|
|
|
|
|
|
|
|
Artist: Vanethian Reviews:
|
|
Manuel Marino, a.k.a. Vanethian, records some of the best "pure" melodic synthesizer music around. He composes and performs in the same musical style as Larry Fast (Synergy). Manuel's music is overtly electronic and yet rooted in pop-music sensibility (repeated motifs, refrains, and bridges); he (Manuel) has few (if any) contemporaries in this regard. Frankly, I'm always impressed with how good his music sounds - even when I don't care for it (which is rare). These two CDs are great examples of his strengths: sterling production (the albums' mix is a delight on headphones), catchy melodies, and a real ear for what works in the ways of synthesized keyboard music. Electronic Souls Fusion opens with the strongest cut, "Dreamscapes, 2001 Edition," a flashy exploration of driving rhythms, soaring synths, and dramatic highlights (a la Jarre or Fast). "Stairway to the Stars" is more subdued but still a lot of fun with its retro sounds and overall sense of joy. "Time Travellers" begins more mysteriously with whistling synths counterpointed by percolating bubbling keyboards. A samba-esque rhythm carries the tune along at a midtempo pace. The unexpected use of an acoustic guitar on "Spanish Rain" is soon shunted aside and forced to share the spotlight with driving hand percussion beats, synth bass beats, and other more overt EM elements as well as a sad-sounding flute and synth choruses. The only misstep on the album is the inclusion of a vocal number ("La ragazza dagli occhi verdi") which, thankfully, occurs at the end. It grinds the previous explosive energy of the album to a bit of a halt - it's not bad, just misplaced on this sterling EM recording. Electric Blue, like the previous album, also opens very strong, with the "Spanish guitar meets EM" number "New Millennium Electric Blue," which propels via quasi-flamenco guitar counterpointed by Berlin-esque analog soaring synths - sometimes played at breakneck speed. The song is definitely a grin-inducer, especially when the quavering synths do battle in the middle of the song. More contemporary in feel, "EnvironMentallic Action" sounds like Harold Faltmeyer meets 21st century dance music - thumping bass beats bounce off various synth textures in a future funky fun-fest. "Sweet Harmony" is bottom-heavy (i.e. lots of bass action) buoyed by a light-hearted synth piano-led melody line and incorporating some modern rhythmic elements as the song progresses. One of the odder tracks on the album is "Dancing Paradise," which sure as hell reminded me of the Rainer Bloss album Drive In Volume 2, courtesy of its retro sound and funky vocal samples. It's harmless fun and if you take it in the right spirit, it's actually kinda cool. "Dark City" is a sonic voyage into darker synth textures and midtempo techno-like beats. The CD ends with two alternate versions of the album opening "New Millennium," tune. All three versions offer something different and I liked all three, although some listeners may think this is overkill (or filler material) and might prefer more "new" music. Sophisticated listeners may hear Manuel's (Vanethian's) music and only discern overly slick pop EM. Myself, I'm a sucker for the hooks and expert musicianship that, in my opinion, Manuel excels at. As with the last album of his I reviewed, I make no apologies for how much I love his music. It's chromium candy - polished, yummy, and never upsetting to my stomach, no matter what mood I'm in. I can see why this guy gets a shitload of videogame and computer game music work - he's a wiz when it comes to hooks and he's an EM engineering professional. Whether or not you like the music on these two albums, you'd have to be a total loser to think they sound bad. Myself, I'm sold. I can't get enough of this sweet and delicious easy-to-digest EM.
The latest album from electronic musician Vanethian (a.k.a. Manuel Marino) is a great collection of analog synth pieces. Cutting a wide swath of styles, from Berlin-esque sequenced thumpers to romantic new age to dramatic Arkenstone-ish cinematic soundscapes, Amazing Dimensions (which culls songs from his previous mp3.com releases) showcases the artist's many talents as both a composer and a performer. Manuel's strengths include his proficiency at the various genres listed above plus his ability to infuse his music with a healthy dose of imagination and humanity. I was always aware of a human connection to the music as it came out of my speakers. The only weakness on the album is that the songs (there are fifteen of them) are too short. Not from a value-price standpoint (although the CD is shorter in duration than some others - it's under forty minutes long), but because some of the musical themes and ideas that Manuel/Vanethian explores are so good that I wanted a lot more - I'd like to see some of these soundscapes go on for six, seven or even ten minutes. In some ways, that's a huge compliment. After all, with some music (not this CD, though) I can't wait for it to end! With the aforementioned fifteen cuts, it's hard to single any out, but I'll try just the same. The album begins with an evocative flute evolving into a great thumping bass line on "Beginning," bringing to mind TD and Schulze crossed with Tim Wheater! "I Want To Believe" has more of the warm yet powerful washes of analog synths, this time paired with pulses and bell-like tones and synth-chorals. "Dreamscapes" is the longest cut on the album at five-and-a-half minutes and its almost regal synth work is woven around a dramatic midtempo synth rhythm. This one (as do most of the songs on Amazing Dimensions) begs to be cranked up. Later in the song, funky wah-wahing synths compete with a pulse-pounding bass synth. Still more cool music can be found on the way-too-short "Savage World" (which could be Richard Bone circa Electropica with its snazzy bossa nova-like rhythm and airy flute), "The Net 2032" which, I swear, could have been a cut on the Wendy Carlos-penned soundtrack to Tron, and the elegiac "The Palladins Way" - mournful yet triumphant with muted synth trumpet fanfare. This promising and entertaining album closes very strongly with the three-part "Galaxy IX," a highly dramatic and well-done mini-suite that brings to mind images of rocketing through space, using flute, synth strings, timpani and other effects to reach out and pluck those galaxy-seeking heartstrings of mine. I must say that I am very impressed with Manuel/Vanethian. While the CD is not without its shortcomings (such as needing to develop the musical themes more), the music itself is so good that I have probably played Amazing Dimensions at least twice as much as I normally do before reviewing a recording. The reason is simple - I liked it. I liked it a lot. Those of you who enjoy exciting and varied melodic electronic music that flows from Berlin to Saturn and back again will, I think, be equally enthralled. Recommended! |