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review by Bill Binkelman Electronic keyboard artist Bill McGee (a.k.a. Composure) continues to release albums in a somewhat under-represented subgenre of new age music, that being electronic keyboard music which is neither ambient nor new age but somewhere in the middle (similar in nature to what was released on Narada's Mystique label in the late '80s, featuring artists like David Arkenstone, Carol Nethen, Peter Buffett, Colin Chin, et al.). If you are unfamiliar with that reference, what Ashes to Dust presents is ten instrumentals that combine (for the most part) accessible melodies and midtempo rhythms played out on a variety of keyboards that offer both sampled versions of real instruments and more "traditional" electronic effects as well. McGee's strengths from his previous work are his clever and ingratiating way with melodic refrains and his earnestness, which comes through in careful attention to composing detail. His weakness, which is gradually going away but is still there, is a certain lack of "presence" in the engineering as well as some muddiness in the mix. Personally, this never detracts from my enjoying his music. However, when I listen to a Composure CD and then one from, e.g. Llewellyn or Kevin Kendle (two electronic keyboard artists who master their music to perfection), the difference is apparent. That criticism out of the way, Ashes to Dust departs from the McGee formula on some tracks, leaning closer to overt electronica, darker rhythmic ambient, or European chill-out at times. "Mystic Soundscapes," the opening number, is , however, vintage Composure, aglow with twinkling synths, soaring strings, and lively percussive effects, along with some lower register echoed piano. "Working Girls," though, has an English chill-out feel, comparing a bit to the music of deep sky divers. The beat tempo is relaxed and the synth bells' cheeriness is counterpointed by minor tones that color the track with shadow. "Walk Away" uses uncharacteristic rhythms with subtle glitch elements, while the melody flirts with a "cyber-lounge at 2 am/deserted cityscape" feeling. Things take a different turn on the long (7:30) title track, with all sorts of skittering percussion textures and a subdued freneticism for the first part of the track; a burst of dissonant synth strings (shades of Ligeti!) and the emergence of more dramatic bass beats combined with buzz-sawing tones signals the song's next "movement," and this could be the most "experimental" (relatively speaking) thing to come from McGee so far. The next song "Feathered" shifts gears into a soft minimalism with floating keyboards and arrhythmic bass samples which flow into sampled guitar and organ-like keyboard chords, cushioned by sad-sounding strings. "A Perfect Feeling" again strays over into quasi-glitch territory, this time with the juxtaposition of fast tempo rhythms and retro synths along with alien-vocal effects and shimmering bell tones. Ashes to Dust shows that Bill McGee is willing to explore new areas of electronic music, yet he still retains a user-friendly modus operandi to his compositions. Nothing here should scare away fans of his past releases. On the other hand, songs like the eerie "Pyramids" illustrate that McGee has more up his sleeve than a catchy hook and accessible soundscapes. If you enjoy keyboard-driven rhythmic new age/ambient music, this album deserves your consideration, provided you can handle some minor engineering bug-a-boos that may have you turning up the treble a bit. |
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