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Stuart Diamond/Karen Bentley: Konzerto/Succubus (CD, 52:50) EA102A
Electronic Artists Records
CYBERHOME: http://www.electricdiamond.com

Part ambient, part classical, part opera - and ALL breathtaking: that's the
only way to describe Stuart Diamond's latest release
Konzerto/Succubus.  Consisting of two multi-movement pieces - the
first called "Konzerto", and the second "Succubus" - this release grabs hold
of your soul from the first ominous sounds of electronic percussion to the
final fadeout.  Stuart Diamond, composer and programmer, has managed to
create with his electronic symphony two pieces of music that evoke the same
sort of emotions as do acoustically played classical arrangements.  Even
without the wonderful violin talents of Karen Bentley and the soprano of
Kerry Walsh, Diamond would have a fantastic ambient/classical release.  But
being the good composer that he is, Diamond realized that those touches
would elevate his music to a higher lever, and that is exactly what Bentley
and Walsh do.

The first composition on the CD, the 4 movement "Konzerto," is a lush
arrangement of otherworldly sounding electronica with a nice range of sounds
and very moving chord progressions topped off by the absolutely stunning
violin playing of Karen Bentley.  Bentley's traditional violin sounds very
much at home with Diamond's electronic symphony, the voice of her strings
interplaying expertly with the "wired" foundation that she is given.
"Konzerto" does hit a bit of a bump in the last movement when Diamond's
attempts at powerful electronic percussion come up a little short, but I
feel this is a limitation of the technology rather than the technologist as
all the programming in the world will not manage to convey the force that a
true percussion section would carry.  Other than that small nitpick however,
"Konzerto" is a fine composition and a joy to the ears.

"Succubus," the 6-movement composition that follows "Konzerto," takes a more
mellow and ethereal approach by introducing the stunning vocals of soprano
Kerry Walsh.  The first thing that came to mind when Ms. Walsh sings her
first note is that I had somehow been transported to a place the Sirens
called home; her voice is downright inspiring.  The echo effects that
Diamond uses to augment Walsh's voice add a certain weight to the vocals
that results in singing that is both frail and powerful at the same time.
Karen Bentley's violin continues to be a major force throughout the
composition, and the piece comes to a somber end with a long electronic
fade-out that gives the listener ample time to digest what he or she has
just experienced.

I can't say enough good things about Konzerto/Succubus - Ms.
Bentley's violin and the vocals of Ms. Walsh leave nothing to want for -
they are both expertly executed.  All of their efforts would have gone for
naught if the songwriting of Diamond was less than top-notch, and Diamond
delivers in spades providing an emotional and moving soundtrack for Bentley
and Walsh's incredible talents. Konzerto/Succubus is a must-have for
fans of electronic symphony, and a release that ALL music fans should at
least consider giving a try.

More information on Stuart Diamond can be found at
http://www.electricdiamond.com

- Michael Askounes (michael@gscyclone.com)

PERSONNEL:
Stuart Diamond: Programming
Karen Bentley: Violin
Kerry Walsh: Soprano

TRACKLIST:
1. Konzerto - I. Allegro
2. Konzerto - II. Moderato
3. Konzerto - III. Largo
4. Konzerto - IV. Vivace
5. Succubus - I. The Cave
6. Succubus - II. Night Wings
7. Succubus - III. The Kiss
8. Succubus - IV. The Phantom Sea
9. Succubus - V. Dream Lines
10. Succubus - VI. The Rising of a Lonely Sun





Bruce Hanifan/ Karen Bentley: Ariel View (CD, 53:50);
Bruce Hanifan Productions 6 4181-91111-2 1, 1998
P.O. Box 341292
Los Angeles, CA 90034, USA
Phone: (310)559-4522
E-mail: ArielView@compuserve.com 
Cyberhome: http://home.earthlink.net/~hanihouse/

	Oh spirit of mirth, Ariel, look not herein for drum nor guitar. Ye shall find neither thunderous 
bass nor wail of synth. Ariel View is crystal clear relaxation, pure, elegant, airy, dreamy, warm, 
and gentle vignettes of the Muse. Tone poems for piano and violin wax full of grace and subdued 
passion. Come hither, Ariel, and listen to the big skies dappled with cloud and sun-pillar. Watch 
great tree boughs moving in silence -- ah, hear yon waterfall cascading notes into a swirling pool 
of sustained brilliance.
	Hanifan weaves a rich tapestry of piano while Bentley dances wondrously on violin from 
string to string adding color to clarity. Each accentuates the other perfectly, complementing, and 
lifting each musical moment in a swoon and heady flight. This is a comfortable step away from the 
classical mien towards a New-Aged introspection but avoiding the bland wasteland of most New 
Agey offerings. No boredom here -- but deeply moving and inspiring precision and poise.
	Bentley offers a perfect ocean of strings in which to immerse yourself as Hanifan brings the 
gentle tides and waves of each new song. Ariel View is healing for the heart. Bentley is measured 
and restrained on this release but you catch hints of a resident power echoing the strings of 
Kindler, Ponty, Briggs, or Goodman. Recommended.	~ John W. Patterson




Tesseract: self-titled (CD, 39:30); independent release TCD-001, 1997
P.O. Box 61
Palo Alto, CA 94302, USA
Phone: 415 327-6234
E-mail: tesseract@till.com
Cyberhome: http://www.till.com/tesseract

	First impressions are early Kansas but that Livgren fiery blues-rock guitar work is not 
evident. So you settle in for the strong violin work by Karen Bentley and solid keys by Don 
Tillman and Julius Smith. Vocals by Tillman are tolerable but seem "small" or "lost", being a tad 
weak in the mix -- leaning more towards narrative talk-sing rather than full-voiced crooning. 
Thankfully the vocals are used on very few tracks. Instrumental sections are an enjoyable listen 
coming across very '70s and analogish. What guitar that is used, seems more as embellishment 
and an added touch rather than upfront prog rockin'. Bentley's violin is the lead voice 
predominantly and she does a great job. I kept hearing that Flying Island, Hands, or Curved Air in 
places. Some may hear PFM or even Italy's Arts and Crafts as well. This should give you a good 
idea where Tesseract is coming from. The Kansas meets Flying Island aura glows brightest 
overall. A proggy version of a Bach's Violin Concerto in A minor  makes a delightful 3:45 splash 
after the 11:10 "Cast of Thousands" track. Best track was Smith's 4:10 "Rice" which was ELP 
meets Kansas meets Sugarloaf and finally I hear some guitar that has the soul of prog! Bentley as 
usual does a great job. Tesseract needs about 45-60 minutes of this kinda stuff on their future 
releases and they'll turn some ears quickly. The 8:55 "Vantage Point Instrumental" was the next 
best cut again offering more guitar-edge and lots of twist and turns to keep things interesting. The 
song's ending was awkwardly abrupt, (for my tastes). All in all, a decent independently produced 
and engineered, debut prog offering.	~ John W. Patterson




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