A.D. Music is one of the most musically satisfying of all the UK based ‘Synth’ music labels, with names like David Wright, Robert Fox, Code Indigo, Bekki Williams and Robert de Fresnes on its artist roster. Now they have spread their wings and collaborated with a team of ‘Trance’ DJ’s and re-mixers that are proven experts in their field, and the combined forces of this talented group of individuals has produced an album that uses tracks from the ADML roster as it’s source material, and worked it into the context of an amazing ‘Trance’ music album – and to say it works well, is like saying that Pete Tong or Judge Jules are a bit talented as DJ’s – In other words, this is one phenomenal barnstormer of an album! The entire seventy-four set is a mix of pace and dynamics - The way the 12 tracks build in tension and then release in a rush of adrenalin fuelled rhythm works to perfection, building layer upon layer of new sounds and body rhythms up to heights of almost unbridled musical listening pleasure. Allied to a mix of musical sensibilities and a contemporary electronic dance construction, ‘T.A.D.’ makes for the first ‘Trance’ music CD to have essentially come out of the ‘Synth’ music community – It’s the first of it’s type to stand head and shoulders alongside the cream of what the current ‘Trance’ scene has to offer, and actually eclipses a lot of it in the process. Whether you are of a mind to get up on the floor and dance, or hide in the safe haven of the sidelines, or just stay at home for a night in with your stereo, this album has enough energy and excitement to provide equal levels of ‘high’ no matter where of how you listen to it You can’t say it’s the best ‘Trance’ music CD around right now – BUT IT IS!!!

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Weight: 150.00 g

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You have to think Andy Pickford, Mark Shreeve and Vangelis when you check out this UK female synth player’s credentials, because she really knows how to rock with the best of the boys! This is Bekki’s first release and it is full of brilliantly composed and executed, full-sounding synth music tracks with strong melodies that comes very much from the classic UK mould. Right from the opening track the music is strong, melodic and excellently constructed. She performs like a true professional with a playing style not far removed from the best of the UK synth music composers. Throughout the entire near hour long set you hear masses of soaring synth melodies and layers with sequencers and percussive rhythm passages that really drive, resulting in an expansive set of 10 panoramic soundscapes full of dynamics and richly textured themes that sound great wherever they are played, and worthy of everything from Tangerine Dream, John Dyson, Andy Pickford, Mark Shreeve, Vangelis and beyond. The sound is dynamic yet deceptively light, powerful but never bombastic and the strength and heart of the music lies in her exquisite compositional skills and emotional execution of the music. A real gem!

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Weight: 150.00 g

This is Bekki’s second album and the blistering rhythms and anthemic melody line of the six and a half minute opening track ‘Cartagra’ immediately sends the listener the message that this is a player with total confidence in her ability to match anything else in her league. After a very good debut album these 10 tracks over sixty-seven minutes are a major step forward that run the whole gamut of influences, from classical to rock with some slight Eastern elements in between. The purposeful rhythm bases from drums, synths and sequencers add extra power to the overall feel of this album, as does the extremely well layered and orchestrated symphonic themes, that at times sound like they could have been part of some orchestral score for an epic movie – Look no further than the fantastic five-minute ‘Silhouettes’ track if you need evidence of this. There is a distinct maturity showing with this album – The themes are huge, it sounds smooth and sharply focused, and seems to glide along gracefully. You won’t get a set of stronger set of memorable synth melodies and rhythms than these – These are full sounding and majestic soundscapes that are always tuneful and relatively easy on the ear and yet exciting to listen to. Again, she still owes a lot to Andy Pickford’s influences, but that is no bad thing at all; in fact she couldn’t get a better complement than that. If you like smooth, richly textured, symphonic and dynamic synth music with enough going on in the compositions to consistently entrance you, then this is your album.

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Weight: 150.00 g

This is their first album, and it’s an amazing amalgam of progressive/synth/ambient music! The opener starts off with massive drum beats that lead into a classic slice of Pink Floyd-style electric guitar work backed with soaring string synths and orchestral style string-synth bursts, echoed voices & massive drum rhythms. Another 10 tracks follow, some slow, with floating synths, multi- tracked vocals in a Moody Blues vein over seas of synth sounds, others are the sort of effects-laden songs you might find on early Eno albums only with relaxed multi-synth/drum backing – It’s all very mysterious but, musically and vocally, absolutely riveting. One track is a sort of progressive take on ambient dub while another is way intense, with thickly droning guitars and electronics surging forward; again very Floyd-like, with guitars & synths to the fore – The style of song good enough to grace any Porcupine Tree album!  There is a four-minute piece that smacks of Enya-gone-ambient and another that is firmly prog/synth oriented with Floyd-style dynamics, lush sounding keyboards and soaring guitars over a flowing rhythm section. The last of the eleven tracks ends the album on a very mysterious, but quite incredible short sound collage. To sum this album up… If you were into Pink Floyd and have now had the sound presence of mind to get into Porcupine Tree and you also have a liking for decent electronic music, then this CD is an essential purchase for you. It's varied, it's consistent, it's different and it sounds phenomenal!  In short - a spectacular album that can be thoroughly recommend.

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Weight: 150.00 g

OK - prepare for a shock – This is very different from what anyone might have expected from the group’s second album. Witchcraft have produced a slow-cooking slice of easy-going, but firmly electronic music that, after around three plays from start to finish, gets under your skin and finds a place in your heart. Why three plays? Well, first time round is the surprise factor as you see your preconceptions fall by the wayside; the second time is to confirm that it's actually not a bad album at all; and the third play is where you REALLY start to enjoy it. The first of 8 tracks opens with a sizzling slice of synth space-rock, crosses into a cosmic galaxy of sweeping keyboards and gorgeous subliminal female vocals, before travelling into deep space with echoed synth backdrops, rumbling bass (a bit like a subdued version of the opening riff of Pink Floyd's 'One Of These Days'), with masses of string & spacey/flowing synth leads and a brief passing vocal that's more textural than anything, with some very Pink Floyd-like mannerisms throughout. It’s a bit like a decelerated 'On The Run' or the spacey parts of 'Set The Controls For The Heart Of The Sun' - a fine track that penetrates your mind to delicious effect. The middle track almost erupts in a blaze of swirling electronics and solid drums, totally unfathomable voice samples, with a dark voice giving it a strong Laswell feel. A mix of flowing, weird and strange synthscapes follow, including one that Orb fans will love! Some are just cosmic, eerie space soundsapes, while others feature melodies, bass-lines, sampled effects and cascading multi-textured sounds that all pile high in a glorious musical cauldron; almost like ambient music done by prog-synth musicians. Eleven minutes of astounding cold/emotional atmospherics close the CD, and then you realise that the shock and delight of the unexpected, mixed with a melting pot of styles has produced an album for the serious minded listener.

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Weight: 150.00 g

Long melodic tracks with a cosmic edge drifting effortlessly through different moods and atmospheres - A magical dream like, hypnotic effect is woven through David's beautifully cosmic/romantic synth music. From 1991/92, this was David’s second album to be issued on CD and it would concentrate more on the longer tracks, and here are 6 of them running up a generous seventy-eight minute playing time. These pieces (one of which is twenty-five minutes long) allow the musician free reign to explore a universe of space and cosmic bliss with melodic delicacy, dynamic strength and rhythmic purpose. Indeed, it is that fact that he never really ‘sounded’ like any other of the more famous synth fraternity that came before him that probably made this a refreshing departure on all that had gone before. This also accounts for the fact that this aspect of the music still remains fresh and timeless sounding to this day. So, we have a fourteen minute opener that blends East and West with tabla-like slow rhythms, sweeping strings and slowly swirling space synths, with huge waves of warm, deep, gorgeous analogue soundscapes and subtle melodies running through the heart of the track and sounding simply divine – But that’s only just a part of the whole story. The title track is six minutes where classical ambience meets melodic wide-open spaces with structure and intent, and it’s very strong yet full of warmth and character. Of the three other lengthy tracks that follow, ‘Strange Liasons’ is a classic slice of UK space-synths music, while ‘Taiga’ takes the feel and, to a degree, sound of this, and adds to it a slow synth bass rhythm with rich textures from string synths, and this almost manages to sound like ‘Stratosfear’-era Tangerine Dream, but listening to it today, you hear a full-sounding work that eclipses anything off that more famous group’s album. Finally, the twenty-five minute ‘Illusions’ is a sublimely tranquil piece of full-sounding cosmic music, again with a slight classical feel, but it’s a warm and slowly flowing epic for sure.

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Weight: 150.00 g

From 1995, this seventy-nine minute CD features no less than 15 tracks, the longest of which clocks in at seventeen minutes, but the others are all mostly around the five minute mark on average. The result is one of his finest early melodic albums you’ll hear. It is so full of tunes and soothing, romantic, tranquil melodies, and the overall feel is very light and airy, so this can be considered to almost be David’s most  “easy listening” album, from that point of view. From powerful electronic drum driven pieces to the majority that inhabit a more flowing musical environment, this is the album for anyone who wants their synth music to carry good tunes by the truckload and be the sort of album to which you can just relax and let the world go by.

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Weight: 150.00 g

A first time issue on CD for the original album from 1995, plus a full-length CD of bonus tracks taken from the same period, but never issued until now. The main album is a mix of synth styles from the Berlin school, through typically 80’s UK synth music that is choc full of melodies and languid electro and electro-percussive rhythms through to the flowing, warm moods, tunes and layers that Wright does better than most. The second CD is more a kind of musical travelogue through his creativity at the time, with tracks short and long showing the compositional process in detail, this time with distinctly Vangelis overtones to quite a few of the more laid-back pieces. The more punchy ones have a good deal more bite than the DW norm, and if anything, this second volume actually hangs together in retrospect better than the original release, as it seems a lot less dated and stronger, mainly by virtue of the wealth of ideas present in the shorter tracks. Overall though – this is a very good release.

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Weight: 250.00 g

In 1995, together with guitarist/programmer Nik Smith, Dave Wright plays a set at the prestigious London venue, and this CD became the document of that event. For the most part it charts quite a space music course – His own unique brew of space and melody, but even here there is a sense of bite or an edge, which is a side of his music not previously heard on any of the studio albums. This comes both as a rather excellent new dimension to the music and an extra ingredient that moves the end result into an altogether higher orbit. Superbly recorded, the atmospheric qualities the music conveys provides what is, to my ears, one of the best CD’s he’d done to date, and a recording that really does have all the best facets of his work in one place. But the fact that the last few tracks really start to attack and exude huge waves of powerful melodies and rhythms, make this so much more of an essential listening experience than even what’s gone before. It flies throughout, and at no stage loses your attention, with the duo creating what remains to this day a classic work of music that mixes space and power to perfection, and is to this day, still one of my personal favourites of all the early DW albums.

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Weight: 150.00 g

This was officially David Wright’s 4^th album, but it was the first to be issued on CD. It is a mature work that features four tracks with approximate running times of five to eight minutes, plus two cosmic marathons lasting over twenty minutes each. ‘Marjlynmba’ encompassed further developments of David's past work, which was simplistic, yet sophisticated, and just about the freshest and least affected electronic music around in the early 90’s. It is a melodious work that harbours some exciting musical ideas and a concurrent glowing warmth flows through the unusual blend of romantic strings and cosmic, spacey synthesizer themes it showcases. This is music designed to appeal to a cross section of fans from right across the E.M. spectrum. There is a deep emotional undercurrent revealed during several of the more melancholic tracks, and these feature touching melodies, sweet strings and angelic voices, some of the hallmarks of classic synth music romanticism, a style which David Wright went on to become synonymous with throughout the 90’s. Another interesting facet of this album is the combination of the Tangerine Dream / Schulze like cosmic atmospherics, with the more melodious, romantically inclined themes common to David's earlier recordings, and he became one of the first exponents of the genre to successfully amalgamate and nurture the two styles together. This montage of simple yet intricate melodies, symphonic electronics and spacey ethereal passages, lingers in your mind long after the final chords have drifted off into space, and characterises what David Wright, the musician, was striving to achieve with his first three 80’s cassette albums.

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Weight: 150.00 g

Extended, vast, melodic soundscapes with both cosmic/spacey and romantic/emotional undertones and no powerful rhythms, and in a sense, the last and possibly ultimate epic scale work to be produced by Dave Wright! It opens with a seven-minute track that has a distinctly anthemic, almost militaristic, flavour to its slowly marching rhythms, but there’s a silent quality to the vari-textured lead work from harpsichord-like, and surrounding space synths, which together with the main leads that rise up on a big melodic wave, give the piece a full sense of grandeur that never becomes overblown. Following this comes the five-part, sixty-nine minute ‘Spirit Of The Plains’, a work that is mind-bogglingly vast in its scope and breadth. Much of the music is cosmic, but that’s not to say it doesn’t have added melodies here, slowly moving rhythms there, and beautiful space synth swoops all over the place, while at its heart remaining a slowly gathering epic of gorgeous synthscapes. As always, no idea ever outstays its welcome, the mood is always one of warmth, depth and the music is positively galaxian in scope. The assorted textural variety of synth “voices” from strings to flutes, and deep bass to flowing cosmic synths, is both vast and spectacular, while the added melodic qualities and the overall openness of the soundscapes only serve to enhance that is an already quite incredible epic piece. This disc’s sixty-nine minutes playing time passes almost imperceptibly as you settle down to some of the best UK cosmic melodic music of its time.

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Weight: 150.00 g

From 1992/93, the pattern of tracks is similar in construction to that of the previous album – several lengthy epics and a few shorter pieces – but, musically, the album reveals a maturity that is quite surprising, bearing in mind the time that has passed and the high standards set previously. The 8 tracks have much more life than the previous two – This music seems to leap out at you! The classical feel is supplemented, as opposed to replaced, by a vibrant, almost European sea of rhythms and melodies, while the feel and construction that makes DW music so unique and hypnotic is still present. In a way, even though the comparison is not being made on a “sound-alike” basis, this somehow has much more of a cosmic Vangelis feel running through it, with that sense of dynamics, strength and beauty working in perfect harmony, so that even the space music seems melodic, and nothing ever stands still. The final track ‘Beyond The Airwaves # 2’ is a bit of an epic! Lasting nearly twenty-eight minutes, it sustains every last one of them, starting with an ocean of string-synths before going on into more far-eastern realms and then a mix of haunting electronic generated effects. From there it enters a gorgeous flowing string synth passage that moves onto darker, slightly hostile cosmic territories, before opening out onto sunnier, but still spacey plains. From there it gathers all the synth clouds together to open up a clearer sky, and then layers between full-sounding strings and soothing, quiet space music passages. Finally a rippling piano motif leads us into a passage of the more heart-warming style of cosmic music, and the piece slowly flows slowly on to its conclusion. A very, very good album!

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Weight: 150.00 g

This is another CD first timer from the DW archives that has been digitally remastered for CD release. It opens with a punchy four-minute piece that is mixes Teutonic sequencer led rhythmic synth music with Far Eastern thematic properties, and it all comes on top of this huge electronic drum rhythm - A great opening track. Then it’s the ten-minute ‘Romance’, a name that fulfills its promise with heavenly choirs, string synths, an almost harmonica-like lead synth refrain, a sea of flowing synth backdrops and a general air of tranquility. ‘January ‘89’ returns to the punchy rhythms only here we’re talking more studied and less rampaging - more Schulze than Tangerine Dream. The next two are five-minute slices of wistful synth-led romanticism, positively timeless in their mix of melodies, string-synths and deep resonances. The near eighteen-minute ‘Seashores’ is a masterpiece of flowing, floating, serene, heavenly, multi string-synth led tranquility, both spacey and cosmic, yet almost classical and heart-warming at the same time - A most beautiful piece of music. With the gorgeous, gentle flow of the title track to take us out, this is an excellent archive release and definitely a worthwhile one for lovers of slushy romantic style instrumental music.

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Weight: 150.00 g

David Wright's catalogue has always been a good seller at CDS - his unique brand of extended, melodic soundscapes are enriched with cosmic and romantic undertones and have proved to be popular with an ‘all round’ audience over the years. His mild, flowing, graceful brand of synthesizer music is played and produced with equal measures of with technical skill and feeling, and surely cannot possibly be offensive to anyone! This first-time-on-CD re-issue of one of the earliest of his albums proves the point completely, with the title hinting at what style the music is going to be in. It gets it pretty much spot-on too, as a lot of this album is exceedingly lush and mellow, full of smooth string synth backdrops and languid, flowing chords that give the impression of dreamily floating away on a warm summer’s day, but it’s all delivered with a an added, almost anthemic, quality to give the music strength and direction. A special mention for the fifteen-minute ‘Moonlit Dream’ is in order, as it adds deep, rumbling bass sequence rhythms to the overall mood of the album and carries off a piece that mixes the two distinct styles and feels to perfection. Overall, this is a great album for those who like their synth music to be interesting, but unfussy, laid-back, and beautifully melodic.

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Weight: 150.00 g

WELL, who would ever believe that this was the same Dave Wright that was THE out and out romantic of the UK synth scene in the late 80's/early90's, not me for sure, because when this was issued it was a very brave and admirable effort to expand his music into entirely new instrumental music territories altogether. Easily this is one of his most adventurous albums to date, and apart from a few minor criticisms, it is one of his best. It’s arrival was great news for us because we knew we could now safely target David Wright’s music to a much wider range of customers than ever before, but is it for all you 'Electronic Music' die-hards out there? Well, yes, but it's much more than an 'EM' album - It is 'Electronic', but then it's also ‘Celtic’, ‘World’ and even ‘Classical' at times - It's a mature work of art that successfully encompasses several styles into one unique musical form that should not be pigeon-holed! Like many other so called 'Electronic Music' albums we could mention, this is music for people from all walks of life - timeless music that can be enjoyed by any (and I use the term lightly) 'serious' music lover, including 'EM' fans! Click on the Click on the ‘More Product Information’ link and expand this to a full-blown track-by-track run-through of this eighty-minute album.

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Weight: 150.00 g

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From 1990/91, this has been now been remastered for CD. The six minute opener, ‘Islands’, is as magical an introduction to the musical world of David Wright as you could get – His mix of atmosphere, warmth and melody, together with a slow, purposeful delivery, create a style of panoramic soundscape that can only warm all but the hardest of hearts. He provides this with (synthesized) strings, choirs, bass, plucked leads and a richly textured approach to his music. In contrast, ‘Emerald Eyes’ starts immediately as a strong and delicate slice of tune-driven melody, the most important aspect being its full-sounding, constantly changing sense of purpose, in no way sounding like the first steps of a hesitant musician, more the overriding confidence of one who has original material of quality that is both enjoyable and accessible. ‘Shadowlands’ returns to the more atmospheric territory, but utilising a wholly different sea of synthscapes from the opener, while ‘Lovelight’ has delicate synth melodies and sparkling rhythms to provide the main focus of attention. This is also the first track to reveal the more ‘romantic’ nature of Wright’s music, and would become a constant landmark running through many of the shorter compositions of his early work. The eight minute ‘Cloudless Flight’ reveals an altogether stronger side to the music with a more pronounced percussive rhythm base, over which strings, choral effects, synth leads and generally horizon-stretching layers, all help produce a most immaculate piece of music that is dynamic to a tee. 6 more tracks follow, the first 5 of which are in the four to seven minute bracket, with the exception being the album’s title track, which clocks up just over twelve. All take on board all the aforementioned styles and develop them further, while the final title track, with its sweeping, epic feel, heralds what would become the grander and even more heavenly aspects of the musician’s longer works to come. All in all, a fine album that stands up to this day.

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Weight: 150.00 g

 

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Weight: 150.00 g

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