Free System Projekt is the recording title of our very own GoldTri
member Marcel Engels. I'm very hesitant to place FSP in any pigeon
hole, as the minute his sound approaches any of the Greats, it flies
off in a dramatically different direction.
At the risk of adding even more to the "Middleton/Engels/Nagle Mutual
Appreciation Society" controversy, I present my views on this excellent
CD :-
1. The Closening
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Starts with abstract, almost SONAR-ish, sounds over a Jarre-esque
white noise surf and moody organ. Soon, a heavy sequencer enters,
reminiscent of Jarre once more. Phased strings provide a velvet
background for a beautifully 'electronic' sounding lead solo. If I
didn't know better, I'd swear I was listening to a real Mini Moog.
Some dramatic key changes follow which bring Schulze to mind. The
sequencer takes centre stage until 04:10, when there is the most
almighty bass synth note. Sinister strings and an up-front lead line
overlay an early-80s Franke percussion line. Portamento-ed lead
reintroduces the Schulze feel. Just before the 7:00 mark, the huge
bass synth reappears and ends the sequencers/rhythm. Now a more
gentle airy vocal/string sound appears. Oh, nice piano work. Think
of the end of Monolight from Encore. Strange, unexpected chords
rise up and fade into the surf from the beginning of the piece.
2. The Nightmare
----------------
Totally odd chord sequences make you sit up and take notice. Muted
bass sequencer with phased strings build up slowly then rhythm takes
over with melodic sequencers and drum patterns. Squelchy polysynth
plays some inventive stabs, but the sound is a bit harsh to my ears.
Now we're in a Schmoelling-era bridge section. Very dark. Another
sequencer/drum pattern rises out of the ambience. Then, suddenly
some light electric piano and airy vocals take things in a new
direction. A VERY heavy sound is used for a solo, but it is handled
well. A more conventional chord sequence helps to wrap up 'The
Nightmare' on a positive note. Scary stuff, though.
3. The Chase
------------
Abstract sounds and surf lend a lonely air to proceedings. A lone
bass line with echoed lead and flanged strings in predominantly
minor keys keep up the suspense. A very interesting lead line
which doesn't seem to belong to any known musical key introduces
a more up-tempo section along the lines of Thief. Things settle
down again and a laid-back lyrical solo plays over gentle rhythm.
It's over too soon ! A white noise storm fade out leaving a
bass sequencer and strange lead.
4. The Opening
--------------
My fave track opens with some Satie-like chords on piano. Strangely
suspended and unresolved, they lend an air of expectation. The
sequencers burst upon us in a minor key then move up to a beautiful
major key flurry. Back down into minor keys and a great Faux-Moog solo
over the top. Gothic choirs and pounding drums call up images of
cathedrals, Satanic masses. Pure Franke sequence + drums follow with
pure Schmoelling soloing over the top. Very nicely executed ending.
Too short !!! This track has enough ideas in it to justify stretching
it to cover a whole album side.
5. The Relief
-------------
Schulzean sequencer over lonely wind sounds. Gentle electric piano
chords are over taken by two sinister bass synths growling in the
lower registers. Think of 'Funeral for a Friend' by Elton John.
Lovely expressive Moog solo. Oh, nice sequencer with lots of
movement. A single rapid keyboard run introduces a new phase
with 'pizzicato' synth and gothic strings. Some great soloing
over VERY strange chords (how do you remember what key you're
in, Marcel ?). Very orchestral string work reintroduces the
'Funeral' theme. Shiver down the spine time as exotic bird
calls mimic some kind of alien fauna. Spooky to the max.
6. The Closening
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Abstract sounds over ominous bass synth and gentle piano work.
Single bass note for a sequencer. Invisible Limits, anyone ?
Multi-layered sequencer follows with Franke-trademark 32nd-
note trills. Melody sits strangely between minor and major
keys - nice compositional trickery at work. This builds into
a really nice passage that I could have listened to for a
good few minutes. However, it's replaced by a section of
sequencer mayhem - ring modulated randomness coupled with
solid bass. Soaring Moog solo with some interesting bends
and vibrato work. Ominous gothic string and bass work
finish this track and the album.
Strengths :- The chord sequences are always inventive and unconventional
which makes you stay on your toes throughout the experience. Sequence
patterns rarely fall into the pounding 8-note patterns so beloved of
e-musos the world over (myself included). Indeed, everything about the
sound is unexpected and out of the ordinary. Compositionally, Marcel
is extremely talented and has developed his own sound in a genre
full of similar-sounding artists.
Weaknesses :- Two only. The first is that the sound is too raw. More
time spent on production would take the overall sound to a new level
of listenability (how about feeding just the clap sound into a huge
reverb setting ?). Secondly, there isn't enough development of ideas -
I'd like to hear each section drawn out to two or even four times the
length that they are at currently.
Get this collectors' item while you still can - it'll be worth money
someday.
(
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