R E V I E W S
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Some ambient artists fastidiously list every piece of gear used in a production, as well as provide background details about the project as a helpful entry-point for listeners. London, UK-based Keith Berry, on the other hand, provides nothing but the material itself and track titles that while allusive are ultimately enigmatic; any number of possible interpretations might be gleaned from a title such as “Synhistanai” or “Natsukashiik,” for example.

None of that matters much, however, when the music is so striking. This fifth volume in his Viable Systems series shows Berry's refined his art to a point where the beauty of the timbral palette and the hypnotic impact of the musical patterns speak for themselves. Unlike some artists associated with the ambient genre, Berry eschews distortion and rough edges for tracks whose polished surfaces gleam.

As endlessly as Eno's cited when talk turns to ambient music, it's next to impossible to review the release without mentioning him. Berry's tracks exude a delicate, radiant glow that calls to mind the terrific ambient material Eno issued during the ‘70s and ‘80s, and settings such as “Sicilian Defence,” “Quiet Desert Failure IV,” and “Cloud Seeding” rival the best that Berry's colleague created. In the latter, soft, flute-like tones drift across a glimmering backdrop, their overlap reminiscent of the tones' staggered appearance in Discreet Music. As a lower-pitched woodwind emerges to join the warbling flutes in graceful counterpoint, “Cloud Seeding” grows all the more transfixing. No lapse in quality is evident in the eight peaceful, time-suspending, and entry undulating soundscapes that follow, each one a testament to its creator's command.

Details do differentiate the tracks. The sound design for “Corbusian Utopia,” for example, works bass guitar in amongst its flutes and electronic washes, and bass clarinet-like sonorities similarly breathe life into the sleepy warble of “Natsukashiik.” And while most pieces last three to five minutes, two eighteen-minute pieces appear on the seventy-four-minute collection. With sleepy cricket sounds punctuating its convulsing haze, the shimmering, piano-sprinkled oasis “Pollen Drift” could conceivably be programmed to run forever; “Terminal Beach,” surprisingly, could pass for an alternate version of “Pollen Drift” when it shares many of the same sound details. Still, as absorbing as the two are, the shorter pieces are actually more potent, perhaps because their concision ensures listening engagement never strays.
However much Viable Systems 5 is grounded in generative strategies is impossible to determine from listening; regardless, it's the musical result that matters, and in this case it's generally spellbinding. For all I know, Berry's got the sixth set already completed and is perhaps envisioning something on the order of a tidy ten-volume total.

www.textura.org
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Brian Eno's 'Discreet Music' is the first album of what he termed ambient music. Laying in bed because of the accident, a friend brought a record, but the volume was very low, and he could not change it. Nevertheless, he liked what he heard, including the rain outside, and decided to make music that could be played at a low level and regarded as something beautiful or ignored. Simply have a few loops of different duration running, which will overlap differently. This is not something I recount because I think Keith Berry does something similar. He writes that this Eno-invented process is something that he wants to promote. I reviewed the two previous instalments in this series (Vital Weekly 1259 and 1278, so this fifth took some more time), and I mentioned Eno the first time. Keith Berry doesn't inform us how these loops were made. I also find it hard to say something sensible in that direction. For all I know, Berry uses a laptop and software, but it could very well be a more complex set-up with bits of hardware. Berry's music is not static, as one could, maybe, think when you think about loops. Listen closely, and you will hear that new sounds occasionally become part of the piece, and others disappear while the same patterns remain on the surface. The music we can undoubtedly call atmospherical, but it is never all too dark. Instead, Berry stays on the lighter side of music but avoids all too obvious new-age doodling. Sometimes with his light piano and bell sounds, he comes close, but a darker synthesizer sound always saves it. One of the terms Eno used, generative music, springs to mind here also. Unlike Eno, however, Keith Berry hasn't, as far as I know, ventured into that area, but I think it could be exciting to have his music as part of an application. For now, we have to do with another excellent CD, which is fine too. (FdW)

www.vsmtheory.com
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