Time Fades Away

Caravan to Midnight is the 6th studio album by Robin Trower Robin's usual guitar playing that combines a unique blend of blues and soul is sometimes pushed to the back here probably because of the disco movement affecting the way rock artists approached music at the time…

On Ulrich Schnauss' third album Goodbye, he gently fades away from Boards of Canada style breakbeats and deep into a shoegaze slumber that drifts gently into an ethereal realm slightly reminiscent of Enigma, Ultravox, and at its most lush moments, Enya. Yes, Enya, but maybe only if she were to be produced by Kevin Shields. Breathy keyboard pads are at the forefront and this results in a more sleepy retro vibe derivative of '80s new age, which might be the trouble with this record. On previous albums, Schnauss seemed to be evolving into his own futuristic style of beat-making, but here the excessive layering seems to be a step backward, with less focus on the rhythmic IDM and electronica aspects, and more on the expansive soundscapes…

Balancing out the winter chill with the soft glow of summer, 'Armada Chill 2020' pushes all the right buttons to evoke only the sweetest of sensations. Comprising twenty five soothing tracks from AmPm, Ferry Corsten presents FERR, Kidnap, Melosense and Pablo Nouvelle, this compilation album delivers exactly what you need: a moment or two to unwind with the best music around.

At the time of civilisation collapse, only the bold pave the way. Back to basics. Let us give CHROMB! a certain sense of responsibility: through this fourth album, entitled Le Livre des Merveilles, the quartet appears in a new light. Washed of their sins.

The first two works are for viola and a battery of percussion instruments. Pourtinade, in nine sections with highly descriptive titles whose order is decided by the performers, elicits every possible sound and color effect from the viola, and an extraordinary range of blending and contrasting textural timbres from the instrumental combinations. "Redwood," inspired by Japanese woodcuts, uses the percussion as melody instruments; often it seems incredible that a single player can produce such a wealth of sounds. Opening softly and mysteriously, it becomes quite active, and then a beautiful viola solo fades away. The Shostakovich Sonata, written in the shadow of death, is heartbreakingly moving in its lamentatious mournfulness and turbulently desperate outbursts. The piano texture is pared down to skeletal spareness; the viola mourns in the dark low register and soars radiantly up high. The Scherzo is defiantly sardonic; the Finale, full of quotes from Beethoven, ends in resignation. The playing is beautiful and projects the changing moods with a riveting, inwardly experienced expressiveness.