31 of 32 people found the following review helpful:
5.0 out of 5 stars
Probably my favorite Steve Roach release, October 31, 2000
This review is from: Dreamtime Return (Audio CD)
I have A LOT of music by Steve Roach, not that this is something too difficult to acheive. The man is VERY prolific. To my mind, however, this double CD (re-released here) is one of the best sonic atmospheres ever written. The music evokes the dreamtime of Australian Aborigine fame, and uses sounds and musical instrumentation of the Australian Outback as a basis for the entire concept. When I first heard the music, I was living in Northern Canada, about as far from the Australian desert as one cen get. It didn't matter. The music is about an inward journey of thought and discovery that may have been inspired by one type of environment, but applies to the world as a whole. I have played this music for friends from accountants and lawyers to teenagers and death rockers, and it is always a hit. You do need to take the time to listen to the music and to get involved. Since this is a double CD, don't expect to rush through in less than two hours. If you take the time, you will be rewarded. Originally released in 1988, this music provided a foundation for many of Mr. Roach's environments which followed. The other music, including "Australia, Sound of the Earth" and "Origins" explored similar spaces, but this CD remains the masterpiece.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
20 of 20 people found the following review helpful:
5.0 out of 5 stars
Revisiting an extraordinary masterpiece, October 1, 2000
This review is from: Dreamtime Return (Audio CD)
Before you begin to think that the title I've entered in is an exageration, try to remember the first time you listened to something which was so unusual that it truly tested the limits of your vocabulary. Much of the music from the Western classical tradition often produces such states of mind, as well as powerful performances of exotic forms of music. This recording by one of the most important musicians/composers of the past century also belongs in this lofty arena.
By the mid-1980s, Steve Roach had successfully digested the bones of European electronic music; equal measures of Klaus Schulze, Vangelis, and to some extent Tangerine Dream. Towards the end of 1987, Roach was invited by Floridian photographer David Stahl to accompany him to Cape York Peninsula in Queensland, Australia to assist in the filming of Art of the Dreamtime, a documentary which was produced for PBS. The experience, which for Roach was a culmination of a childhood dream, was to alter both the course of his life as well as his music.
Dreamtime Return was the great turning point of Roach's career, a line of demarcation separating the Berlin school-inspired electronic music he created since 1979 from a new primal, tribal-percussion based music rooted in his first experiences in the Australian Outback. The employment of electronic textures and structures can still be heard loud and clear, but it was now more organically-rooted and the emphasis on sampling becomes evident for the first time. Roach's influences at the time encapsulated everything from the piano-based soundscapes of Harold Budd to the Eastern/North African-influenced trumpet compositions of Jon Hassell, the latter being a former pupil of the German composer Karlheinz Stockhausen.
Throughout the 14 highly original compositions on this album, Roach brilliantly brings into focus what the ancient "Dreamtime" period in Australian Aboriginal prehistory may have been like, based both on Aboriginal legend as well as the latest geological data. From approximately 176,000 to roughly 20,000 years ago, the aborigines of Australia lived in a so-called "Garden of Eden" filled with Ice Age mammals and temperate rainforests and grasslands. There were a series of severe droughts occuring from roughly 30,000 to 20,000 years ago which resulted in widespread devestation throughout the continent and a resulting decline in the quality of Aboriginal life in general.
The opening track "Towards the Dream" is a powerful sequencer-based piece that easily rivals the best efforts of Froese and Schulze. The following track "The Continent" is an ambitious and rock-solid expression of ardor--one can imagine flying high above the surface of the Earth observing the extraordinary landscapes of the Outback, but this may have been Roach's attempt to express what he felt when he got off the plane in Queensland and took his first glimpse of Australia.
From these "daytime" pieces, Roach quickly moves into darker, deeper territory, from the aggressive("Songline") to the wistful ("The Other Side") to the somber("Truth In Passing"). The first disc concludes with one of the greatest compositions of his career: the near-melodic waltz "Australian Dawn: The Quiet Earth Cries Inside", six minutes of utter genius. Never has there been a single piece of music outside of classical music which seems to epitomize the entire breadth of human emotion as in this one composition. The carefully-choosen synthesizer chords which arch and undulate here seem to express the decline of an ancient culture more perfectly than anything that Roach has created since, as well as a yearning for its return, hence recalling the album's title.
The second disc opens with the 30-minute "Looking For Safety", a sublime meditation on the peak of the Dreamtime. Here Roach interpolates DAT recordings of bizzare bird calls echoing off of canyon walls with a complex melody emphasizing hope over despair. "Through a Strong Eye" is the most experimental work from the album, with rich, convoluted synth textures cascading among one another in a dance of primal awe. "The Ancient Day", a piece co-composed with Robert Rich, prominently features the dumbeck alongside Roach's ebb and flow of broadstroke synth colors, sequing to "Red Twilight with the Old Ones", which incorporates authentic recordings of aboriginal songmen by Percy Trezise. Perhaps the most sparse composition, "Red Twilight" recreates the eerie glow of a nighttime ceremony designed to conjure up Dreamtime ancestors and spirits. "The Return" provides a reaffirming conclusion to this monumental recording, with a resounding final chord that tests the limits of your sound system.
There are those who've described Steve Roach as the Bach of electronic music. This recording more than any other he's made would provide the best proof to this claim.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
14 of 14 people found the following review helpful:
5.0 out of 5 stars
A pivotal work for both Roach and electronic music history, January 12, 1999
By A Customer
This review is from: Dreamtime Return (Audio CD)
There are certain things we all encounter that we never forget: the day you get married, the day a loved one or friend passes away, the assassination of an admired political leader, just to name a few. For me, it was the day I purchased Dreamtime Return, an album that altered the course of my life. I was just two months away from graduating from high school (March 19, 1989) About a year and half earlier, I was blown away by Klaus Schulze's X album (produced in '78), and I had a similiar experience with Dreamtime, as if Roach had somehow peered deep into my subconscious in order to produce the music---I've heard other people have had similiar experiences. I now write and play my own electronic music thanks to this one album. It probably still is his very best work, but Origins and The Magnificent Void are both fabulous works as well! Simply put, Dreamtime contains over two hours (on CD) of some of the most beautiful and profound music created by a modern artist in many years
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
