This album had been getting a great deal of praise, and been selling very well, so I thought I'd buy it on spec. and see what the fuss was all about.
The album is actually one long track, but it is split into three parts, which are in turn divided into sections between 3.5 and 8.5 minutes. These seem quite aribitrary; the index points are always where the track changes, but there are lots of other places they could have chosen.
I'll start with my biggest critisisms, as they are very close to their strengths. A great many of the sections show very strong influences. There is a textbook Steve Roach track, with ethnic percussion and those slowly opening chords overlaying a Schulze-like sequence. There are more KS moments, a Babylon 5 bit, some Jarresque chords and 'plops', even echoes of Rolf Trostel and Laserdance. Some of these may be coincidental, but it does give a derivative flavour.
My other complaint would be that the transitions are sometimes a bit abrupt. This is especially true of the first 3:30 section which manages to jump between 4 or 5 quite distinct feels in that short time. None really have the time to develop, and the cuts are unsettling and abrupt. This may be deliberate - it is called Overture, and it may be trying to pack in a variety of themes and moods to pick up on later, but it didn't work for me. If anything it makes the later changes (which are less frequent and less extreme) seem worse than they are.
But both of these complaints have flipsides. The bits that seem derivative are very well done, especially the Roach-like section "Ritual" (bizzarely, the next section is called "Return of the Dreamtime" and sounds nothing like Roach), and there are plenty of sections that don't remind me of anything (e.g. the quirky echoey melodies of track 3a "Visualities Laboured For Thousands Of Years"). The different feels are a good thing, even if I'd rather they combined more smoothly. You can't easily pigeon-hole the album.
The production is smooth, creating a great atmospheric soundscape (bar a couple of sounds which I find don't really fit), the sequences are uniformly excellent and not too static. The melodies are good (but certainly not the biggest strength of the music) and feel like part of the whole rather than any old tune being slapped on top of the backing. The whole thing has a feeling of depth.
I hope this hasn't been too overcritical. It's easy to do this when something gets over-hyped. But it's also because this is a very good album, and I'm taking it seriously. It's painfuly close to being a classic, so the minor flaws annoy. But overall, I'd recommend it, and I'll be keeping an eye on them.
JOHN CHRISTIAN (www.geocities.com/SunsetStrip/Lounge/6639/rs_voyager.html)
This is a CD I have been eagerly awaiting more than any other as their previous offering 'Futuregate' was one of my favourite CDs of the last twelve months. 'Voyager' is split into three long pieces, 'Past', 'Present' and 'Future'.
'Past' starts with a rather sweet tinkling piano and strings section. Not at all what I expected so I reach to see if I had put the correct CD in the machine. Just as I was doing this the whole thing comes to a shuddering halt amongst a mass of noise and chaos. This proved an extremely effective beginning. The chaos subsides and some deep space chords take over. After a couple of minutes these are joined by a rather restrained drum sequence which mutates and builds, really holding the attention. A more conventional 70s style sequence is then superimposed over the top which fades away as the underlying sequence builds still further, this really is riveting stuff. Calm returns and we are left to float for a few minutes before another drum sequence returns slightly in Steve Roach mode but more strident. A couple of minutes later it is all change again and an AirSculpture-ish sequences is introduced with a superb melody played over the top. The sequence quickens and the drums return accompanied by some sampled vocals low in the mix which bring the track to a close.
'Present' is heralded by a thunder storm which fades away to reveal another superb 70s sequence of outstanding quality, very much in the Klaus Schulze circa 'Body Love' to 'X' era. A wonderful lead line is introduced and we have a piece that is now so close to Klaus that I know I could play it to most of his fans and they would believe that it was a long lost classic. I know I would have believed it. A reviewer must be very careful with superlatives as they tend to leave him with no where to go in other album reviews but this really must go down as one of my favourite all time pieces, stunning, stunning, stunning! After eight minutes the thunder storm returns and signals the end of the sequence which is replaced by machine like noises which after a couple of minutes are themselves replaced by the most stunning relaxed lead line which just doesn't last long enough for me before all is change again and another beautiful melody comes to the for, as heart felt as John Dyson at his best but again after another couple of minutes all is change. More ideas are used in this one CD than some artists come up with in a ten year career. A heavy bass beat enters which brings the track to its close.
The third track 'Future' at only 18 minutes is the shortest of the three and initially returns us to deep space. Another superb sequence builds and again this isn't a million miles away from Schulze. After about nine minutes this sequence fades away and is replaced by a thudding base beat and Tangerine Dream-ish sequence. If I was driving this would have my accelerator pedal right down to the floor. We have a few seconds break and the beat returns until a couple of minutes from the end where tranquil themes take over and another clap of thunder brings us to the finish. There is so much in this CD that there is no way that more than a fraction of its contents can be appreciated on first listen. This review is being written while I play it for the fifth time. I love it even more than before and am still discovering new aspects of it for the first time. If this album doesn't go down as an all time classic there really is no justice in the world.
DAVID LAW (www.synthmusicdirect.com/voyager.cfm)
The CD begins very quietly and deep, but gets more up tempo after several minutes. A lot of crazy illing notes gives the CD a special character. Sometimes, it sounds like that there are improvise notes, but no way. Every note is on its place.
Voyager is a CD, which contains 3 long tracks "The Past", "The Present" and "The Future". But every song has enough variation, so it's not boring. Every number is split in several indexes.
The first number is mostly build up around jungle-like rhythms with in some melodies an eastern sound. It's like a visit to other cultures. It's a track which - sometimes sober created, is very beautiful and very worked out. Even, the last part of the track has it's own identity. It's a fast western melody, called "The Gate".
"The Present" is not build up with those jungle-sounds, but is build with modular sequences of which some are waved together. After several minutes these sounds get company of some slow leadmelodies. When you listen some more it also goes futher to some mysterious, dark and romantic compositions, which are lead by some voice-sounds. At the end its getting more slower and optimistic. A negative point about this track is that the last part is a little bit bare and rubbish.
"The Future" : This track begins dark and simple, but after around 10 minutes it transforms to a funny, stylish, harmonious uptempo track, which comes at the end to rest. it's a beautiful ending for the CD.
SVEN CIPIDO (www11.ewebcity.com/electron/serpentrainbow/page05.html)
Sans vraiment se distinguer du lot, Rainbow Serpent (Frank Specht et Gerd Wienekamp) mêle un côté épique dans sa musique aux éternels canons de la musique teutonne. Il y en a pour tous les goûts : des envolées schulziennes plus vraies que nature, des séquences au bon gros son bien épais et des ambiances bien lourdes comme il en faut toujours pour ce genre de production... ils se laissent même aller par moments à quelques envolées typiquement californiennes. À n'en pas douter, ce duo est le seul qui puisse, un tant soit peu, renouveler un genre qui ne cesse de s'auto plagier (avec plus ou moins de bonheur). Voyager est un disque qui remplit parfaitement sa fonction de distraction, sans prétention, mais appliqué.
Crystal Lake (www.ifrance.com/crystal/db-disques/disc-527.html)
erst knapp ein jahr ist´s her, dass sich die regenbogenschlange erstmals unter dem laserlicht wand, da ist sie schon wieder zurück, und ihre farben schillern noch prächtiger. auf dem nachfolger ihres debüts "futuregate" (siehe ausgabe 11.95)präsentieren sich frank specht, 31, und gerd wienekamp, 35, nämlich in einer form, um die sie mancher elektroniker mit umfangreicherem back-katalog beneiden wird.
"past" (22.29), "present" (20.43) und "future" (18:44) bilden eine trilogie, die nach einem etwas grob geschnittenen vorspann - ins piano-intro kracht zu unvermittelt gewitterdonner - kopfkino-qualitäten entwickelt. über fliessenden percussionsequenzen blähen sich synthischleier wie drachensegel über einem landschaftspanorama, das mal in der sonne gleisst, mal in wolkenschatten getaucht ist. ständig ändern sich timbres und rhythmen, und je länger die reise dauert, desto weniger kommt man aus dem staunen darüber heraus, wie "unsynthetisch" diese mit nicht geringem technischem aufwand, aber auch unter einsatz eines didgeridoos realisierte musik klingt (das booklet enthält die komplette equipment-liste).
eine beeindruckende leistung der beiden oldenburger, aber machen Sie sich ihr eigenes bild: 5 exemplare des silberlings wollen verlost werden...
ALBRECHT PILTZ (Keyboards, Ausgabe 12/96)
Eine dreiteilige Sinfonie: 1. Vergangenheit - Entstehung der Welt, des Lebens, der Kultur. 2. Gegenwart - Über den Ländern der erde schwebend. 3. Zukunft: Die Reise ins Ich.
Die Musik hält, was das großartige Konzept verspricht. Die einleitende , "normal" klingende Entspannungsmusik kippt nach einer Minute um, der bekannte Film "reißt", die Erde scheint unter Donnergetöse neu zu entstehen, der Ozean glättet sich, eine einmalige Reise beginnt...
(Aquarius CD-Visionen, 1997)
Inzwischen habe ich Eure CD [Voyager] aber schon so oft gehört, dass ich etwas dazu sagen muß. Also ganz ehrlich, die Musik gefällt mir außerordentlich gut, ich finde es ist für meinen Geschmack eine der besten Produktionen seit langem. Ihr habt sehr schöne Sounds, Teppiche und Sequenzen darin, das macht richtig Spaß anzuhören, sehr gut. Eines finde ich allerdings zu kurz geraten, nämlich am Anfang das Klavierstück. Ihr solltet das nochmal aufgreifen und einen längeren Titel davon machen (unbedingt). Ansonsten kann ich nur sagen prima, weiter so.
PETER MERGENER (Brief von Peter Mergener, 11.11.1996)
Album rozpoczyna się miękką, romantyczną sentencją fortepianową; wkrótce nadciągają smyczkowe chmury, a następnie dochodzi do burzowego, zmasowanego ataku brzmień muzycznych i niemuzycznych. Z takiej imponującej nastrojowo gęstwiny wyłaniają się - już w drugim na płycie utworze - bezkresne sekwencyjne pola, w takt interesującej ścieżki perkusyjnej rozpływające się na horyzoncie, zlewające się z niebem odmalowanym przez przeciągłe akordowe westchnienia. Nastrój melancholii, wspaniale zbudowany w "Ritual", ulega rozładowaniu we frapujących, przestrzennych dźwiękowych rusztowaniach kompozycji "Return of the Dreamtime". Wraz z końcem tej impresji dobiega jednocześnie końca pierwsza większa całostka na albumie: suita nr I, opatrzona ogólnym tytułem "Past". Słuchacza czeka jeszcze podróż przez sekwencyjne labirynty suit "Present" i "Future": "Present", zbudowana z utworów "The Gate", "Growing from Imagination" i "Wind, Rain and Thunder" to przede wszystkim mżące, głównie mollowe sekwencjonowanie a la Tangerine Dream z samego początku lat osiemdziesiątych; warto zwrócić uwagę jednak nie tylko na pełne brzmienie i dopracowane aranżacje, ale i indywidualne piętno, jakie Frankowi Spechtowi i Gerdowi Wienekampowi udało się odcisnąć na prezentowanych tu kompozycjach. "Wind, Rain and Thunder" to utwór szczególnie udany: piękny, podniosły, sekwencyjny hymn. Trzy utwory składające się na suitę "Future" pozwalają Słuchaczowi dryfować w kierunku nowocześniejszych brzmień: usłyszymy tu elementy elpopu i nieco wygładzonego ambientu, nadal jednak najważniejszym dźwiękowym tworzywem pozostaną dynamiczne sekwencje i udane partie improwizowane. Warto spostrzec, iż płyta "Voyager", pierwotnie wydana w 1996 r. w barwach wytwórni Ardema, znów dostępna jest na rynku, tym razem dzięki staraniom SynGate: reedycja przynosi nie tylko trzy (podzielone na trzy pomniejsze epizody) suity znane z oryginalnego wydania, ale także dwa utwory dodatkowe. Pierwszy z nich, "Dreams and Darkness", mógłby wyjść spod pióra Kitaro: mamy tutaj miękkie tony egzotycznych instrumentów i łagodne, durowe sekwencje niebanalnie rozsłonecznionych keyboardów. Drugi bonus, blisko 10-minutowy "Elohim", przynosi podobne rozwiązania melodyczne i aranżacyjne, sprawia jednak wrażenie nieco bardziej otwartej, intuicyjnie kreowanej impresji. Mogą pojawić się tu sporadyczne skojarzenia z twórczością projektu Enigma lub z kompozycją otwierającą album Paula Nagle'a "Lore" - szczególnie za sprawą etnizującej partii wokalnej, nanizanej na syntezatorowe krajobrazy.
Igor Wróblewski (www.generator.pl)
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