| Track: | Rating: | |||
|---|---|---|---|---|
| 1. Orbit Five | | | | |
| 2. Revolt At L-5 | | | | |
| 3. Terminal Hotel | | | | |
| 4. Electric Blue | | | | |
| 5. Ancestors | | | | |
| 6. After The Earthquake | | | | |
| 7. Falcons And Eagles | | | | |
| 8. Flight Of The Looking Glass | | | | |
| 9. Shibolet | | | | |
| 10. An End To History | | | | |
Although generally forgotten today, Larry Fast's "Synergy" project briefly attained a fairly high level of credibility in the progressive rock world during the mid-1970s. The idea of the project was to optimize the music made possible by the development of the synthesizer, so as to create a product pleasing to both the mind and heart.
It's somewhat curious, given the current proliferation of dub-ambient groups, that Synergy hasn't at least attained some semblance of a revival. It wouldn't be too unreasonable, I think, for fans of The Orb to find one aspect of their history revealed in the early Synergy albums -- perhaps especially Cords, which actually incorporates Frippertronics at certain points. Sadly, Synergy seems to be suffering from the same cloak of historical silence that current envelops Renaissance, another progressive group that could attain a position of relevance today.
Audion is probably not the most representative selection of Fast's talents. A good album, it nevertheless falls considerably short of greatness (and its lack of real internal variety becomes a bit tiresome after a while ... and least to those of us who aren't synth-freaks ourselves!). Released late in the history of the Synergy project, this piece is a slightly debased form of the original idea -- there is some good atmospheric work here, as well as some adventurous programming, but it doesn't quite reach the heights of some of the earlier Synergy works. There isn't really anything terribly wrong with the work, but it doesn't quite stand on its own as an "essential" album.
The album begins with "Orbit Five", a brief (one minute) proto-industrial/dub ambient march, with a progressive melodic development and atmospheric "spacey" keyboards. There may be a bit too gimickry at work here, but just a bit. This is followed by "Revolt At L-5" an instrumental description of a military space battle of some sort; after a synth-drum opening, a "military" motif begins, which recurs throughout the remainder of the track. The minimalist, proto-ambient statement of the main theme is nicely done, though this piece may ultimately prove to be a bit too preposterous for some. A good opening, though not one which promises the stuff of legends.
"Terminal Hotel" falls into a similar category -- not a bad piece, it could very easily be better. Some unusual synth sounds appear at the beginning, and the first part of the work is capable of standing on its own an as impressive sound development. The only problem is that, with the exception of a brief, overtly progressive section, there isn't terribly much happening in the way of melodic development.
"Electric Blue" comes dangerously close to adult contemporary new-age in its early sections, but quickly shifts to more adventurous basis, while various extended notes, minimalist sections, pitch-wheel passages, and synth-guitar restatements of the main theme (eventually climaxing at with a soaring melody towards the end). One of the better tracks here, to be sure.
"Ancestors" begins with synth-bass and synth-drum lines, which eventually yield to a rather troubled Tony Banks-esque melody, which a more atmospheric line develops around. This is one of the more "proggy" pieces here, and another of the better ones. The bass lines towards the end are notable.
"After The Earthquake" begins with an (ahem) Haydn-esque passage, later resolving into variations upon the theme. This is essentially a gimic piece, and not an overly notable one.
"Falcons And Eagles" is somewhat better. Beginning as a marching reverie of sorts, the piece eventually mutates into a somewhat overwraught sound-picture of the aves in question. The power of these "triumphant" lines cannot be denied, though one might wish for a bit more dramatic tension.
"Flight Of The Looking Glass" is, not surprisingly, a bit stranger. The piece is essentially in the form of a late-19th mini-composition, with a synth-flute stating the main theme in a fairly notable manner. There is some decent juxtaposition of the melodic lines, but not overly so.
"Shibolet" is probably the highlight of the album, incorporating a variety of synth sounds to state one of the catchier melodies on the work (not to mention the synth-drums, giving the piece a strong Eastern Mediterranean basis). It may be a bit of a cliche, but it's still a very nicely arranged one.
And, finally, we have "An End To History", an anthemic piece in which shrill synth sounds are included to prevent the piece from falling into new-age complacency. A more mysterious tone emerges in the middle of the piece, with various "space" themes being stated on a regular basis. This is easily the most memorable track on the album.
In general, then, this album merits a "weak recommendation". There is a fair degree of good material here for those interested in searching it out, but nothing so notable as to make Audion in any way essential for a progressive fan. Better Synergy albums exist.
(review originally posted to alt.music.yes on 23 July 1997)