Wind
and
Wire
Stephen Page's first recording, Dolphin Ascension, is a good, sometimes even very good, foray into electronic keyboard music that straddles the new age, adult contemporary, and even spacemusic genres (on a few cuts). The only downside to the album is (my old bugaboo) the occasional overuse of drum and rhythm programming. This is such a common error on the part of first-time recording artists that now it's unusual to not encounter it. But, to Page's credit, the quality of his lead keyboard lines and his compositional skills are way above average. So, it's easier to forgive the crowded state of percussion on some tracks or the slightly out-of-rhythm sense that some beats seem to have. There is no point in belaboring this criticism except to add (as I have in the past) this simple piece of advice to both Stephen and others: let the music itself illustrate the drama some/most of the time. Using four or five different percussion instruments/samples of drum programs can detract from (rather than add to) an otherwise excellent sweeping keyboard line. That said, lots of the tracks on Dolphin Ascension are memorable and enjoyable, including the opening title cut with its midtempo cadence and sense of celebration. "Seascape" is also lovely, merging the sounds of waves with twinkling bells, sweeping strings, and a delicate synth refrain. Here, the drums are relatively muted and, while still more pronounced than I would choose, are a nice complement to the fluid melody lines. The bridge introduces a melodica-like keyboard that is both unique and fun to listen to as well. "Through the Nebula" (both parts "1" and "2") are the two tracks where Page pushes over into spacemusic territory - and does a particularly nice job of it, flirting with deep and lush serene washes, hushed choruses, soaring strings and spacy synth textures. These tracks are reminiscent of Geodesium, Mark Dwane, and other melodic planetarium/spacemusic composers. They are my favorite pieces on the album. New age music fans who enjoy the more uptempo offerings from Kevin Kendle (who, coincidentally, mastered Dolphin Ascension, thereby helping it sound excellent from a technical standpoint), Llewellyn, Anthony Baskey, and similar artists should find a lot to like here, such as the pretty "Dolphin Prayer," or the dramatic anthemic "A New Hope"(which flirts with a little jazz through some nice piano riffing in the middle). The closing track "Forgiven" ends the CD in energetic and passionate fashion - myriad percussion, synth strings, various bells and chimes, wood flutes, and male/female choirs combine to produce a track that is both fluid and also dramatic. Graphics and overall presentation are way above average, in fact rivaling or bettering many label efforts (far exceeding most self-released or indie efforts). And, as I stated above, the music itself on the CD is, at times, excellent. With the application of a little discretion in the use of percussion and drum programming, Dolphin Ascension would have earned a high recommendation from me. As it stands, I still recommend it to new age music fans because, from a melodic standpoint (and engineering as well, for that matter), it's a very good recording. Spacemusic fans probably would find it too "warm" except for the two tracks noted earlier, but those two "Through the Nebula" tracks are sure-fire winners! All in all, a solid (and creative) first effort from Stephen Page. review by Bill Binkelman |