Ex Machina: Line Of Time

The Sonic Music Review is always delighted to receive music submissions. Following a recent email from Claudio Chiriatti and Tobias Schwerdt, better known under their recording name Ex Machina, we are delighted to feature their latest work, 'Line Of Time' on the site. This album is the fourth studio work by Ex Machina to be released digitally on the German Fuego label, a detail the act made clear, noting that since their 1999 debut digital distribution and promotion has been their major outlet.

Ex Machina: Line Of Time

For Ex Machina, 'Line Of Time' is the first release to feature vocals alongside the thick electronic textures which constitute much of the act's output. The album begins with 'Head Up (In The Sky),' utilising a somewhat peaceful piano led introduction before introducing various electronic lines alongside the lead vocal line. This piece displays a notable influence from new wave acts and opens the album well, subsequently segueing into 'Dreamer' which features a less imposing sound world, again with a noticeable influence from 80's musical styles.

The album proves an intriguing listen and the stylistic differences between tracks such as 'Garage CLZ' and the softer setting of 'In Grief' which is reminiscent of Tangerine Dream's collaboration with Joycelyn Bernadette Smith for the track 'Tyger' from their album of the same name. The track here combines various synthetic elements with electric piano lines in place of the harsher distorted tones seen in other tracks. Considering 'Glorious,' a more sequenced approach is seen, making this track most comparable to the synthpop movement of the 80's, again, contributing a welcome sense of variety to the release.

"line of time" full length album preview by ex_machina

The album concludes with four instrumental versions of some of the albums best material in the vein of the act's previous work. Under careful listening in isolation from vocals, one appreciates even more the variety in the arrangements and some may prefer these mixes. This inclusion once more adds an additional dimension to the release. For fans of electronic music, Ex Machina's latest offering proves highly intriguing and the recent addition of vocals is a welcome development of the band's sound.

For more information about the band, including previous releases, visit the official website at machina-online.de. If you represent electronic music talent and would like to submit music to The Sonic Music Review, please get in touch here. We would like to take this opportunity to wish Ex Machina great success in their career and thank them for their submission.

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Thomas Dolby: She Blinded Me With Science

Thomas Dolby saw his first commercial release in 1982 with his debut album 'The Golden Age Of Wireless.' Lacking a great initial commercial success, Dolby did not become known until the release of 'She Blinded Me With Science' as a single later that year. Following the success of the track, which became synonymous with Dolby, his debut album was rereleased to include it and Dolby subsequently was able to continue his aspirations for a musical career, which is still active today.

Thomas Dolby: She Blinded Me With Science

The track is typical of 80's music with the adoption of electronic instruments alongside a popular music writing style. For the time, the mixing of this track is truly admirable, something Dolby himself notes in an interview from his later 'The Sole Inhabitant' live DVD/Live Album. Some may consider the track rather gimmicky due to the playful setting and various interjections by Magnus Pyke, a TV presenter and scientist well known at the time, however the writing style is sound and rewards academic study.

The piece features great variety when one listens carefully, each verse and chorus introducing new elements which make a brief cameo appearance. The further use of layering throughout is also notable. While this is common to much of the commercial output of the 1980's, the application of layering in this track is highly accomplished and composers in this genre would do well to study for instance the interaction of the string and low synth which precedes "I can smell the chemicals" or the vocal doubling throughout.

The track establishes Dolby as a very able synthpop/new wave musician and composer, unafraid of a 'zany' and lighthearted style of composition. For this reviewer, this track remains a definitive track of the 1980's.

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