Released: 2008 By Virtual World Ltd.
1 in stock (can be backordered)
Long-form and sequencer-driven tracks and short, gentle bridges
Kevin Raddy / UK
OK, I’m no expert, I’m not even a musician, but I can honestly say Turning towards us is the finest set of music have heard in the last 1015 years of listening to EM. I remember Klaus Schulze saying that EM was awaiting the next phase in it’s development, and I believe this recording is maybe the start of what he meant. Nothing I’ve heard has effected me more, or excited me more than this – well not since as a Yes fan I first heard ricochet by an obscure german band.
From it’s sound design and atmospherics, to it’s dynamic sequencing and structure this is a BIG sound, almost mystical and primordial in its intensity rubycon‘s long lost cousin, but without the flared trousers. However, this is also a totally contemporary sound, epic in concept and with a defined sound paletterather than use every colour out the tube (insert musical equivalent) redshift have created a constrained and dynamic palette to encompass exactly what they mean to say.
I don’t normally do reviews (you can tell) but rarely has any record impacted me as this one has. it encompasses perfectly all I love about electronic music, so much so, I felt compelled to email redshift and let them know. They responded that they were very proud of this one, and rightly so. It is a fantastic record and it deserves a wider audience. To that end several unsuspecting friends will be receiving a copy for Christmas.
2008. Kevin Raddy / UK
Graham Thomas / UK
This is by far Mark’s best release, topping even Halo and superbly recorded. It is not carbon copy of the previous style, but a kind of natural development and some outstanding tracks here echo the other reviews on this site. It is not just recommended, but a must have for any EM fan of any genre – yes, it is that good.I also emailed Mark (and he always replies in person) to congratulate him perdonally on this piece of work.One review here says it’s Mark and Julian, but actually it is just Mark (as has been the case since Downtime). Sublime – a must buy!
2009. Graham Thomas / UK
Chuck van Zyl / STAR’S END
The works of Redshift have always been about the exploration of energy. From cosmic quiet to a palpable sense of propulsion, this ensemble communicates an inexhaustible joy in the possibilities of sound. Their CD Turning Towards Us (55’01) is more than a room-shaking exploration of sonic properties. The compositions are fascinating
I picked up a copy (the very first one sold !) of this new Redshift studio album on Saturday at Hampshire Jam 7. Visually, it is a departure from the Redshift ‘canon’ of albums, dropping the classic Redshift logo and adopting a more stark presentation. The serial number is DS010 however, so I’m not reading too much into this change of style.There are five tracks which form a sort of ‘W’ structure: Tracks 1, 3 and 5 are long-form and sequencer-driven, whereas tracks 2 and 4 are short, gentle bridges.
1. The Love of Nature. This track is dominated by a bass ga-dunk rhythm in 6/8 time. This explodes into Goldfrapp-esque drums and rock later on! Plenty detailed abstract sounds flit around the sequential heart of the track.2. The Last Thing We See. Think of the end of Rubycon pt 2 and you won’t be a million miles away.3. Clan. Quite an aggressive track, this. Lots of rhythmical sections combined with Moog bass sequences and what might even be real guitar (or a very good synth imitation).4. Happy Hour. Relaxed waves of floatiness with slight hints of dischord at the outer edges.5. Turning Towards Us. Classic Redshift from the word go. It has a glorious building sequence like Halo‘s title track. All of a sudden, it changes to become full-on unrestrained menacing Moog with explicit melodic lines (on ‘tron oboe, I think). The final wind-down is classic Redshift ambience; Dust particles caught in the final rays of evening sunlight.
If you like previous Redshift output, this one’s a no-brainer. To the best of my knowledge, it’s solely the work of Mark and Julian, but I can’t tell that from the rather sparse liner notes. It does say that it was recorded at Distant Sun Studios from March-September 2008, so take from that what you will.
2008. Grant Middleton
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