MARK MAHONEY

if dreams were clouds

Self-released (2004)

Review by Bill Binkelman

Every now and then, an ambient music artist comes to the surface who merits special mention for a unique musical vision, a special twist in the sounds he/she produces, or just because his/her recording(s) reveal a talent that is rich, interesting, and deserving of recognition without the person needing to "pay dues." Such is the case with Mark Mahoney. As part of the trio The Amaranth Signal, he had a hand in penumbra, a recording of which I wrote "...these three artists are bold voyagers into unexplored territory and hearing them get there would be a great way to spend a few hours." Now, with if dreams were clouds, Mahoney steps into the spotlight and shows his style of ambient music can stand toe-to-toe with anyone else currently in the genre (as far as I'm concerned). This is a fascinating series of drifting electronic portraits that veers from warm and ethereal, approaching the feel of classic spacemusic, to eerie and foreboding (but not necessarily dark) textural pieces that contain moments of both beauty and mystery.

Mark informed me that the instrumentation on the album consisted of "...a Waldorf Q and Alesis Ion hardware synths, and Native Instruments' Reaktor and Absynth soft synths." He also incorporates (brilliantly, I might add) some field recordings on one track ("The Apartment Ledge"). The synth sounds frequently evoke analog/classic EM comparisons, as the synths soar, cruise, whistle and careen through the night sky. I haven't heard a better "turn off the light, sit in the dark with headphones, and drift away" album in quite a while. What fascinates me, though, is how Mahoney can veer off into quasi-experimental territory here and there, not just plugging into long washes and sustained chords on synths. Take the aforementioned "The Apartment Ledge" (which opens with the sound of an "el" (i.e. elevated train) passing by amidst hushed winds and swirling synths. From these shadows, a blooping/bleeping but curiously inviting series of tones emerges and this is what cleans my clock! Suddenly, a car starts up and I can almost picture myself sitting on a window sill in a quiet Chicago neighborhood in the late night hours, absorbing the essence of life in a big city as it goes to sleep. Then there's the audacious opening track, "Desert March" (What bravado to begin an album with the longest track, as this piece runs twelve and half minutes!), with buzzing panned analog-sounding synths at the start yielding to a shuffling rhythmic percussive effect and deep swelling drones and washes. As the cut progresses, organ chords (almost cathedral-like in nature) are folded into the mix along with muted booming noises way back in the mix.

There are ten selections on the album and, truthfully, each one offers listening pleasure, yet with more than enough variety to keep you interested throughout the entire length of the CD. There is "The Sentient Machine" with its computer-ish noise background effects, deep drones, and mellotron-like keyboards and "Gravitational Sling" featuring warm washes of synths underneath twinkling tones and analog whooshes. "First Light," which you might expect to be all sweetness and niceity, is actually ablaze with whirring analog chords and broad expanses of whooshing sounds, more like the spacemusic of Telomere or perhaps Michael Stearns, as well as whirling high-pitched moog-ish tones. "Third Spring" is a headphone trip with noises that sound like buzzing flies in your ears, amidst an assortment of electronic tonalities and muted arrhythmic glitch beats buried in the mix.

if dreams were clouds is a CD that manages to be both soothing and also challenging and complex (without resorting to overt avant garde posturing or pointless experimentalism meant to call attention to itself). By combining retro EM and classic spacemusic elements with a contemporary view of drone, ambient, and textural music, Mahoney has created an alchemical heady brew that entices and draws you in, seducing you with warmth while bathing you in shadow. The album made its way into my Top 10 of last year and with good reason - it's bloody brilliantly conceived and executed and how it hasn't been acknowledged by more people is a puzzle. From me, it merits "highly recommended" with ease. Here's hoping Mark Mahoney's musical voyages will continue for many years.