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Ashera,
with their third release on the label of the same name, continues
their ability to build sonic worlds within this listener's mind.
"Colour Glow" contains eleven tracks of pure sonic bliss
which lend themselves to repeated playback of similar yet different
soundscapes of engagingly sculpted musical métier.
Where the "Cobalt 144"
release utilized the soundscape to draw the listener into itself and
painted sonic intimation, or eminent guideposts, to the journey that
unfolded before you. Colour Glow envelops you in wave after
wave of supportive layers that wash and undulate around you and
finally embrace and begin to move your senses outward.
By the end of "Savannah
Mirage", the opening track, the sonic imagery is so large and
enveloping that a vision of paradise materializes around your entire
being&ldots; and then vanishes as the mists of a mirage so aptly
do. Those blessed with adroit sensory skills may never even
feel the sense of loss of the unattainable as the transportation
through the space time continuum immediately soothes the sonic soul
as the "Mist Well" appears.
I achieved the sensations of
standing before a well, enshrouded by mist, surrounded by the very
mirage of an oasis or paradise that I thought was washed away.
The opening tracks deftly carved a vision state and then transported
me within my minds own eye into a land of wondrous vision. A
startling and uncanny sonic manipulation&ldots; truly possessing the
resourcefulness to take you there.
The third track, "Two
Moons", contains real world nature sound sources as a layered
bed for the tone palette of a full bodied Fender Rhodes keyboard
laced minimalist structure which evokes the presence of watchful
heavenly bodies appearing overhead.
The title track weighs in as the
fourth offering, in a long form piece, that is swimmingly saturated
in luxuriously cascading reverb tales appearing as a blissfully
erotic vignette of what I saw and heard as the Daughters of the Twin
Moons. Silvery, lilting, tendril like vocalizations by the
ethereal twin children of the moon weaving autochthonous, alluring,
chordal harmonies throughout ones very fiber.
Introspective reflection, and a
wondrous journey, through the complete sensory ramifications of
"Colour" abound in the following tracks of
"Colour Glow". I hesitate to even share an
expeditious synopsis of the rest of my journey through the world of
"Colour Glow" and would rather submit to you that this is
the pinnacle of Ambient Visions for this writer since receiving this
latest offering from the land down under. Consider this
juncture an open invitation to immerse yourself in a visionary sonic
journey of the highest caliber.
There are enough of the underlying
qualities of the four elements contained in the works of Antonio
Wright, Caroline Wilson, and Adriana Korkosova for me to state that I
rank "Colour Glow" as one of the two quintessential Ambient
releases, known to me, at the present time. The other is their
previous release "Cobalt 144", also on Ashera. These
two releases are the definition of perfectly exemplifying the quality
of the fifth and highest essence present in all things as suggested
by ancient and medieval philosophy. At the very least, in my
sonic world, it works for me.
My highest recommendation for
inclusion in every collection, without any reservation whatsoever, as
I consider "Colour Glow" the Ambient Release of the Year
for 2000.
Reviewed by BEAR
01.07.01 The
New Age Sampler Website
Audiophiles Note: Although this
recording will not dynamically tax your system as this and the
previous Ashera release continues Antonio's conviction to playback at
lower levels. "Colour Glow" has a lower output level, than
the currently accepted standard, which enables his wish, although you
may persist and push the envelope on your own, you will still hear
exactly what the artists vision is.
It is possible that the
significant difference between "Colour Glow" and
"Cobalt 144" is in the production and mixing itself.
You may recall that I suggested earlier that one draws you in while
the other envelops and transports. On both the Holo-System and
the Stax electrostatic headphones the "Colour Glow" effect
is achieved by the use of panoramic panning techniques. By this
I refer to the interaction between left and right channels in all
aspects of the mix as a significant portion of the layers reside in
the panoramic staging and seldom enter the foreground or reside
center stage as a focal point. No single sound or element takes
precedence over the others as one finds them sharing the same space
and then morphing gracefully across the soundstage. This is a
must listen recording for headphone aficionado's offering truly
astounding sonics for those with a headphone system capable of
resolving inner detail and the depth of layered effects. Final note:
Least anyone read this expecting a special effects spectacular rest
assured that there is significant melodic content in this work
although the "sonic voice" carrying that melody has a
consistent habit of morphing into another sonic signature or
"sonic voice".
There is also, and not at all
detrimental, a lack of visceral low end, which oddly enough is only
missing if you listen for it. The individual layers and their
composite morphing are amazingly present in both room speakers and
headphones. "Colour Glow's" ability to envelop and
become part of or one with the room is in itself a testament to the
quality of the artists craft.
The listening session were
performed in the following systems:
(1) Electrocompaniet EMC-1 CD
player, Electrocompaniet ECI-3 Integrated, Magneplanar MG1.6QR,
& Sunfire True Subwoofer speakers.
(2) Linn Classik into Stax
Electrostatic SRX MkIII & Sennheiser HD600 headphones.
(3) The Holo-System: Rega Planet
2000, Belles XLM preamplifier, Belles 200 power amplifier and Altec
Lansing 510 A speakers. ( A relatively large system in an
extremely small room with only one small holographic listening sweet spot) |
