SAM VITOULIS

April 4th 1984

margen Records (2003)

review by Travis Briggs

With April 4th 1984, Sam Vitoulis has created a fitting homage to the epic dystopian fiction Nineteen eighty-four by George Orwell. He accomplishes this by seamlessly fusing traditional Berlin School elements with the symphonic grandeur and melodic sensibility commonly associated with Vangelis. This result is ultimately unlike anything I have heard before, and aside from being consistently captivating, April 4th 1984 often scales to almost unimaginable heights of delicately channeled orchestral power.

The opening track "Notice" greets us in a disturbing and yet slightly comedic manner with a "government sanctioned" announcement informing us that due to our success in the war, "Big Brother has decided to give each and every family 300 grams of chocolate instead of the usual 200 grams." It is on this note that the opening symphonic refrains of "The name of Jenin" assert their formidable presence, with Vitoulis already flaunting the famed CS-80, considered by many EM aficionados to be Vangelis' trademark synth. A simplistic yet effective pulsating sequence underpins a sophisticated piano melody that conveys a sense of impending danger. The punctuations of richly textured synth swells serve to emphasize these feelings as well as to provide an edge of urgency. "Echelon is watching you" appropriately elicits a slightly paranoid feeling, with the simplistic and only deceptively mellow sequence actually concealing a more nefarious vibe.

The commencement of "Thought Crime" supplants the eerie voyeurism of the previous track with a pronounced melancholia, although the addition of the dissonant piano, sinister theremin and forceful strings induces an emotional sensation verging on barely restrained psychosis. Those that are feeling somewhat aurally encumbered by the oppressive atmosphere of the album thus far will find relief in the majestic, uplifting "I'm Winston Smith too," and with its thunderous percussion and heartfelt confluence of robust melodies, acoustic accents, and cohesive sequences, it's surely one of the highlights of an already very accomplished album. "11s or Room 101" is an inventive concoction containing amongst other things a mischievous bass sequence and invigorating ethnic percussion, all overlaid by enticing dulcimer motifs. "Love to Big Brother" is a study in the understated yet insistent evolution of steadily paced electric string stabs. The piece features a particularly poignant interlude during which an enchanting melody is gently coaxed from the strings of a dulcimer (at least I think that's what it is).

The next song, "The two minutes of hate," is starkly contrasting in its emotional content, and features the compelling synthesis of a modern drum track with menacing orchestral interjections as well as more of that unmistakable high-pitched theremin wail. "War is Peace," and especially its introduction, brought to mind some of Vangelis' more serene, contemplative material, such as the beginning of "Five Circles," "Abraham's Theme" or possibly parts of "Tears in Rain." The element that distinguishes this piece as Vitoulis' is the subtle sequence, which serves to subliminally propel it into the intimate recesses of your mind.

Vitoulis dispenses with any introduction or gradual progression on "Julia." instead unleashing an infectious, remarkably powerful sequence within the first 2 seconds. As the piece progresses, Vitoulis intersperses delicate, alluring sections with intense orchestral crescendos. The soundscape is further enlivened by Vitoulis' keen sense of arrangement, an ability perhaps only surpassed by Vangelis himself. It is for these reasons that "Julia" is my hands down choice for best song on the album.

Following the short, soporific"Palestine" we reach the final two tracks, which are billed as "bonus tracks." Fear not, however, because these pieces transcend the marketing ploy mentality that is responsible for the inclusion of many bonus tracks, and are far from being mere filler. Indeed, they are two of the best songs on the album. "Magma" is a sequencer romp of the highest caliber, exchanging the album's previous symphonic sensibilities for those signature Berlin School elements that any fan of Tangerine Dream's Baumann period will recognize instantly. And finally we have "Departure," the only song on the album not at least partially composed by Vitoulis, but instead by Sergio Koval. It is a proficiently executed anthem of epic proportions, featuring regal, triumphant melodies and a particularly noteworthy middle segment during which a mercurial string section is reinforced by glorious choirs and more CS-80 embellishments.

With April 4th 1984, Sam Vitoulis has adeptly traversed the entire emotional spectrum, not only offering variety but also complexity. In addition, Vitoulis crafts compositions that exhibit a rare structural subtlety, an ability often times characteristic of those in possession of an authentic and enduring musical talent. Anyone with even a passing interest in symphonic electronica or Berlin School should not hesitate to buy this incredible masterpiece.