All tracks composed & recorded by Gregory Kyryluk|
- Prologue sequence [5:12]
- Teutonic voyage [15:19]
- Sailing Orion [10:52]
- Celestial mechanics [5:25]
- Rendezvous [5:49]
- Deep outpost [4:57]
- Astral navigator [5:28]
- Distant edens [9:42]
- The far side of I.O. [2:11]
Track 7 with Jim Cole on Vox and Christopher Cameron on additional synths and rainstick.
Track 8 with Christopher Cameron Moog melodies, MS20 and ESQ-1.
Gregory T. Kyryluk has it in him to melt a great diversion of styles from the electronic music into a very interesting whole. His last CD under the name of Alpha Wave Movement on the Groove-label, "Drifted Into Deeper Lands" from 2000, showed us quite an ambient-atmosphere. On "Cosmology" we can hear almost everything EM has to offer, from ambient, through retro-sequences to melodically rhythmic stuff.
The first track "Prologue Sequence" is, as the title says, based on sequences. "Teutonic Voyage" is a composition only Kyryluk can create. It starts moody and after this great sequences and rhythms take over. This is absolutely top-EM. The same counts for "Sailing Orion" which is superb spacemusic: quiet, relaxing and with excellent sounds that surround an easy sequence. In the more melodically and rhythmic "Celestial Mechanics" and the loungy "Rendezvous" he proves not to pinpoint on only one style of EM. The spacesounds return in "Deep Outpost" and "Distant Edens".
The last track is "The Far Side Of I.O." What will be found there? You might ask.
2004. Press information
The tunes on Cosmology also vacillate between upbeat and downtempo, with a strong bend towards upbeat. It's an infectious piece of work that sounds at once familiar and fresh. I'd run out of ink trying to list the influences at work here. "Prologue Sequence", which opens the disk, offers a strong homage to mid-80s Tangerine Dream. It's Berlin School-style perfection, launched into space.
The second and third tracks continue that feel before the album dips just slightly into three pieces that touch a little too closely on a mid-80s New Age-ish feel for my tastes. However, AWM recovers nicely and finishes off by offering the listener a comfy starcruiser seat for the voyage back into the spacemusic realm with the quietly lovely "Distant Edens".
2004. John Shanahan
I received a copy of this about a month ago from Greg and have been absorbing it since then... I meant to write something earlier, but I had no idea how all-consuming getting a webpage going would be... I have some other reviews coming shortly....
I tend to include reference points when I review to give an idea of mood, though it should be understood that nothing on this album is a direct copy... Greg has his own voice...
(The best EM always does IMO.)
The album opens with an upbeat percolating that reminds me faintly of "Pointless Reminder" by FSP, though Greg hasn't heard the album and it clearly wasn't influenced by it, still there's a sense of melancholy and forward movement that both share... this is a lovely piece that demonstrates Greg's ability to explore electronic worlds with beauty, taste, and class.
This one starts appropriately with a dark drifting ambient movement that reminds me of a less cluttered "Timewind" this morphs into a sequence and drum track that calls to mind Belle-Aliance / Correlation era Ashra. This cut doesn't move me nearly as much as the rest of the album... I think it's marred a little bit by the resonance in the bass that's on the edge of feedback that seems somewhat dissonant to
what is going on around it, though it must be said this is a small point in an otherwise fantastic album. It appears that this cut was done live and if so it's still light years beyond many Live Em tracks I've heard in a while.
This is my current favorite of the album, in fact it's one of the best EM pieces I've heard in a while... Totally beautiful drifting ambience. Shades of floating "...and the stars go with you" Serrie with the beautiful harmonic overtone chanting style here sung by Jim Cole.
This piece was also done live with Greg arranging the sequence just before the performance and Jim reacting to it spontaneously... IMO this is a testament to what real musicians can do in that impromptu style... far too many times I've heard the "Improvised" term boasted to music empty of any feeling or style.
This is just Gorgeous Gorgeous Gorgeous!
The humanity of the voice and the ethereal floating synths blend marvelously.
Here, Greg switches gears to a trance style that picks things up a few notches. Greg
is not bluffing as many EM artists are when they try their hand at something with a beat.
This would rock up a club but keeps the EM aesthetic intact. This album it should be noted is very eclectic with many different styles, but doesn't come off as ill-fitted, rather it's very pleasing to my ears... but I am afraid the
EM purists won't know what to make of it...
This one features drums too... and it will come as a surprise to many on this list that I love Greg's Drum programming... yeah that's right, me.. the atheist of drum machines... Greg programs like a drummer though and it makes all the difference in the world. This one features some lovely string melodies (Tron, though not the cliched tron pads we've all heard too many times) and it must be said the composition here is top-notch. Beautiful melodies working with interesting chord progressions. I think this album features the same kind of fresh compositions that make Arcane so unique.
Real players, both of them. You can hear the chops without any flashy showing off.
This one starts off with some creepy pads and seemingly S&H bass patterns, but this slowly evolves into a uniquely AWM pattern, very tasty indeed. Of particular interest was the harp-like patch that plays ascending and descending scales.. I really like this cut too. There's something in this album that reminds me of Ashra and Arcane. I guess it's that it's very comfortable music that makes you feel good without the cheese factor.
This has almost Jazz overtones with Rhodes piano and fretless bass patches holding down the fort, but swooping synth tones and vocal samples add some spice to the mix.
8-Distant Edens No false advertising in the title, this sounds like a paradise. Similar in mood to cut 3 Beautiful ambient washes.
9-The Far side of I.O.
Tron strings taking you on a voyage. Epsilon fans will appreciate this one.
Strangely it ends the album in a very similar way to how I ended The Sacred Ordinary with Slowly beating wings... though we were completely unaware of each other at the time. Bizarre.
To sum up I recommend this album to fans of melodic EM (Arcane and Ashra fans take note.... must be an "A" band-name thing! ;-) Greg has produced a lovely album that I would unhesitatingly recommend, along with another gorgeous cover by Groove's unmatchable cover artist Pablo Magne, IMO the finest in the genre. Congrats Greg!
2004. Paul Ellis
I believe this is the first European release for Alpha Wave Movement AKA Gregory Kryryluk and if, like me, you've not heard much of their music before then this is a good place to start.
While the music has that spacey feel that Americans are so good at running throughout (with rather cool spacey titles to match!), the album as a whole is far more varied than many 'spacey' offerings and while the opening "Prologue Sequence" starts in the grand cosmic tradition it soon picks up a head of steam with slow, powerful rhythms & gritty lead soloing catching your attention in no uncertain fashion. It's good to see a more rhythmic form of EM
mixing so well with the spaced-out motifs, a blend that is used to best effect on the atmospheric trance of "Celestial Mechanics" which really motors along without sounding totally overwhelming and provides a contrast to the high-quality melodic tracks that make up the lion's share of the album, such as "Sailing Orion" which was recorded live in 2003 with the help of one Christopher Cameron and which reminds me very much of Ron Boots' earlier work, "Deep Outpost", "Rendezvous" and "Astral Navigator", all of which benefit from an expert fusion of melody and atmospherics.
Cameron reappears on the other live track, the 15 minute "Teutonic Voyage" which also features the additional talents of Jim Cole who provides 'Harmonic Vox' to quote the sleeve notes. While there's a strong sequenced element to be found here the rhythmic latter stages mean that such considerations are not the be-all and end-all of AWM's output.
As the album reaches it's climax "Distant Edens" proves itself an invitingly serene piece, effective chords mixing the sounds of nature for a piece that is full of 'Picture Music' possibilities while the mysterious and ominous closer "The Far Side Of IO" is another potent demonstration of Kryryluk's abilties in another musical sphere. The imposing bass chords and strings are of such quality to make you wish this piece was far longer than it's 2.11 duration.
With this release Alpha Wave Movement have completely exceeded all my expectations to deliver a superbly crafted album that proves that cosmic music doesn't always have to be floaty/ambient/new age stuff.
Starting from the fusion between Synth-Pop and Space Music, Alpha Wave Movement weaves a solid tapestry of themes where we can also find elements typical of Trance, Ambient, and New Instrumental Music. The artist draws the plot of an exciting story of futuristic action with strong brush strokes.
Melodies which often turn out to be mysterious, powerful rhythms and cybernetic ambiences are the master lines where this brilliant album is based on.
2004. Edgar Kogler
Recording under his more common pseudonym Alpha Wave Movement (the other is Open Canvas), Gregory Kyryluk displays his versatility on Cosmology, an album that showcases the artist's talents across a wide variety of sub genres.
Cosmology is a fine effort and when it "hits," it sends it out of the park. However, I found it less to my liking than his previous release, A Distant Signal. This was mostly due to two tracks that emulate certain Berlin-school elements that are not my cup of tea, so take my criticism more as a matter of taste than an objective fault of the album.
Those two tracks are "Teutonic Voyage" and "Astral Navigator". In each case, Kyryluk sets the "way-back machine" to a time when trap kit drums and screaming electric guitars sat side-by-side with sequencers, Mellotrons, and analogue synths.
To be accurate, "Teutonic Voyage" only explores this territory during part of its fifteen-minute duration, as it opens with some nicely done deep space drifting washes. It bears mentioning that on "Teutonic Voyage" (and also on the track "Sailing Orion") Kyryluk's sometimes collaborator, Christopher Cameron, contributes additional synths (Cameron is part of the duo Thought Guild, along with Kyryluk).
Cosmology contains some excellent music. "Prologue Sequence" opens the CD with dramatic spacemusic textures, morphing into a pulsing neo-Berlin piece, ablaze with rapid-fire sequences, hyperkinetic beats, and soaring synths that careen through the pitch black sky.
"Sailing Orion" drastically changes course, as it mirrors the floating serenity of classic Jonn Serrie tracks, all awash with soft-as-a-feather cushions of synths, lush chorales and gently pulsing rhythms. What is most startling about this song, though, is that it's a live recording from a home concert in Connecticut featuring the impressive talents of ambient vocalist extraordinary Jim Cole. Even though it's nearly eleven minutes long, this is a song that never wears out its welcome.
I also enjoyed the space-lounge number "Rendezvous" (again, cut from the same cloth as Jonn Serrie, this time though his more rhythmic and "pop" side). The beats here swing and sway (assorted cymbals mostly, along with some nice snare drum work), while synth bell tones twinkle against undercurrents of theremin-like whistling textures.
Other songs include another salute to Berlin, "Celestial Mechanics", which starts slowly but builds into a percolating number with Mellotron, fat analog synths, and a toe-tapping midtempo rhythm, and "Deep Outpost" which starts off as floating spacemusic and folds in squishy analogue tones, twinkling synths, plucked string keyboards, what sounds like some electric guitar chords, and well-layered drum programming. The pace is restrained on this latter number so while it's not a floating slice of ambience, it is also not that frenetic either.
The nine-and-a-half minute long "Distant Edens" mixes in discreet nature-sounds (birdsong mostly) with warm floating ambient/spacemusic keyboards and bell tones. This is probably the most "ambient" track on the CD, albeit "friendly" ambient in the same vein as Liquid Mind.
As with all of Kyryluk's recordings that I have heard, this one is engineered and produced to high standards of quality. All instruments are professional-sounding and no one sound is allowed to dominate to the detriment of others (so many artists sometimes let trap-kit drums overwhelm keyboards these days).
While this album doesn't sweep me off my feet like A Distant Signal did, it still represents solid work and offers some exceptional pieces ("Sailing Orion" is one of the best songs I've heard this year).
I admire that Kyryluk attempted some new directions on this CD and it could be that others will enjoy what I did not on Cosmology.
Regardless, this is an album worth getting if you have liked previous efforts from this artist.
2004. Bill Binkelman
Cosmology is a CD that has something for everybody.
Gregory Kyryluk, a.k.a. Alpha Wave Movement, runs the e-music gamut from ambient atmospheres and minimalism to deep sequences and Berlin school rhythms. Gregís styles and diversity highlight his growth and development as a consummate performer and composer. The listening experience is a sonic delight. Getting inside this music is warm and cozy. Like an old friend, it never fails. This CD is an awesome display and one of 2003ís best efforts.
(Track 3 ≠ "Sailing Orion" ≠ is a collab with Jim Cole and Christopher Cameron. It also holds a special place in my heart. My Grandsonís name is Rigel which is also the name of the major star in Orion. It is an excellent track by three good friends of mine and it ≠ unintentionally, Iím sure ≠ honors my big little guy.
That is way too cool!)
2004. Jim Brenholts
It can be dangerous to buy an album on a hunch, and this one corroborates the theory. Alpha Wave Movement is American composer Greg Kyryluk, who has released his fifth with this one. By the time you have heard the first three tracks, you donít expect such a change in style. So far we have heard 30 minutes of fine space music, sometimes shimmers of early Boots with good sequences and electronic drums.
"Celestial Mechanics" announces this change with catchier melodies and lighter rhythm.
"Rendezvous" even has a jazzy laid back feeling, which can lead to anaphylactic shock if you like the darker, distant beginning of the album. Itís obviously more romantic with French space music (non-Jarre) influence and even Ozric Tentacles leanings.
"Astral Navigator" is very poppy, due to heftier drumming and catchy tuning.
The ten minute long "Distant Edens" is an ocean of luminous rest.
"The far side of I.O." is a splendid closer.
Before I forget, the second and third tracks, "Teutonic Voyage" and "Sailing Orion", are live recordings.
An album which should be approached with caution, unless youíre an Alpha Wave Movement fan and must have everything.
2004. Roel Steverink
This release from 2003 offers 65 minutes of versatile electronics.
Alpha Wave Movement is: Gregory T. Kyryluk.
Two of the nine tracks herein were recorded live in Connecticut, May 2003, with Christopher Cameron on additional synths on both, and Jim Cole on harmonic voice on one.
Kyryluk exemplifies the versatility of electronic music with this release, offering excursions into everything from rhythmic to ambient to space.
The CD begins with hyper sequencing, laced with synthesized guitar-like strains that resound with stellar vibrance. This is followed by one of the live pieces, which slowly transforms pensive atmospherics into rhythmic sequencing of energetic disposition. The next track is also live, and displays a sparkling ambient clarity that utilizes Cole's ethereal non-lyrical voice to excellent application, generating a sedate voyage through the amorphous Orion Nebula.
For the next few tracks, the style fuses relaxation with mercurial melodies, employing crackling electronics and sweeping tones and nimble tempos. After this, there's a return to brooding ambience for a while, punctuated by impelling instances of vibrancy. A brief finale features a union of machinery and void that tempers ominous undertones with traces of implied grandeur.
Despite the varied nature and temperament of this release, the music distinctly exhibits a compositional precision that is rich and rewarding for all involved.
It goes without saying that on a release entitled "Cosmology", the songs all explore interstellar mediums.
Kyryluk's dedication to these regions shows with utmost clarity and reverence.
2004. Matt Howarth / Sonic Curiosity
Alpha Wave Movement is an artist not bound by era. Gregory Kyryluk is the man behind this project and on the album Cosmology (64'55"), realizes music haunted by its influences. Cosmology is an album of diverse Spacemusic styles as we are shown that there are many ways for one thing to be. Individual sources recede and his works take on an identity all their own. From disco inspired pastiche to prog sparked bravado - to glossy new age sonic explorations of space and romance to the explosive rhythms, shifting harmonies and conquering melodies of outer-space aural dramatizations - Cosmology tracks across Kyryluk's inclusive mindset and on into interstellar space.
2004. Chuck van Zyl / STAR'S END
Pure spacey electronica effortlessly gliding from dark moody ambience to sequence-driven and melodic synth work. There are pieces with up-tempo drums and electric guitar strains reminiscent of early Tangerine Dream, retro-analogue patterns and moments that linger around the edges of 'lounge' music. Deep, moody sonic beds support sparkling melodies and twinkling loops. There are plenty of well-placed sweeps, swishes and special effects woven into the rich synthetic fabric of this generally relaxing collection of nine tracks.
The tone, of course is one of, overwhelming interstellar imagery - bathing in the sublime, slow-motion beauty of planetary movement; soaring, weightless through infinite star scapes; cold and isolated far, far from earth. One moment gently pulsing sequences punctuate drifting synth textures, carrying the listener into restful reverie, the next nimble drum loops light up the night sky and the electronics burble, sparkle and coat everything with a bright sheen. Easy to listen to, easy to drift with in the lighter passages - Cosmology surrounds the listener carrying him away to places so distant that it takes a while to mentally return.
The dark, sharp, dense-blue imagery of technology sunken deep among the stars is shot through with an orange radiance and a bold title. A perfect balance for the sounds of Cosmology, Pablo Magne's graphics convey an alien sense of mystery pervading distant human exploration.
Track titles maintain a consistent atmosphere - Sailing Orion, Deep Outpost, Astral Navigator and The Far Side of I.O. Sleeve notes explain that the tracks Sailing Orion and Teutonic Voyage were actually recorded "live direct to CDR".
A comfortable album with some beautiful moody clouds of ambience that are brimming full of atmosphere. Lively drum programming is plentiful and sequencers are in abundance - but the abiding impression is one of gliding serenity, of willing abandonment to the infinite. Ghosts of the past float in and out of this mix of synthesizers reminding us openly of the musical heritage that Gregory T. Kyryluk has so ably built upon.
Smooth pads and resonant arps make for an album that will be enjoyed by those liking melodic spacey electronica or programmed synthetics transmitted from the other end of the galaxy. Cosmology will appeal to those who like to hear hints of an electronic musical history that has been picked up and developed with a twenty-first century polish.