Remy returns to these virtual pages with an offering thematically connected to his recent Disconnected, in title at least. The music is similarly influenced by Klaus Schulze, circa 1975-78 and fans of Schulze‘s recordings of that era are almost sure to enjoy this one. Remy composes very ably in this style, and while the stylistic innovations may be few, he is able to use and twist the style to respond to his personal expressions. As far as I can tell, Remy plays all the instruments and/or instrumental lines on this recording, (the featured sounds are synth sounds) and while that is becoming more the norm in this field, listeners should be reminded that it is quite an accomplishment. Moreover, Remy is careful to make sure that the lines he plays are idiomatic – that a bassline, even if it is played on a synth, sounds like a bassline and that drum parts make good sense as drum parts. This facilitates the mode of expression used in this recording tremendously and sets it apart from some of the other recordings of this type.
Mark Morton –
Remy returns to these virtual pages with an offering thematically connected to his recent Disconnected, in title at least.
The music is similarly influenced by Klaus Schulze, circa 1975-78 and fans of Schulze‘s recordings of that era are almost sure to enjoy this one. Remy composes very ably in this style, and while the stylistic innovations may be few, he is able to use and twist the style to respond to his personal expressions.
As far as I can tell, Remy plays all the instruments and/or instrumental lines on this recording, (the featured sounds are synth sounds) and while that is becoming more the norm in this field, listeners should be reminded that it is quite an accomplishment.
Moreover, Remy is careful to make sure that the lines he plays are idiomatic – that a bassline, even if it is played on a synth, sounds like a bassline and that drum parts make good sense as drum parts. This facilitates the mode of expression used in this recording tremendously and sets it apart from some of the other recordings of this type.
The recording opens with Ou Sont Les Femmes”