Those who claim there is nothing new under the sun being created in electronic music need look no further than the exemplary work of Anthony Kerby, recording as The Circular Ruins.

I was impressed with the first Circular Ruins effort, Confluence which presented a series of fascinating, buzzing soundscapes with some very spirited and creative drum programming. Last year, Kerby returned with his absolutely essential Realm of Possibility, which is, in my opinion, one of the strongest modern electronic music albums to be recorded in the last five years. That particular disc showed an artist who seemed to be birthed fully formed, having fully digested influences as varied as Namlook's various Fax releases, classic Klaus Schulze, not to mention a hodgepodge of wholly original sonic mulchery that would not be out of place on a Mego records release. And, impressively, Kerby manages to maintain what I feel to be most important--a sense of playful experimentation without pretention.

Databloem, the Dutch label responsible for releasing Realm, has started a sublabel devoted to CDR recordings--DataObscura. The first DataObscura release is the sprawling new, two CDR, Conjunction. The scant liner notes proclaim this to be the "dark side of the ruins" but I believe this to be more of a play on Pink Floyd imagery and the numerous Namlook/Schulze collaborations than any statement of artistic temperament. In fact, those who have enjoyed Namlook and Schulze's interstellar meanderings (as well as both artists solo) will find much to enjoy in the two discs of Conjunction. Both discs, titled "penumbra" and "umbra" reflect an increased attention to the classic work of the artists I've mentioned--something I've not heard in previous TCR efforts. Not to worry, this is no neo-Berlin School hackwork, nor does Kerby display Namlook's penchant for reliance on nifty instrumental gadgetry for album length tracks. This is solid, listenable, dramatic e-music, with a very distinct classic edge.

The "penumbra" disc is sonically the lighter of the two. It is a collection of deep, pulsating songs; occasionally interrupted by eerie samples, electronic phasing, and strange chirping “mulchnoise.” The first track "Evening of Innocence" even has a smoky upright bass line, lending an almost jazz feel. Part of the strength of Circular Ruins material is the sheer attention to microscopic detail. One feels as if one is inside the machine, while at the same time still acting as audience to the vast sonic tapestry performed. Track four, "Oblique Strategies," abandons the cool, downtempo atmosphere, for an almost electro-sounding beatscape. It's great stuff, conjuring images of a quick craft flittering across a city-dotted landscape.

"Penumbra" is more song oriented than past Ruins material--each track stands well on its own, though it's clear that all the tracks belong together. The highlight of disc one is unquestionably "Subtle Instructions" which has an electrical pulse matched with beautiful synth tones. The tones gradually take over, creating an electric, cinematic feel--this is the sound of labyrinths of electric high-tension wires, strung wide across a broad country. Follow the instructions, find the right wire, and you just might find the center of the maze, where all high-tension mysteries are revealed.

"Umbra" cools down, and we enter the subterranian portion of our journey. Deep drones are complimented by a fat bass vibration that filters down into the floor of the earth. Follow this with "Haunted"--which sounds as if it truly is haunted by past Schulze work--an almost mellotron sounding suite that melds seamlessly with the signature Ruins sonic vocabulary. The disc continues to grow more nebulous, more mysterious, as we enter the space that is completely shadowed, the umbra. Decomposing synth tones, dramatic sequences, and a sense of urgency all meet us in this dark place. "A Forgotten Divinity" reminds us that umbra and penumbra are both aspects of shadow; just what is it preventing light from shining through? We drift on a deep, smooth drone, with only a vague hint of roil beneath--we may never know just what is obscuring the light. Finally, "Hunger" opens the landscape back up with that luscious "sort-of-mellotron." This is no throwback to bygone days of e-music, this is a new beast entirely.

While Conjunction is not the perfect, focused jewel Realm of Possibility presented, it is still sterling work by one of neo-ambient's newest practitioners. For those who can't reconcile their love of ambient-techno (and more modern forms of e-music) with recent nods to classic seventies work by neophyte artists, Conjunction should prove to be the perfect tonic. In fact, this double CD set makes a terrific counterpoint to Christopher Short's Duende--a similar ultraspace journey in a somewhat lighter tone. Nevertheless, The Circular Ruins creates another two hours of fascinating, addictive electronic music--no matter where your tastes lie on the ambient/electronic spectrum.

Available from the Dutch label Databloem.

since July 15, 2003