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From Aural Innovations #14 (January 2001)
Laren d'Or is the moniker used by Hungarian musician Attila Héger, who plays keyboard driven music that is the encyclopedia description of symphonic progressive. Héger has been playing music since he started piano lessons at the age of six, and quotes among his influences such luminaries as Vangelis, Tangerine Dream, Mike Oldfield, Pink Floyd, Genesis, Jean-Michel Jarre, Yes, and Solaris. Vangelis and Jarre are probably the best analogies in terms of the music on War Of Angels, and Héger's compositional talents are without question equal to, if not better, than those more famous artists.
War Of Angels is divided into two parts. The first 5 tracks are the "Synthphonia" album and the next 8 are the "Progressive". The Synthphonia tracks are characterized by highly majestic symphonic keyboard works that bring to mind Bach or Wagner gone prog. Bold and intense, the music demands and receives the listener's undivided attention. I kept thinking that he could make a comfortable living doing soundtrack work, and, in fact, the promo material points out that Héger has been the in-house composer for a game developing company for the past eight years. The tracks labeled Progressive start off similar to the earlier tunes but in some cases are rocking out of bit more. The synth patterns have a spacier progressive edge, and are more beat oriented. "Sidestep Walking" is like a heavy symphonic techno piece. Quite a nice set and apparently what I was sent consists of most of the tracks from what is actually a 2-CD set.
In summary, Attila Héger will appeal to fans of heavy keyboard symphonic progressive rock. He also has a more aggressive metallic side which can be heard on his Al Norder project (an anagram of Laren d'Or).
RHaD (Research for Historical Audio Documents) is a side project of Raffaele Pezzella (better known as Sonologyst). What Pezzella brings us here is a
concrete example of something of what I have always believed – that ALL
sound is music, whatever its source (radio transmissions, telephonic
conversations, hi-fi test signals, old and forgotten documentaries,
unknown field recordists). More than that, there is something else that
goes beyond the simple creation of seemingly random sound collages;
there is no doubt that here we have the uncovering of secret worlds and
other realities, existences parallel to ours and yet separated by vast
temporal and spatial distances. Here we have recordings and found sounds
that have been manipulated in such a way as to render their contexts
irrelevant and meaningless. Subtle concatenations of sound and
substance, mood and context, in some instances creating a sense of
otherness, that what we’re hearing are broadcasts from dimensions and
realities that are not the one we live in. It’s exactly like trying to
tune into a specific station on a vintage radio set but you don’t quite
know where it is: as you turn the dial this way and that, you catch
glimpses of other lives and other existences playing out just like your
own. They are of our world and yet not part of it either. These six
“metasonic” messages from
seemingly emanate from an unknown Otherwhere and that alone will entice
us to listen further and more deeply, in the hope of catching something
that will peel back the layers and give us what we’ve yearned for. And
that, I think, is where the true beauty lies in this album.
Psymon Marshall
credits
Metamusic by RhaD.
Featuring: Amline Thomas, voice; Michael Bonaventure, organ; Stefan Schmidt, classic guitar on track 1.
Daniel Barbiero, double bass; Francesco Arrighi, piano; Mara Lepore, piano, on track 3.
Radio tape recordings from Audiobox transmissions (1997-98).
Edited by ©Unexplained Sounds Group
Mastered by Raffaele Pezzella
Artwork: “Detour”. Collage on forex on cardboard by RhaD. 2020
www.deviantart.com/rhad-art
©2021 All rights reserved
unexplainedsoundsgroup.bandcamp.com
experimental avant-garde drone improvisation musique concrete sound art Italy
Atmospherics is a collection of Bass Communion music released by library music company Bruton Music[1] and distributed to media companies for use in television and radio programs. Some of the pieces are extracts and remixes of tracks from other Bass Communion albums.[2]
It was never commercially available.[3]
Composed by Steven Wilson, except "Aftermath" written by Steven Wilson/Theo Travis
All instruments: Steven Wilson
Executive Producer: Jez Poole.
Recorded & mixed at Battery Studios, London, UK.
Mix Engineer: Steven Wilson.
Mastering: Chris Parmenidis, Battery Studios, London, UK.
Post-production Co-ordinator: Claire Leaver.
Graphic Designer: Jacquie O'Neill, Zomba Design
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