Loren Nerell: Point of Arrival (Digital)

Product Description

Loren’s 1986 debut


Nerell has a richly varied musical background including research into analog synthesis, and the micro-tonal techniques of Harry Partch, complemented by his studies in Anthropology and Ethnomusicology.


Utilising studio skills as a sound designer at Oberheim Electronics, together with his masters studies in Balinese ceremonial music, Nerell created an enveloping rhythmelodic experience with the help of contributors Steve Roach, Richard Burmer and Ann DeJarnet. From the interweaving tribal rhythm sequences of opener ‘Eidolon’, the album dilates to cover the haunting chorales of ‘Soundscape’ and rippling machine minimalism of ‘Matrix’, before the lushly soporific synth drift of ‘Growth’, conceived with assistance from Steve Roach. Berlin school themes define the re-entry into expansive cyberdelic B-side ‘Waves of Time’. Polyphonic keys and simulated celestial winds carry us across cyberreal topographies accompanied by chanting shamans to then-advanced (now charmingly evocative) holo-zones of lucidly organised dreamscapes. It’s a vivid glimpse of a future past, re-implanted in the present and highly recommended to all sonic time-travellers.


“Synthesist Nerell has two distinct but related styles: fast churning rhythms reminiscent of Gamelan music and broad gauzy drones, which he alternates and sometimes combines. Steve Roach and Richard Burmer provide additional keyboards.” – Electronic Musician July 1987

“Nerell has chalked up a winner with this independent release. Though nothing earth-shakingly innovative, the compositions here are solid and inspired. Eidolon draws heavily from the Balinese Gamelan, while Matix has a beat carried by a sound resembling a cat meowing under water in slow motion. The side-long Waves of Time features Steve Roach on additional keyboards and Ann DeJarnet on violin. Richard Burmer is credited as playing additional keyboards throughout the album. This is definitely not the usual one-man show so prevalent in e-music, but Loren still deserves top credit for putting together such a fine set.” – Dreams Word Issue No. 7 Spring 1990, Mike Birchet