The ArcSin project started on 11th September 2001. The tragic events on that day saddened me and for some reason I decided to go out to my studio and record some music. The track that came out of that session was the first part of my 'Sto Helit trilogy'. That piece was later selected to appear on the compilation CD 'Latitude' on CEM recordings. However, back then, it was the first time I had actually recorded anything for nearly four years. After that I had been bitten by the bug again and the rest of the album came easily.
I used a variety of instruments on this CD, and for the first time I made use of a multitrack hard-disc recorder. This allowed me to use more analogue instrumentation, and I would probably say that there is more analogue synths on this than any other recording I had done in the past.
Why was the album called ArcSin? Absolutely no reason whatsoever, the name just popped into my head and I liked it. Oh, it is supposed to be pronounced 'arc sine' as in the mathematical function. Pretentious? Moi?
The 48 minute long album is now available as a free digital download. The download is a 192kB/s mp3 and is found here.
Arcsin Review by Paul Nagle
Track 1, "Integral"
Oddly the album starts with possibly its weakest track. Thunder/rain
effects soon give way to velvet strings, a tinkly sequence
followed by that chiffy/breathy D50 sound and 80s style TD drums.
The track is 9 minutes but never quite focused. It's all pleasant
enough though.
Track 2, "Shimmer"
A much more dynamic start - you can tell this track is going
places. Understated percussion and Jarre-ish chords, followed by
a lovely choir sound underpinned by a simple but catchy sequence.
The sequence teases us a little before gaining momentum and a
cool sawtoothy pitch-bendy melody starts (sounds like a D50 again
but not sure). The structure is simple, the mix spot-on and the
whole thing rolls along without putting a foot wrong. Good stuff.
It sinks gracefully into....
Track 3, "Sto Helit part 1: Grandfather"
Starts with drums and a warm pad with interesting chords and a
sweet,high string part. Progression is logical and confident with
excellent use of instrumentation and a good mix. A melody that
reminds me of something or someone I can't put my finger on
surfaces. The track builds with good development of the melodic
line. It could've been several minutes longer than the 4'4'' for
me.
Track 4, "Sto Helit part 2: The Dark House"
A lovely "show off" track for Tony's self-designed and
constructed modular synths. A slow evolving drone with drifting
filter weebles, sawtoothy pumping LFO and a mellow string part
make this a real treat. A few digital voices in the background
are an almost unnecessary counterpoint to the flow and this track
could've lasted half an hour for me.
Track 5, "Sto Helit part 3: Susan"
If there's to be a single,
this will be it. A delightful boppy rhythm and sequence that
should bring a smile to most of us makes way for an actual vocal
performance. Tony's wife has a superb, pure voice and the lyrics/phrases
are simple yet effective. A gorgeous synth melody,some tubular
bells, a swirly phasey pad all add up to the highlight of the
album so far. And, unlike many synth people who attempt to
program percussion, Tony actually seems to have a feel for it,
doing neither too much nor too little. The track ends with some
lovely ambient recordings, footsteps etc.
Track 6, "Tangat"
Sublime strings (hey, this reviewing lark isn't easy, I mean how
to write this stuff without it sounding twee?) introduce a
magical sequence. Punchy and dynamic with cute echo effects, more
"proper"chord changes but never over packed. A choir
starts and I'm sure it is going to develop into something I know
but it changes direction. If my brain were in better shape I
could quote right away what it reminds me of but there you go.
Bloody good track anyway for us sequencer fans. At about 3
minutes a gorgeous piano melody starts and I'm in heaven. Or some
similar imaginary wonderful place.
Track 7, "Drone"
A slowly flowing ambient track that doesn't quite gel with all
the rest. It reminds me of the first time I found the "Lore"
patch on an M1. A long sustained pad with various noises blended
skilfully into the mix make for a warm-bath experience that steps
aside from the mood conjured by the other tracks. I like it but
something doesn't quite lend itself to this context. Even the
earlier ambient track fits in just fine but this one should be
part of a massive hour-long epic, methinks.
Track 8, "Merlin"
Hey, I recognise those drums and so will you if you've got
Oxygene in your collection. Phaser and strings give one of the
most non-French but authentic-sounding JMJ experience I've had.
OK, I've not had a lot. The brassy melody (D50 I think), when it
comes, fits perfectly and is uniquely Tony. The gentle tempo and
swirly chords make this a gorgeous journey. The mellow synth
melody that follows is also cool and if I have any criticism at
all it's that I would've liked the bass higher in the mix.
Track 9, "Jedec"
Having just "done" JMJ, it's now Robert Miles' turn. A
piano melody starts and you can't help but smile as the high hat
pattern kicks in. You know a Donna Summer style bass line is
inevitable and you're sat waiting for it. It enters, accompanied
by a bass drum and the formula is complete. What I'm not telling
you though is just how well this works, how whistleable it all is
and what a groovy production it is. More changes hit us in the
form of a new sequence, a zappy sync sound and, again, solid drum
programming. The sync sound gains dominance fora moment before
the piano melody returns, slightly more evolved but still with a
graceful simplicity. Jeez, if I were doing this for a living I'd
look for a thesaurus or something. You can follow this I hope
though? This track is a killer and if it doesn't bring a smile to
yer face then you are Edgar Froese.
Summary: a brilliant album that deserves a wider audience.
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