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review by Bill Binkelman David McCarthy is the multi-instrumentalist behind this effort, contributing flutes, drums, and an assortment of electronic keyboards. All but one of the seven tracks are instrumental, although there is use of synth chorales in more than a few places. This is a solid recording in the new age music genre, highly reminiscent at times of Richard Burmer's Bhakti Point, except with a much more pronounced emphasis on McCarthy's flutes. If you are familiar with Burmer's romantic yet powerful work, you should easily hear the comparison on the opening track, "Stay Present" with its echoed booming drums, light twinkling triangle-like tones, and lush keyboards. The distinguishing factor is, as I wrote above, the artist's expressive flute which weaves its way through the other musical elements with grace. The first three songs are in the eight-minute range and stick closely to the formula of flutes and warmly ethereal keyboards and chorales, sometimes accentuated with powerful and dramatic timpani or other drums/percussive effects. "First Flight" exemplifies this duality and also features bass guitar from Steve Bartlett and Spanish pipes by Tim McCarthy. After a quiet opening, drum kit rhythms explode and carry the track into world/progressive fusion territory. This is somewhat less successful than McCarthy's quieter music, especially when the wordless vocals from GW Taylor come from out of nowhere. "Nature Dances" which is embellished with field recordings of water and wildlife, is a return to quieter soundscapes, and McCarthy's flute has a pronounced Native sound to it, helped along by quiet Native drums as well. A thunderstorm is then heard and the music, appropriately, assumes a more dramatic feel, before subsiding as the song ends. This track is another one that put me in mind of Bhakti Point. The centerpiece of the album is the twenty-six minute "One Fine Morning" (no, not the song by Lighthouse!). As with any composition this long, detailed critiquing is nigh impossible. Once again, it plays to the artist's strengths, i.e. his layering of keyboards, his emotive flute playing, and a rich warm melodicism that is classically new age in spirit and execution. Drums/percussion are quite pronounced at times, especially those thundering timpani that the artist seems to favor. I happen to think the piece simply goes on too long, although if you enjoy long-form compositions, this one is a good example of a well-done work. Given the genre, though, I think more songs with greater musical variety would have made a better artistic statement. While I wasn't knocked out by this album, I can't find much to fault in it either, except for a certain sameness from song to song. The recording quality is good to very good, and the nature sounds are well placed in the mix when they are included. It offers a good alternative for new age music flute lovers who grow tired of how the instrument is frequently used in the service of music which lacks dramatic "oomph," something that EveryOne 432 has quite a bit of at times. All in all, a pleasant effort, albeit one that did not do a lot for me from an emotional standpoint. |
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