Reviews are separated by individual
album release, and appear on the discography page.
Click HERE to visit the main
discography index, or scroll down to see a selection of reviews
for several A Produce releases.
Interviews and Features with A Produce
Interview, Wind and Wire Magazine, 1997
Interview, Deep Listenings (Italy), 1995
Feature, Crystal Lake (France), 1996
Reviews of
Smile on the Void, 2001 (click title to open)
.
Reviews of
Altara (with M. Griffin), 1999 (click title to open)
.
Reviews of Inscape and Landscape, 1996
"Music that makes great impact on the senses and has visionary content: the
new A Produce could not be better! The exploration of altered state of
consciousness (the inscapes) is profound and complete, contrasting with the
excursions into the real world (the landscapes), which has always been the
artistic philosophy of this California musician and which here reaches an
extremely high level of expressiveness. Musically, the contrasted realities
- interior and exterior landscapes - are fused into a material that is under
constant evolution, a magical osmosis that puts different states of mind into
music. The cavernous "Dwell," with its synthetic bell tones, certainly is a
dark and suspended inscape. "Inscape & Landscape" frees the mind with glassy
sounds and the dynamics of metallic pulsations. "Sea of Breath," a tiny
jewel of sound, carries us "inside" with the power of electronic sound,
continuous waves of light and darkness generated by the keyboard. Another
inscape - this time melancholy gets the upper hand - arrives with the slow
and unforgettable melody of "The Mystic Circle," which seems the distillation
of a long-ago encounter intensely relived in memory. Then the drum-skins
return to vibrate in "First Glimpse" and "The Hidden Observer," and it is
time to return to the voyage, in mind and body, toward new states, towards
renewal. Without any special sound research and without recourse to more
exotic instrumentation, up to this point A Produce has managed to give voice
to the heart and food of the mind, to give images to whomever is listening.
The mood once again turns dark and static with the timeless drones of
"Isua," one of the most beautiful tracks, into which are inserted the
piercing sounds of an extremely acidic guitar and disquieting percussion
effects. And the electric guitar once again takes the lead in "The Golden
Needle," an atypical and very beautiful piece that brings A Produce into
virgin territory. The finale is a crescendo, with the beautiful "Choir of
Industry," a mixture of every kind of sound from new music, from synthetic
voices to electronic soarings, from industrial beats to reverberating
surroundings, with a sense of space that is truly immense (thanks to Robert
Rich's mixing?). "Empty Pause" is still more abstract, with artfully confused
sounds in the stereo panorama coming from the magic strings of Chas Smith.
The definitive version of "Dwell," at sixteen minutes in its bell study,
takes up the oppressive discourse of Rich/Lustmord's "Stalker" and concludes
the voyage of what is the most complete sound experiences that can be
achieved at this time. Use your repeat button, disconnect the telephone and
your contact with the world, and let the biology of these sounds become your
biology: you will find yourself in trance. Magnificent."
Gianluigi Gasparetti, Deep Listenings Magazine (Italy) .
"One of this reviewer's favorite moments is when a new A Produce CD arrives.
Never failing to capture a fresh sonic atmosphere to bask in, the
California-based composer has hit the mark again with Inscape & Landscape. A
Produce quotes Jack Gariss in the liner notes, 'Every note is heard in
silence.... for that silence is the birth of every note.' That sums up what
A Produce's music is all about. Each sound appears from the silence of outer
space, then swings into earth's orbit, falling to earth like a pulsating
comet, dissolving into the dark sky, leaving a lasting perception."
Dwight Loop, Santa Fe Sun, 9/96
.
"Perhaps the best album yet.... A Produce moves slowly throbbing percussive
rhythms to dreamy, floating synthesizer ambiences. More than many ambient
artists, A Produce's music evokes a visual scenery that moves from the inside
out."
John Diliberto, Echoes, 12/96
.
"This is what ambient music is supposed to be: atmospheric, ephemeral,
otherworldly, and ravishingly beautiful. A Produce continues to adhere to an
ambient standard set by the likes of Harold Budd and Briano Eno in the
mid-70's in this genre; other points of reference, or departure, might be the
work of Steve Roach, Jeff Greinke, Jon Hassell and Robert Rich. A Produce
creates evocative and heavenly soundscapes with a richness of sonority,
breadth of timbre, a mix of influences both contemporary and non-Western, and
sumptuousness that is simply breathtaking.... A Produce has done it again."
Dean Suzuki, Option, 1/97
.
"Inscape and Landscape is a wonderful release, and will please those already
familiar with his music, as well as attract new fans that are hearing him for
the first time. The aridity, silence, and solitude of the desert brings
intrspection, purification and peace. Despite the strong theme, the tracks
are really quite diverse, and require a careful listen. "Inscape &
Landscape," "First Glimpse" and "Dwell" are
my favorite edits, with the tolling bell of the latter being especially
effective in creating psycho-active space. Given this release and his very
strong White Sands of last year, I feel confident that A Produce will
distinguish himself as one of the more important voices in ambient music in
this decade."
New Age Voice, 12/96
.
Reviews of White Sands, 1995
"A Produce has done it again with his best work ever, White Sands. This is
one of those recordings that gets better with each listening. Is it because
it's timeless, trance inducing, yet 'alert' music? That rare moment of
clarity when one is quiet yet very 'alive'? Or is it a reflective, sonic
snapshot of an at peace artist? A Produce, I feel, is on to something."
Dwight Loop, Santa Fe Sun, 9/95 .
"This is a contemplative, diverse mix of slow ambient synthesizer places that
compare favorably with similar works by Brian Eno, Steve Roach, Aphex Twin
and Sati. The CD flows well even though it contains a considerable variety
of sounds, and merits a serious listen. There is something here for every
New Age/ambient/space music enthusiast-- electronic New Age, tribal techno,
meditative, ambient and sombient pieces, as well as works falling between
definable genres, making this one of my favorite recent releases of ambient
music by a single artist."
New Age Voice, 10/95
.
"A Produce has consistently turned out albums of highly evocative and
frequently very beautiful music which has on occasion been referred to as
'trance' music but would more accurately be described as 'sound paintings.'
Each place evokes a place, a natural environment, a state of being. The
composer is subtle in his use of eclectic resources that span the
techno-tribal spectrum.... The White Sands anthology is a perfect
introduction to this talented artist's oeuvre."
P-Form, 6/96
.
Reviews for Land of 1000 Trances, 1994
"On this latest CD, Produce displays a greater range, increased subtlety and
a satisfying dark edge at times. Comparisons with Brian Eno, Harold Budd,
Steve Roach and Robert Rich are still valid, but individual pieces seem to
have more clarity and character, while still remaining in what is essentially
a hypnotic trance mode. The title track and several others use an insistent
rhythmic pulse to good effect, while the remainder are more or less
free-floating. Both types benefit from a commendable attention to detail, as
Produce embellishes basic motifs and musical structures with sounds from an
electronic wavestation as well as a variety of drums, flutes, bells, gongs
and guitars. This CD can be recommended without reservation to all
connoisseurs of the ambient trance genre."
Option, 12/94 .
"Get thee to thy set of headphones. On this shimmering and echoing CD, A
Produce leads you down a number of trippy trance trails. I often felt I was
in a cavern of wonders, with the dry desert wind scouring the outer world,
while a creek cleaned the inner one of random bats of icky thoughts and
judgments. Trance states also come through hypnotic groove beats, as
compelling as the lumbering gait of racing camels."
NAPRA Journal, 10/94
.
"Most tracks are serene, suspended soundscapes, but not at all silly or
devoid of emotion. There's a majestic peaceful aura on most tracks, and a
more darkened edge on a few others. The tribal percussive tracks are quite
good also, in the vein of late Robert Rich, but with a difference: A Produce
really has a sound of his own.... Every track is quite individually marked;
one doesn't get the impression of listening to the very same track all the
time..... The music isn't made of simple melodies, but it's not dissonant
either. It's just that the melodious sounds stay like suspended leaves in
the air.... Undoubtedly a fine CD."
Audion, 11/94
.
"A Produce produces a rich ambient and atmospheric sound comparable to the
likes of Vidna Obmana, Jeff Greinke, Robert Rich and others. The works on
this CD also make use of a variety of ethnic instruments such as African
drums, Aztec flute, and much more. Music that floats in front of the
landscape looming ahead."
N D, 3/95
.
"With the release of this, A Produce's third album.... I'm convinced that
there is now a musician capable of ascending and occupying the Eno mantle.
Land of a Thousand Trances is like revisiting the glacial terraplanes of On
Land and Another Green World all over again, realized with the same sense of
grandeur and delicacy but channeled through contemporary sensibilities.... A
Produce's music is ambrosia for the mind and soul."
i/e, 4/95
.
"On this latest CD, Produce displays a greater range, increased subtlety and
a satisfying dark edge at times. Comparisons with Brian Eno, Harold Budd,
Steve Roach and Robert Rich are still valid, but individual pieces seem to
have more clarity and character, while still remaining in what is essentially
a hypnotic trance mode. The title track and several others use an insistent
rhythmic pulse to good effect, while the remainder are more or less
free-floating. Both types benefit from a commendable attention to detail, as
Produce embellishes basic motifs and musical structures with sounds from an
electronic wavestation as well as a variety of drums, flutes, bells, gongs
and guitars. This CD can be recommended without reservation to all
connoisseurs of the ambient trance genre."
Option, 12/94
.
Reviews for A Smooth Surface, 1994
"In the truest Eno fashion, it might appear that little development occurs
throughout the duration of "A Smooth Surface"'s twenty-four minutes, but
there is subtle emotive motion between the languid tones that truly allow the
piece to breathe and unfold, like tossing a pebble into a pond and watching
the ripples slowly fade into oblivion."
i/e, 9/94 .
"A Produce's previous release Reflect Like a Mirror, Respond Like an Echo was
a vivid blend of ambient, ethnic and cross-cultural fusions. This, in
contrast, is far from being vivid. It's a tranquil and sedate excursion very
close to the quietest Brian Eno. Drones punctuated by semi-percussive bell
or piano-like tones, doing very little, but flowing very nicely. Indeed, A
Smooth Surface is an apt title for such a sedate tranquil album."
Audion (England), 7/94
.
"The sounds and music here are meditative and abstract, a soundtrack,
perhaps, for watching a drop of rainwater caress down the windowpane.
Simple, uncluttered, and unhurried chords and drones offer the opportunity
to let go of troubling thoughts and touch the pulse of pure consciousness.
Everyone in the office has commented on its radiant beauty."
NAPRA Journal, 4/94
.
"The excellent title cut is the full-length, 24-minute version of the very
abbreviated opening cut of his last CD. Now it's fleshed out beyond just the
long drones of the synthesized finger cymbal to include background sounds and
pulses, creating a stronger, trance-inducing effect.... This is a strong EM
release which sets the state for his wonderfully diverse "Land of a Thousand
Trances album."
Dream's Word, 3/95
.
Reviews for Reflect Like a Mirror, Respond Like an Echo, 1992
"Overall, this creation is haunting, almost unsettling, probing hidden
mysteries of the soul. Many cuts are very long, and very hypnotic, with an
organic shimmering sound like random molecular movement. Its otherworldly
ambiance brings to mind the devic kingdom. Great for deep journeying."
Heartsong Review, 11/92
.
"Each piece is polished and deep, an evocative marvel inspiring an alert
state, sometimes a let's-go-bye-bye state in others.... This heartfelt and
intelligent creation is a worthy successor to Harold Budd/Brian Eno's
Plateaux of Mirror."
NAPRA Journal, 11/92
.
"Absolutely entracing and mood-seducing, this is active ambient music, and,
although electronically derived and motivated, results in an abundancy of
lush, warm sounds that invite, beckon and entice. Keyboardist Ruben Garcia
assists on the title track and the achingly beautiful "Clear Pools," where
the dark hues of A Produce's electronics mesh seamlessly with Garcia's
striking digital chords. Captivating."
i/e, 7/93
.
"This fascinating CD combines the best of Eno, Budd, Hassell, Roach, Rich,
and Borden. The result is a meditative trance journey the like of which I
haven't heard since Michael Stearns' Planetary Unfolding.... an utterly
subline tour of outer and inner space..... This CD covers a lot of ground and
will cross many listening genre boundaries, as is evidenced by its reviews in
all the other alternative music publications."
Synthesis, 10/93
.
"Eno/Hassell fourth-world ambiance and Harold Budd styled keyboard
atmospherics..... The most distinctive tracks are the last three, all of
which have a strong invented ethnic flavor..... Other tracks are nicely (and
even beautifully) done, but have a more generic meditative quality which
hovers somewhere between background and foreground."
Option, 1/93
.
"Well away from the melodic-based Eno ambient explorations, this is much
moodier and strange music where often the sounds are unidentifable and the
mood elusive. A kind of uneasy ambient music, I suppose, that reveals itself
more with each listen."
Audion (England), 6/93
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