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| Tracklisting
and History | Sleevenotes
| Reviews |
Your Comments |
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| "Bekki’s fourth album "Edge of Human" (formerly
entitled "Monolith" and originally scheduled for a 2001 release), is finally
here - and it is, quite simply, stunning! A glorious electronic music voyage that confirms
Bekki's stature as one of the top producers of high quality melodic instrumental music.
Concentrating on both the synthetic and the symphonic and featuring flute and guitar,
"Edge of Human" is full of warm, rich melodies, lush orchestration, creative
energy and intricate sequencing that also pulls together elements from her three previous
albums to present a delight for fans of her music. It may have been a long time in the
making, but we think you'll agree, "Edge of Human" is a triumphant release, rich
in substance and style. In many respects, this could easily be regarded as her 3rd album,
because stylistically it sits comfortably between her 1998 release "Shadow of the
Wind" and the 2005 outing "Innersense". One thing's for certain - fans of
Bekki's rhythmic, melodic new age style of electronic music will be delighted that
"Edge of Human" is finally here!" (AD Music, UK). |
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"If ever you can bank on an artist turning out first-rate work every
time, that artist would have to be Bekki Williams. Her new release, "Edge of
Human", is very different in feel to her previous epic, "Innersense", and
yet you can tell immediately that it was penned by the same person. The well-structured
classical elements, the powerful orchestration, the effortlessly flowing melodies, they're
all still there on "Edge" - but there's one major difference. This time you get
the distinct impression that the composer wasn't breaking her heart when she wrote it.
That's not to say that there's not just as much emotion packed into this release as her
previous one, there is, it's just a different kind of emotion. "Edge" is, if
anything, more dynamic than "Innersense" and the emotion that comes through the
most strongly is hope.
"Amber Dawn (Twilight Mix)" transforms what was originally a ballad track into a
dance-floor stormer. It works amazingly well, with synth sequences bursting out of the
speakers and new rhythms that back the original melodies perfectly. "First Light (The
Awakening)" sees Bekki in typical romantic orchestral mode. Lilting melodies,
lashings of strings, powerful crescendos, soaring electric guitar lead lines - this one
packs all of Bekki's trademarks into a single track. A winner.
"Firewalk" is an oddity because it's not EM, it's not New Age and it's not even
exactly classical. What it is is catchy and filmic in an almost military kind of way, with
foreboding drums and moody string and brass leads. I'll be humming this for weeks.
"Ephemeris" is a haunting and beautiful piece complete with Gregorian chants.
Gregorian chants aren't to everyone's taste but I personally loved the use of them here.
Cello and guitar add warmth and depth to an already emotive piece.
"Where Times Collide" should be in a film somewhere. Somehow Bekki manages to
pack a whole world of power and dynamics into just two minutes. This one is awesome for
that fact alone. Turn the volume up full to do this one justice! "The Azmara
Variations" is essentially a shorter version of "Azmara" from "Shadow
of the Wind", but what makes it interesting is the eerie build-up and the omission of
all but the strongest melodic elements. I like this a lot. Sometimes less really is more.
"Ever-Changing Calm" is anything but calm! Frenetic sequencing, blistering lead
lines, driving rhythms, what more could any synth-lover ask for? This track was apparently
started just after Bekki wrote "Elysian Fields" and it shows, as it has the same
feel as tracks such as "Megaera" and "A Glance from Medusa". That's
definitely no bad thing! "Xanthe's Garden" reminded me of lazy Sundays in the
sun, glass of cold beer in hand. It has a genuine "feelgood" factor about it,
thanks largely to some great laid-back guitar work. Oboes, strings, bells and pan-pipes
add to the overall feeling of well-being. Nice.
"The Human Edge" is orchestral yet rhythmic, with some really memorable melodies
and a great sax lead thrown in for good measure. This is the style for which Bekki is
perhaps best known, and it wouldn't surprise me if this one became a favourite amongst her
fans. "Amber Dawn (Original Version)" is a track that I've always liked, ever
since it was originally released some years ago on the "Sky Goes All The Way
Home" compilation. Packed full of memorable and dreamy themes, it's nice to finally
see this piece on one of Bekki's solo albums as well, where it belongs.
In summary, this is an outstanding release which demonstrates why Bekki has long been
known as "The Mistress of Melody" in some circles. Her work is highly accessible
and it's also consistently good, so I'm sure it comes as no surprise when I say that I
recommend this album unreservedly, especially to anyone who likes their music to be
melodic, warm, and written from the heart". (Sonic Sense Magazine, UK). |
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| "Bekki Williams, one of the best artists of the E-music scene,
introduces her fourth album. With Edge of Human she goes yet further down the path of
melodic sequencer music. She combines a little Enya with a little Susanne Ciani and the
melodies and sounds of Andy Pickford. Synth choirs blend with synth solos on some
outstanding catchy hits. If you need something fast for the trip in the car, or if you
need to be cheerfully woken up in the morning, you should let this sunshine in!" (Cue
Records, Germany). |
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"Orchestral pads and angelic wordless vocal colouring provide a
gorgeous opening to 'Amber Dawn (Twilight Mix)'. An exquisite plucked string melody, which
is mirrored by an impressive sequence, reaches for the heart. Comparisons to Andy
Pickford's solo works have been made in the past and never more so would this apply.
Energetic drums surge forward creating a wonderful feeling of euphoric joy. The awesome
melodies come one after another, displaying a sensitive feminine touch. 'First Light
(awakening)' has a decidedly Tangerine Dream 'Legend' feel. Massed strings swell creating
a tremendously lush and uplifting backing over which faintly Celtic sounding lead lines
whisper delicately from the middle of the mix. 'Firewalk' is like an orchestral score, all
moody and brooding but with rousing, almost militaristic, drums. On 'Ephemeris' Gregorian
chants mix with soprano voices creating the most tender of sounds over which a delicate
tinkling sequence and stunning cello lead, complimented by equally as impressive acoustic
guitar, weave their gorgeous magic. Electronic Music doesn't get any more beautiful than
this.
'Where Times Collide' is a very busy number where drum flourishes drive over soft wordless
vocal pads, sawing strings and massed choir effects heightening the excitement. Music to
accompany an army surging over rolling hills! It's back to brooding realms for 'The Azmara
Variations'. There is a slightly Eastern sound to the melodies but the backing once again
made me think of 'Legend'. The mood lifts after the half way mark as brass leads alternate
with strings then piano as we reach a joyous conclusion. Sequences bounce from the
speakers as 'Ever-Changing Calm' surges forward. It's such a fun track full of syncopation
and life. It's impossible to keep the body still. Dance, jump around the room- punch the
air- whatever, as long as you don't remain on the sofa! One of my favourite tracks on the
album. 'Xanthe's Garden' is initially another tender one with brass lead floating above
windy effects. After this intro however rhythmic guitar and drums add a little pace but
without completely overpowering the delicate melody.
'The Human Edge' is again somewhat Pickford like- during one of his more tender moments.
Acoustic guitar mixes with gorgeous string sounds, weaving the most wonderful uplifting
melodies that reach right for the soul. We finish with the original version of 'Amber
Dawn' that appeared on the compilation album 'The Sky Goes all the way Home'. Melodically
it is just as strong as the version which started the album but overall is more tender,
with less of the driving power but all the beauty". (SMD, UK). |
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| The UK Mistress of Melody that took her early inspirations from the like
of Mark Shreeve and Andy Pickford - but whatever you level at Bekki Williams, the one
thing that always remains paramount is that this lady can sure write a catchy tune! But,
unlike the syrupy world of mediocre malady that is the commercial, film-ridden, synth
fraternity, she writes tunes that have substance, strength, pace and direction. All of
which is why a new album from her is immediate - there’s no “getting into
it”, no “play it three or four times to see what it’s all about” -
none of that. This album sets its stall from start to finish, and that is a playing field
where you’re out to have fun. From slower tunes such as the delightful light majesty
of ‘First Light’ through orchestral-laden splendour in the form of ‘Where
Times Collide’ to the richly expansive deceleration of ‘The Azmara
Variations’, this is an album of vast, stretched-out melody-laden mini-epics and,
like fellow label mate Robert Fox, she has a flair for the huge sweeping chords that cover
you like a prairie wind coming down from the canyons on a summer heat. ‘Edge Of
Human’ is quite orchestral sounding for the most part, occasionally more
“Euro” when the sequencers come into play, but it always has a vast depth of
layers and textures in abundance. This is the musical equivalent of a meal at The Ritz,
where the end result is always guaranteed satisfaction and, after too much of a good
thing, the thought that some day soon, you’d love to do it all over again".
(CDS, UK). |
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| The music of Bekki Williams possesses a rich humanity and lush drama that
marks her as a talent to watch - and enjoy. This release from 2007 offers 48 minutes of
wonderful electronic music. Williams plays synthesizers and flutes. She is joined by Paul
Barraclough on guitar. Heavenly choirs (or "voicey bits" as she calls them)
establish a celestial milieu for the entrance of dreamily bouncy electronics and mildly
peppy e-perc. Which swiftly escalates, becoming bouncier and more astral with more jovial
rhythms. Sequencing bubbles with earnest vitality. Keyboards achieve a majestic stature,
delivering melodies of sparkling definition. The electronics resound with a variety of
sounds, deep and visceral, airy and fanciful, mixing harpsichord strains with recital
piano and nimble-fingered synthesizers. Some of the tunes display a thrilling classical
edge with synthesized strings, while other tracks strike right for the soul with jubilant
rhythms. Either way, the music radiates an outstanding epic proportion. The percussives
may be synthetic, but they bristle with a deeply human character, passionate despite their
understated presence. At other times, the tempos swell with pulse-stimulating grandeur.
Fertile guitar adds an earthy touch to the luxurious tuneage. A strong congenial
disposition saturates this music. The music exudes a sense of breathtaking radiance.
Imagine new age EM infused with a vibrant vigor and glistening charm. The compositions are
tight and excellently structured, lacking any indulgence or unnecessary dalliance. The
songs get right to the point with superb melodies whose emotional glory is delightful and
cannot be denied. (Sonic Curiosity, UK). |
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| Tracklisting
and History | Sleevenotes
| Reviews |
Your Comments |
|
|
