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The year 1994 saw the birth of Mark Shreeve’s exciting project Redshift, for whom music had already been a full-time job for some 20 years at that time. Initially a solo effort, additional members such as James Goddard, Julian Shreeve, Rob Jenkins, and Ian Boddy would join on and off in later years. The acquisition of a large vintage Moog IIIC Modular system (used mainly for the sequencer work) made him quit “formulated”, structured music he did before under his own name, and switch to organic, both to make and to listen to. While Mark would be in charge of the complex sequencing, his brother Julian would take care of melodic chords, vivid solo parts, and elements on later albums, all characterized by fine classic ’70s ambient aesthetics. Well, the lengthy pieces on this four-track album are a true Berlin School fest, a re-interpretation and a sonic celebration of the power and awe encountered on TD’s “Richochet” and “Rubycon” with some lovely mellotron thrown in. Make sure you dig this album if you love raw-angled, fat electronics. The sound design and impact of the shorter pieces (“Shine” is the gem here), though, make one think a bit of Node’s approach towards retro electronics. Deep bass sequences, gothic choirs, mellotron, as well as some psychedelic bits are all over the place on the lengthy “Blueshift”, but the sole repetitive beats at the end going on for minutes are pointless and odd. Mr Shreeve put out a remastered, slightly louder-sounding, re-release of the 64-minute album in 2006 on his own Distant Sun label. |
| Website: redshift2.bandcamp.comYou can see what reviews I have done of this artist on the Redshift artist page.
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