Post by esp on Oct 7, 2007 21:35:12 GMT
After much discussion, Steve and I have decided to re-issue our second album Dreamlight. We felt the initial run of 50 copies of the Limited Edition was too small and that it was unfair that some people had missed out.
The new 'Standard Edition' is a professionally produced CDR with full colour artwork and onbody printing.
The planned release date is October 13th 2007 and we will be taking pre-orders. We will also be taking copies to E-Live and the Hampshire Jam Jam in case anyone is going and wants to save some postage.
Several fairly long samples are on the Astrogator Virb page
Ordering info and details are on the Astrogator website
Reviews
A limited edition CDR of 50 copies, it may already be too late for you to find this disc, but if you still can by all means grab one. Two lengthy Berlin school improvisations take us on a first-rate space journey. “Part One” is nearly 47 minutes. Beginning with spacey electronics, mellotron choirs and other typically Teutonic retro sounds, this is good stuff. Atmospheric for the first several minutes, a steady backbeat emerges approaching the 8:00 mark. The first proper sequence appears as we pass 13:00, along with a nice synth solo over the top, followed by a brighter sequence over the first. The buildup of energy is perfect, reaching its peak around 16:00 and then mixing it up in both the sound palette and the intensity. By now the hypnotic loops are going full throttle, though still with an ethereal deep space sense about it. We finally reach the crest and head back down 23 minutes in, smoothly segueing into a dreamy more abstract passage. This is classic stuff, like Tangerine Dream circa 1980. Just when it seems the music will be content to quietly reflect another sequence comes forward just before the 36:00 point; it is ultra cool and carries the music to its conclusion. This would make the album alone, and is longer than most records were back in the day, but we still get 23 minutes more with the second part. Whooshing wind and synthetic sounds start things softly, those lovely choirs return, and a similar pattern follows as we build slowly to the inevitable and enjoyable sequencing, which keeps the energy level just so for the remainder. If you like Berlin school as much as I do then you will love Dreamlight.
© 2007 Phil Derby / Electroambient Space
Part One starts with an otherworldly landscape: twittering synths, echoing sounds, distant Mellotron choirs. It's all very well executed and extremely cosmic! After 8 minutes, a bass rhythm gradually creeps in, giving more focus and purpose to the soundscape. A Mellotron flute can be heard, sounding melancholic, rather than mysterious. The rhythm then departs and a strange panned sequence emerges, backed by sparse bass beats. This is some intriguing music! A more upbeat sequence can be heard, along with a lead line. Even more sequences are added to the mix as the track becomes quite a ride. This is complex EM that beats most modern "Berlin School" to dust. The sequencing is really, really convincing and rich. A melody cries on top, and then another one. Intense is the word for it! Little by little the tension is released and one can hear some Mellotron choirs, although the pulsations are still around. As we are closing the 23-minute mark, only one bass sequence remains that soon departs for a purely atmospheric section. Really weird sounds and twitters is what we get for some moments, before it all returns to the melancholic / melodic territory, with gentle liquid soloing over the breezing soundscape. This is simply great stuff and totally original, not a copy of anything! These guys sure know how to do it. This music is filled with cosmic grandeur and melancholia if you imagine such combination. It is amazingly gentle, without sounding twee. That high-register Mellotron flute really gives me the goose bumps. A minor-chord bass sequence interrupts the flow to take us to another rhythmic section. This time the mood is that of menace and even aggression. The sequences are straight 'n plain and the occasional bass throb only gives them extra oomph. The guys really let their steam off with this ballsy sequencer fest. I can't even count how many sequences are running at the same time. A solo is blasting on top, as if there was room for it. Everything them calms down, leaving you totally exhausted.
Part Two begins in a similar manner to Part 1: the whooshing of the wind, subtle twitters... Soon, a Mellotron choir appears along with subtle lead sounds, taking us back to where the calm sections of Part 1 left off. Great, great music! A pulse appears after 5 minutes wrapped in a bed of Mellotron choir. The pulse gradually develops into a full-blown sequence. Various lead lines and atmospheres are added where needed, resulting in a very intense, busy and energetic EM track. A moment of calmness follows where everything disappears into the void. Another sequence appears along with a playful Mellotron flute refrain. I must say things have become very unusual by this point - distorted textures, some rhythms, strange sequences. However, a cosmic lead line reminds us we're still in the EM land. Little by little, things settle into a groove that finishes off this great slab of classic EM.
Review by Artemi Pugachov - Encyclopaedia of Electronic Music
The new 'Standard Edition' is a professionally produced CDR with full colour artwork and onbody printing.
The planned release date is October 13th 2007 and we will be taking pre-orders. We will also be taking copies to E-Live and the Hampshire Jam Jam in case anyone is going and wants to save some postage.
Several fairly long samples are on the Astrogator Virb page
Ordering info and details are on the Astrogator website
Reviews
A limited edition CDR of 50 copies, it may already be too late for you to find this disc, but if you still can by all means grab one. Two lengthy Berlin school improvisations take us on a first-rate space journey. “Part One” is nearly 47 minutes. Beginning with spacey electronics, mellotron choirs and other typically Teutonic retro sounds, this is good stuff. Atmospheric for the first several minutes, a steady backbeat emerges approaching the 8:00 mark. The first proper sequence appears as we pass 13:00, along with a nice synth solo over the top, followed by a brighter sequence over the first. The buildup of energy is perfect, reaching its peak around 16:00 and then mixing it up in both the sound palette and the intensity. By now the hypnotic loops are going full throttle, though still with an ethereal deep space sense about it. We finally reach the crest and head back down 23 minutes in, smoothly segueing into a dreamy more abstract passage. This is classic stuff, like Tangerine Dream circa 1980. Just when it seems the music will be content to quietly reflect another sequence comes forward just before the 36:00 point; it is ultra cool and carries the music to its conclusion. This would make the album alone, and is longer than most records were back in the day, but we still get 23 minutes more with the second part. Whooshing wind and synthetic sounds start things softly, those lovely choirs return, and a similar pattern follows as we build slowly to the inevitable and enjoyable sequencing, which keeps the energy level just so for the remainder. If you like Berlin school as much as I do then you will love Dreamlight.
© 2007 Phil Derby / Electroambient Space
Part One starts with an otherworldly landscape: twittering synths, echoing sounds, distant Mellotron choirs. It's all very well executed and extremely cosmic! After 8 minutes, a bass rhythm gradually creeps in, giving more focus and purpose to the soundscape. A Mellotron flute can be heard, sounding melancholic, rather than mysterious. The rhythm then departs and a strange panned sequence emerges, backed by sparse bass beats. This is some intriguing music! A more upbeat sequence can be heard, along with a lead line. Even more sequences are added to the mix as the track becomes quite a ride. This is complex EM that beats most modern "Berlin School" to dust. The sequencing is really, really convincing and rich. A melody cries on top, and then another one. Intense is the word for it! Little by little the tension is released and one can hear some Mellotron choirs, although the pulsations are still around. As we are closing the 23-minute mark, only one bass sequence remains that soon departs for a purely atmospheric section. Really weird sounds and twitters is what we get for some moments, before it all returns to the melancholic / melodic territory, with gentle liquid soloing over the breezing soundscape. This is simply great stuff and totally original, not a copy of anything! These guys sure know how to do it. This music is filled with cosmic grandeur and melancholia if you imagine such combination. It is amazingly gentle, without sounding twee. That high-register Mellotron flute really gives me the goose bumps. A minor-chord bass sequence interrupts the flow to take us to another rhythmic section. This time the mood is that of menace and even aggression. The sequences are straight 'n plain and the occasional bass throb only gives them extra oomph. The guys really let their steam off with this ballsy sequencer fest. I can't even count how many sequences are running at the same time. A solo is blasting on top, as if there was room for it. Everything them calms down, leaving you totally exhausted.
Part Two begins in a similar manner to Part 1: the whooshing of the wind, subtle twitters... Soon, a Mellotron choir appears along with subtle lead sounds, taking us back to where the calm sections of Part 1 left off. Great, great music! A pulse appears after 5 minutes wrapped in a bed of Mellotron choir. The pulse gradually develops into a full-blown sequence. Various lead lines and atmospheres are added where needed, resulting in a very intense, busy and energetic EM track. A moment of calmness follows where everything disappears into the void. Another sequence appears along with a playful Mellotron flute refrain. I must say things have become very unusual by this point - distorted textures, some rhythms, strange sequences. However, a cosmic lead line reminds us we're still in the EM land. Little by little, things settle into a groove that finishes off this great slab of classic EM.
Review by Artemi Pugachov - Encyclopaedia of Electronic Music