After the live-album "Concerts In New Zealand" and his, soon to be released collaboration with Ron Boots, "Starfields" is his third album in a year time. If the quality is good then thereís nothing wrong with that.
With "Starfields - Sequencer Sketches vol. 3" that quality is certainly and highly present. As the title suggests, it is the third album of sequencer music that the synthesist from New Zealand has created.

The great thing about Rudyís music is, that itís sequencer-based but not easily comparable with the sequencer music from the "Golden Age" and the retro-movement, which is so popular nowadays.
The album opens with "Space Border Control" which consists of long-held sequences, strong solos and beautiful ambient sounds.
"Mars - The Rusted World" has some excellent melodies. The title track is a long piece (more than 23 minutes), which opens softly and then gently moves into excellent sequences and even more spherical sounds.

Rudy is a master in creating a mix between sequencing and atmospheres. "Starfields - Sequencer Sketches vol. 3" is perhaps the best example up until this moment.
May he continue to volume... Who knows?

2002. Paul Rijkens I have good news. There's a fabulous EM album out at the moment! It's freshly being released on the Groove Unlimited label.
It's the brand new album from Rudy Adrian. Oh boy, if you want to hear rattling sequencers with soloing on top this is the one. Really a stunning new album, full to the brim. 65 minutes of cosmic delight. And you know what I like so much, those delicate tick sound, playing it like Vangelis did on his best album in the 70s. I can't remember another musician using this style of playing ever again, oh wait, of course Wavestar did it, but they let it take overtake the whole sound picture (nothing wrong there mind you; I still love Moonwind!!!).
Yes this is a threat for all the 70s devotees.

I'm playing Space border patrol now and hear those thumping sequencers with soloing on top with Rudy really going overboard. AAAAAAAH, incredible stuff. You won't believe it, but my hands are getting wet as I'm typing this, so emotional! And yes, no closing doors after 5 minutes. This track lasts for 16 minutes.
Actually this is the third time I'm playing this cd! Yes, Hummel from Spacecraft and three new Tom Brennan's still have to take the backseat!!!

Then Mars - The Rusted World. WOW we are sunken deep, walking through a cave of some sort. Very mysterious sounds rising and fading out again. O, wait Moondawn-like sparklings appear, then their are gone again and a vast aural landscape is being laid out. Marvelous. New sequencers emerge round 6 minutes and nice ones too!! O yes, Rudy bring into to fourth gear! Another one joins. No, I don't give you the whole track. Just listen for yourself, it's unlikely your being disappointed. Ok, a little hint, the sequencers sound a bit Schulze like! The duration is 13.33.

Venus - the Clouded Sphere (8.35). Rudy waists no time, starting up those fine patterns immediately, ultra fast, with slow meandering sounds over it. Yes, this is a Grand atmosphere (no, I don't mean that Grant!). O boy, those patterns are fantastic whirling like snakes in the breeding season.
On to the title track. Yes boys and girls this one is almost mega long: 23:35. It's must be night, I'm hearing the chirping of crickets! The whole pace of the faint thump in the back is slow. Soft key-drops paint the landscape. This reminds Mind over Matter. Don't ask me which album. Maybe the first or the second. There are the soft synth sketches again. This very soothing and relaxing. Although in the background new sequencers are developing. They come upfront and a Jarre-esque noise sequence pattern (I know how many of you love that) accompanies it.
Rudy is playing with the filter cutt off again opening it, so those teasing bright sounds penetrate my ears!!!! Yes, this swings allright. He even throws in some dark waves like Roach loves to do.
Last track. Kuiper Belt. Must be one of those astronomical phenomenon. Yes, this is very special. Sequencers flow on a bed of misty sounds like the colour picture one sees when a new morning is creeping behind the horizon. This is short only 3:15!
Rudy, I wouldn't mind volume 4!!!

2002. Roel Steverink I've been a friend of Rudy for about 3 years now, and it seems every CD seems to out do his next, all of his work is quite pleasurable, exciting, incredible for me for every listening, now that Starfields is out, I feel this by far out does any of his previous work, lots of spacey interludes, great sequencer work. Flat out your a genius, what would Mr . Einstein think of you?
Congrats to Groove and Rudy for another FABULOUS release..

2002. Mike / US Anyone with insight into Rudy Adrian's music understands that his electronic realizations are aural evocations of the natural world by which he is so inspired. The wonderful Adrian musical qualities often conjure up mental images of mighty rivers, moonlit landscapes and towering mountain peaks. But the more analytical among us find that the significance of Adrian's music is in the line he traces between the Berlin-School of Cosmic Music and the reassuring tone of the New Age.
Adrian's album releases represent two areas of endeavor, the introspective and unfocused "Amospheric Works" which are contrasted by a more rhythmic and melodic series of "Sequencer Sketches". On Starfields (Sequencer Sketches vol. 3), Adrian further commands form and articulation with five fully energized "sketches". On this volume, Adrian is concerned with the force and propulsion of the interlocked, multi-layered, ever-evolving cyclical rhythm patterns associated with this well-established style.
The shape of each piece offers a slightly different arc upon which the listener travels as Adrian organizes each piece individually in an imaginative and engaging manner. With its beating synth pulses below ribbons of soaring melodies, Starfields gains a certain level of distinction as it nears the edge of the genre - the aural activity heated by heart-felt lead melodies and softened occasionally by a passing cloud of chords. Adrian's spacemusic comes from a different age, a newer age. In Adrian's music we can detect the origins out of which it has risen and a sense of both moment and motion; that everything is connected - coming from and heading to... someplace. And we the listeners, along with Adrian, track the line between.

2002. Chuck van Zyl / STAR'S END I continue to be impressed greatly by the talent of this New Zealander.
I particularly admire his continued ability to mine the depths of ambient, space, and Berlin school electronics, switching from one to the other with relative ease, or at least it sure seems that way.

This time he's back full force into the high-energy sequencing, launching immediately with "Space Border Patrol," a delightful 16-minute excursion into familiar Teutonic territory. In this case, familiarity breeds pleasure rather than contempt. The simple pulsing rhythmic sequence is augmented comfortably with a very nice synth lead, a Vangelis-like, soft-edged saw wave if I'm not mistaken, with sequencing much more in the TD realm. The pulsing hypnotic rhythm never leaves, and the synths begin layering over each other but never get too thick or over the top.
"Mars - the Rusted World" is soft and ethereal, with really cool atmospheric textures to it. Vintage sounds abound, from soaring synth strings to mellotron-like flutes. After going nearly six minutes with nary a sequencer, it slowly bubbles up to the surface, then features more strong synth solos, reminiscent of the Moog solos Schulze would do in the seventies, maybe a bit more relaxed than that.
Bright tinkling introduces "Venus - the Clouded Sphere," and I can picture the planet's beautiful but deadly gasses as we fly overhead. Light and almost playful, the rapid gentle sequencing is spot on. The title track is a 23-minute epic. It starts with crickets, then a low simple bass pulse, surrounded by soft deft sonic touches. Yet another stellar sequence arrives and builds, with a very crisp synthetics much like the sound in Jean-Michel Jarre's "Oxygene Part 5" that gradually pans back and forth. As in Jarre's classic, this sound is the focal point of piece, allowed to churn and hypnotize for several minutes before easing into a floating denouement.
After four lengthy space excursions, "Kuiper Belt" may seem a bit of an afterthought at just over three minutes, but in some ways it is my favorite of the bunch, a classic piece of drifting space music, much like Jonn Serrie's early planetarium-inspired works. It is a fitting end to another successful sojourn for Rudy Adrian.

2002. Phil Derby / Electroambient Space I am yet to discover a new world of floating music.
As I go through the sound clips on Groove.nl, I feel like I belong to Rudy's school of abolished and upgraded taste. I've already applied for admission and eager to get my first CD to simply indulge myself into a world I belong to, and... will not be disappointed.
Thanks to Groove for Rudy and the rest of the fine artists of the world..

2002. Ali Aladimi / Yemen I was able to listen to Starfields on the radio the other night and I simply felt euphoric. I really enjoy space or Atmospheric music. Im getting the CD for Christmas. Thanks....

2002. Mark / US This 2002 release features 65 minutes of spacier electronic music. (Do not be misled by the word "sketches" in the title. There's nothing unfinished about this music.)
With this music, Adrian leaves behind the atmosphere of Earth to explore interplanetary regions. The electronics are livelier, more frolicsome and brimming with cosmic evocations. Nimble sequencers unfurl pleasant melodies that entwine with the background ambience to produce lush soundscapes of glorious promise. Deeper tones appear, attributing substance to the puzzles lurking in the void.
"Space Border Patrol" embarks on a circumnavigation of our solar system, policing for unwanted intruders and hunting for undiscovered mysteries. The tone here is uplifting and positive, for no villains are found and all strangeitudes will be answered in time.
"Mars--the Rusted World" is a sobering piece, reminding the audience that entropy will inevitably claim all material things whether they be terrestrial or otherworldly. Adrian's heavenly strains follow the Martian oceans as they surge then gradually evaporate, leaving behind parched yet impressive landscapes of coarsely crimson hues.
"Venus--the Clouded Sphere" immerses the listener in opaque mists that conceal all surroundings. Movement through these constant clouds is deceptive, despite the track's urgent tempo. While near-hyperactive riffs cavort and soar, outer perceptions are limited to products of the audience's own imagination.
"Starfields" is a delicate composition (and at 23 minutes, the CD's longest piece). The music is unhurried and sedate, languishing with meticulous calm over its survey of each vector of the heavens. After a period of sonic star gazing, the temperament of the track grows more energized, infusing the listener with a sense of dramatic awe at the view and its infinite ramifications. This grandeur persists, actually increasing to reach a breathless crescendo far out in space. Then the intensity fades, returning everything to grounded normality.
"Kuiper Belt" is a brief snippet that drifts like a subtle reminder of the vastness of the universe.

2002. Matt Howarth / Sonic Curiosity New Zealand electronic keyboard virtuoso Rudy Adrian is one of the more adept artists at crafting both ambient soundscapes as well as neo-Berlin sequencer excursions, even blending the two sub genres on a single album, such as on his debut, Twilight. He has released albums like Kinetic Flow, which feature his updating of classic Germanic EM and he's also recorded works such as The Healing Lake, containing floating ambient and new age music pieces.
On Starfields (subtitled Sequencer Sketches Vol. 3), he once again sets sail for Germany and a unique re-working of the music of Schulze, Tangerine Dream, and other practitioners of sweeping analog keyboards, pulsing sequenced beats, and outer space effects flying every which way in the sound field.
Once again, he doesn't disappoint. Working almost exclusively in long-track form (only one track is less than eight-minutes long and the title track is nearly twenty-four minutes of music!), Adrian displays his talent for weaving slowly evolving Berlin tone poems that move effortlessly from serene washes to propulsive passages to dramatic soaring melodies and then back into the inky blackness of the deep cosmos.
The higher energy music dominates here, though, such as on the great album opener, "Space Border Patrol". One can almost feel the deep throbbing of warp engines underfoot, imagine the sensation of great speed, and envision the sleek star cruisers as they keep the peace on the outer rim of some distant galaxy.
However, not everything here is pulsing with electronic energy. "Mars, the Rusted World" has some genuinely spooky moments at its start - swirling mildly discordant washes of spacey static and eerie keyboard sounds. The music begins to transform into a more classic type of spacemusic, with lush analog (or analog-like) chords weaving through the air while subtle twinkling sound effects lend a science fiction feel to the music. As the more Germanic elements are added, the drama of the music becomes almost palpable. You can almost imagine you are on a slow fly-over of the barren yet compelling Martian landscape. When the sequenced pulses and notes come pouring in, face it - you're hooked!
I really like "Venus, the Clouded Sphere" which is positively cheery compared to the previous track. Lively sun showers of bell-tones and synth arpeggios are buoyed by warm ethereal keyboards. Rapid fire percolating rhythms do not detract much from the more optimistic mood of the track.
The nearly twenty-four title track can't really be detailed (in this review, at least) except to say it's classic Adrian, shifting from subdued ambient tones to high energy Berlin homage with ultimate dexterity - energizing yet not overpowering and with more musicality than you might expect from Germanic EM (and the latter is another Rudy Adrian trademark).
The album closes with "Kuiper Belt", the only real "spacemusic" track here (although there are even rhythms on this cut, but they're of the Meg Bowles/Geodesium variety). I hope Rudy records a whole album like this cause it's great. He even lends his (heavily echoed) wordless vocalizing to this track and they're a perfect fit with the floating keyboards, mildly pulsing synth notes, and spacy tone of the cut.
If I read the liner notes right, this was supposed to be an album of atmospheric spacemusic, but one thing led to another and bam - out came another neo-Berlin work (the details behind what happened are in the notes). While Starfields is a very good album, I also look forward to that more drifting ambient work still to come from Rudy. In the meantime, this CD is highly recommended for German EM fans and others who like their keyboards accompanied by plenty of pulsating rhythms.

Bill Binkelman / WIND and WIRE The 65 minutes of music of this album by Rudy Adrian are an imaginative cosmic voyage. The artist provides us with a marvellous collection of themes that can be framed within a Space Sequencer style with some Symphonic-Classical elements.
Though there are slow parts, much of the music has a lively rhythm.
The melodies are usually warm, lively, epic, majestic. The music softly flows onwards, floating towards otherworldly soundscapes, at times with melancholy touches, at times optimistic, always delicately expressive, communicating a wide range of feelings and emotions.

Jorge Munnshe Rudy Adrian is one of my favorite artists. If the cataloge music samples are any indication, this CD should be a hit.

2002. Leon Redmond / USA