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Review by Bill Binkelman No sophomore slump for Ryan Farish! On From the Sky, the keyboard artist follows the successful path of his label debut, Beautiful, and yet (just like label-mate Amethystium also does on successive recordings) he's tweaked his formula and added some new wrinkles here and there so that he isn't just repeating himself. However, fans of Beautiful will still find plenty of reverbed/echoed piano, lush synths and chill-out accompaniment, and plenty of catchy beats and rhythms, all of which are part and parcel of the "Farish" sound. If, like me, you loved Beautiful's infectious good cheer and impossible to resist hooks, you'll not be disappointed with From the Sky. Farish does branch out, e.g. into Deep Forest-ish territory with third world chant/chorale samples on the opening "The Promise" (set off against his usual piano, snare/high-hat beats, and flowing keyboards). He incorporates these same elements in a few other spots on the album (e.g. the celebratory "Joy") and, while they are not my favorite moments, Farish is such a consummate pro when it comes to engineering and production that I found myself enjoying them despite myself. "Living Water" opens with breathy wood flute samples and also features the first noticeable appearance of acoustic guitar, deep in the mix but easily heard on headphones, and the beats have a more sensuous if not primal urgency, counterpointed by almost blues-jazz piano. The mid-song bridge explodes with "oomphy" trap kit drums and cymbals pounding out a more forceful rhythm, power chords on guitar and what sounds like mellotron - shades of Justin Hayward (of the Moody Blues)!. The comparison to the Moody Blues is quite apt since, like the Moodies, Farish has a characteristic sound that bears his mistakable trademark stamp. Critics of the Moody Blues frequently crabbed about their "sameness" track to track/album to album. Rather than debate that point as it refers to Farish, since from a strictly superficial and analytical standpoint it's somewhat unasailable, I would counter with my belief that not only are there a lot of nuanced differences between Farish's compositions, but even if there weren't, so what? If it ain't broke, why fix it? And Ryan Farish's music is definitely not broke! Some tracks on From the Sky do subtly break from characteristic Farish style, include the more dubbish "Pacific Wind." It's probably not world fusion in anything but the broadest terms, but I give the guy credit anyway. Later in the song, a lovely woman's voice joins in on wordless vocals (I have a pre-release copy of the CD and can't allude to any album credits, sorry). The strings are used in a neo-classical dramatic vein in the second half of the song, signaling another departure point for the artist. He almost sounds like Paul Schwartz at times! Some cuts hone closer to the sound Farish perfected on Beautiful, such as "Home Again" and, my absolute fave here, "Legacy" which is a trippy beat-laden "happy to be alive" kind of tune featuring excellent use of female chorals with piano, beats and lush synths, as well as some funky bass rhythms. "Miles Away" is a close second for me, a slower tempo piece that would be ideal accompaniment for a brisk walk along a country lane. The title track is a slow tempo but dramatic affair which again uses orchestral strings to greater effect than simply applying a layer of wash of violins - and damned if it almost doesn't sound like a real string orchestra at times. "Rejoice," the album closer, starts off sounding like Ray Lynch before veering over into Deep Forest tribal chants set against a percolating backbeat, lilting lively flute samples, and eventually Enigma-esque rhythms, all the while retaining the particular plucked string synth sound that reminded me of Lynch at the outset. The track is aptly named since the mood is definitely one of joy and exuberance. Kudos to Ryan Farish for setting out in some new musical directions on From the Sky yet not losing sight of "what got him here." The CD amply displays his strong blend of reverbed piano, bubbly beats, expert layering of assorted keyboards and chill-out/electronica effects, as well as production that is flawless in every respect. There's nothing much left to say except that I heartily recommend the CD. |
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