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Dave Seaman GU22 (Last Thread on This Topic, I Swear)
Bought it on Tuesday morning, having resisted all temptation to download the promo in the days and weeks leading up to its official release. Went out on the Tuesday night, stayed the night at some random chick's place with my mate (wayhey!) then slept all day yesterday, so I didn't get the chance to listen to it until last night.
I know a lot of you aren't into progressive music, but as someone who lives and breathes it I have been waiting patiently for this album since the last record was played on Jan 12th (shame that Billie Jean didn't make it into the final release though ). I didn't really know what to expect, having heard several different conclusions about the album, so I just stuck it into my CD player at about 1am, put my headphones on and let it play without any preconceptions about what it would sound like.
Let me tell you right now that from the very first track on the first CD (Our House - who are Australian yeah?) I was taken right in by it. The first few tracks are replete with these sweeping, purging synths and sub-tropical samples that took me right back to the balmy summer's night in question. The music takes a surreal turn from there, with Mindstake (which I'm fairly certain I remember him playing on the night) using this incredibly haunting synth loop over a drilling beat, before breaking down, building up and launching into a sublime, breakbeat reprise. Lying there, in the darkness, it's a very moving track.
The CD keeps on building with the full bodied prog-trance that seems to be the overall theme of the CD, with at times warm, at other times disconcerting, synth sweeps and distored samples that are difficult not to get entirely absorbed by.
The second CD presents a slightly more generic view of progressive music, with Glitterball representing a pumping departure from the first CD, followed by tracks from our own Infusion and prog-icon Bill Hamel that lead beautifully into Sean Cusick's very disturbing "Consider the Ravens". That staticky, griding synth is a good example of just how dark and disturbing progressive music can be despite being incredibly simple and minimal in itself.
From there the CD briefly recaptures the warm feeling of the first CD for the next few tracks, before Infusion's dirty vocal track "Star Water" brings back the progressive feeling once more. The CD builds to a brief climax before ending with some superb examples of vocal-breakbeat with Ashland and some remix of grunge band "Lamb" before finishing with the warm guitar sampling "Frakkar" that finishes the whole experience off very nicely.
I think the key word here is diverse: the CDs cross over so many different sounds and ideas in such a small time, yet they all blend together so perfectly, which a credit to the GU sound engineers more than anything else I suppose. I'm not sure how the rest of you feel, but to me this is a brillant example of how electronic music should be, and represents a positive direction for both the GU series and progressive music in general. If you have a spare $45, go out and buy this CD. It's not the sort of CD you can just have on in the background, or on winamp while you're writing e-mails, it's the type of CD you have to sit-down with and really devote your attention to, concentrating on everything that's going on (and there is a lot going on - 5 or 6 layers of music at times I'd say).
I'm not saying you're all going to like it, but if you have even a passive interest in progressive music, then, as per usual, the GU crew have come up with the goods yet again. I was just happy to be a part of it.
Anyway, that's just my perspective. Any thoughts?
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