VoLt – Far canal

 7,90 10,00

Released: 2003 By Groove Unlimited

SKU: GR-082 Categories: , , , Tag:


  1. Part 1 [14:36]MP3 soundclip of Part 1 [3:00]
  2. Part 2 [21:13]MP3 soundclip of Part 2 [3:00]
  3. Part 3 [24:31]MP3 soundclip of Part 3 [3:00]

Michael Shipway and Steve Smith. Rhythmic, electronic

Additional information

Weight 105 g



Jewel Case

6 reviews for VoLt – Far canal

  1. Sylvain Lupari / Guts Of Darkness

    A ghostly intro opens Part One. A spectral wave to sweet waffled oscillations of crystalline chords goes out quietly from its atonal with a which runs in cascade, setting up a neurotic rhythm on a bass line which navigate on a Mellotron sea. Superb, the Mellotron wraps and molds Part One of an electronic waltzing serenade, on sequences to permutations of glass, followed by a fluty finale that makes you dream. A very beautiful opening track which shows the colors of Volt, this English duet strongly inspired by the sound and romantic universe of Berlin School. Without kicking down the beacons of a traditional Berlin School, Michael Shipway and Steve Smith walk on the paths of a conventional EM which gathers all the necessary elements to harmonize this musical style with the todays technology. Recorded as well in concert and in studio, The Far Canal uses marvelously the limits of improvisations with movements that are well structured and coil up in a warm and inviting Mellotron.

    Part Two exploits this avenue with a warm intro where the Mellotron is king with its hypnotic breaths, on cyclic reverberations. The atmosphere there is heavy and strangely floating on felted percussions which create no rhythms, but exhale an intriguing atmosphere on an ochre synthesized background. Some dreamy Berlin School, with metallic flavor.

    Part Three is the cornerstone of The Far Canal. A very atmospheric intro, rich in dark and cosmic tones, which take place under a Mellotron synth to hemming breaths and dense layers. Towards this Mellotron mist raises a synth with twisted solos, sometimes with a symphonic tone, sometimes spectral. The Mellotron veil dissipates, leaving free court to a magnificent sequence which sounds the death knell with a shy approach, before exploding on neurotic pulsations that flutter in a Mellotron heaviness. Solos bore this sound density with curly movements, felted and disentangled lamentations, getting loose from a more and more heavy sequence which fidgets in an eclectic sound universe, splendidly moved by a pleasant Mellotron. A very good title, filled with a warm liveliness.

    The Far Canal is a good opus of Berlin School EM style, with todays equipments and tones. Between the floating sweetnesss of the analog years and the caustic ferocity of the English School style, its the beginning of this musical great adventure that Volt begins with.

    2009. Sylvain Lupari / Guts Of Darkness

  2. Carl Jenkinson

    VoltThe Far Canal” is this?” you might ask & you’d be quite right as this CD from Steve Smith & Michael Shipway will easily appeal to all those who can’t get enough improvised sequencer-based EM.

    There are just three long tracks to be found here

  3. Yorkie / England

    The far canal is a stunning piece of work.

    2003. Yorkie / England

  4. Kevin / England

    A true masterpiece.

    2005. Kevin / England

  5. Matt Howarth

    This CD from 2003 features 60 minutes of modern Berlin School electronics.
    Volt is: Steve Smith and Michael Shipway, a pair of Brits who exhibit tasty talents rooted in the retro, Berlin School sound.
    Let’s visit Mars. Look–the tour is taking us to examine one of the Martian canals, those immense chasms that mysteriously crisscross the surface of the Red Planet.

    The sonic journey begins softly, with a passage of ethereal atmospherics. This nebulous definition is swiftly swept into masterfully sequenced melodies that radiate with power and surging riffs. Cycled chords encircle us, while electronic textures establish a hazy backdrop of twinkling starfields and the somber darkness interplanetary space. Intricate keyboard patterns emerge, swimming in an aerial ballet that provides its own rhythms without the application of percussion.
    Sweeping arcs of sparkling sound descend toward the crimson landscape, bringing us within touching distance of the great terrain. These dreamy tonalities are punctuated by unhurried synthetic beats which decelerate our plunge, imbuing this section with a heavenly grandeur that evokes the majesty of this desolate locale with a gradually accreting sonic density.The final track commences with a flurry of space-age effects, blending gurgling radio signals with the rising hiss of a jet exhaust.
    After a stretch of quasi-romantic expression delineated by pleasantly shrill synthesizers, this trajectory transports us into a thick nest of active electronics and nimble-fingered keyboards. The sequencers produce a lush tapestry of engaging riffs peppered with upwardly-mobile locomotive tempos generated by rapidly compressed keyboard notes. The tune becomes more vigorous with insistent melodies and soaring embellishments of bubbling consistency. The crescendo is certain to dazzle us with its sonic strength and emotional prestige.Of the CD’s three tracks, the first two are in-studio creations, while the third (and longest track, at 24 and a half minutes) was recorded live.

    Although comprised of improvised performances, this music exhibits strong coherence and impulsive melodics that evolve into quite stirring experiences.

    2003. Matt Howarth

  6. Paul Rijkens

    VoLt is a new duo from the UK consisting of Steve Smith and Michael Shipway. New but not entirely unknown because Shipway released 3 solo CD’s in the early 90’s on the now defunct Surreal To Real label. The 3 tracks on The Far Canal” (Parts I

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