Toll by Redshift
DS006 : 2006
"Toll" is a live album recorded by Redshift at the E-Live festival in Eindhoven, Holland on the 9th October 2004.
The band line-up for this concert was James Goddard (synthesisers, electric piano and guitar), Julian Shreeve (synthesisers and sequencers) and Mark Shreeve (synthesisers and sequencers).
Everything that was played at the concert is here apart from the encore, a piece called "Schachthof-Fünf". This was not included due to major guitar feedback problems on the night although it did appear on the "Wild Three" album later complete with re-recorded guitar.
For the most part the music is a little darker and harder than previous live performances including a greater compliment of (intended) distortion to the main synthesiser rhythms.
As James Goddard permanently relocated to the USA shortly after this concert it also marks his last appearance (to date) with Redshift.
Review:
"This is a live album recorded at the E-Live festival in October 2004. The 18 minute 'Stuka' opens and initially presents mammoth, stabbing sequences but soon develops into a wonderful trademark syncopating sequencer run. Frenzied synth lines grapple with the twisting turmoil beneath, the summation creating an edgy feel.
It really is worth investing in a decent subwoofer to hear Redshift's music, because in many places there are some complex, almost sub sonic, bass notes squirming around while "up top" there is a more simplistic landscape.
Indeed this track seems to be all about light and shade as Mark Shreeve regularly reigns in the beast almost to strangulation point, only to unleash it afresh.
My favourite section of this track emerges around the 13 minute mark as a sublime synth motif toys with sequential ephemera, while a gut wrenching bass throb lurks underneath. Tremendous!
'Cast Down' emerges on a wave of wonderful arpeggiations and continues in restrained fashion with an impressive ear for detail exemplified by electric piano moments. Oscillators freshly tuned Mark Shreeve winds up the sequence salvos at the start of 'Glide' and what classic sequences they are.
I just love the high register interplay as Mark toys with the skip function and produces a lattice of shifting notes and time signatures which melt together in seamless wonderment. Sensational!
The trump card is played with the bass sequence and Redshift produce another personal favourite which will see regular outings.
And we're not even at the half way point yet! Next a steady (and sublime) sequential beat appears topped by mellotron flute and wonderful synth pads. At this point I reach one of those moments when I need to stop reviewing in "real time" and just listen! OK, I'm back, and what a track 'Glide' is. Awesome. I say again, AWESOME!
Another opportunity for modular adjustment appears in the form of 'Rock' which has an almost aboriginal feel to it. Amazing sonics and atmospherics which would grace any album.
Finally the title track gets underway. Underwater style breathing effects herald an atonal percussive sequence which slowly grows as the filters are opened. A 4 by 4 bass throb emerges and I think it's fair to say that this is Redshift doing their "Node thing" and highly impressive it is too.
There's some electric piano work which is reminiscent of ARC's 'Arcturus' concert, perhaps not surprising as they took place so close together. A more melodic sequence emerges at the 7 minute mark but the main theme here is rhythm and edge, not Berlin School syncopations.
At 17 mins "the beast" is unleashed again in a "massive attack" of sequencing which must have had the whole hall rocking. EM just doesn't get any more powerful than moments like this. Over 30 seconds of audience applause is featured, I bet it went on for a lot longer too.
For me, Redshift produce their best work on the live stage (in the same way a certain Teutonic band did in the 70's) and 'Toll' becomes the 4th live masterpiece in a growing series. Tracks like 'Glide' are the very essence as to why I have enjoyed EM for over 30 years. (GG)"
Credits
Composed and performed by James Goddard, Julian Shreeve and Mark Shreeve. Mixed by Mark Shreeve.
Cover photography by Julian Shreeve, layout by Gary Scott.
License
All rights reserved.
Redshift came into existence in 1994, initially as a solo project by Mark Shreeve. Shreeve had already established himself with his own more "structured" style of electronic music, along with pop songwriting, film score, TV and Library music output.
The idea behind Redshift was to create a darker, organic style of electronic music using mainly, though not exclusively, old analogue synthesisers.