RW Three by Redshift

DS011 : 2009

"Wild Three" is the third in the sequence of albums containing previously unreleased Redshift music.

"Redshift 08" is a live recording taken from Redshift's headlining appearance at the Hampshire Jam 7 Festival held in the U.K. in 2008. The track name refers to the fact that this is a very loose interpretation of the title track on the very first Redshift album.

Where possible the basic sequencer lines were recreated, albeit with a great deal of variation in tone and length. Some of the original main thematic structures were also alluded to although, again, with a very different palette of sounds and textures.

"Shift to Blue" follows (being taken from the same concert) and this time only the core bass sequencer parts were loosely recreated from the track "Blueshift" on the first Redshift album. All the thematic motifs, chords and sounds are completely new.

"Schlachthof Fünf" is another live recording, but this time taken from Redshift's headlining performance at the E-Live Festival in the Netherlands in 2004. This piece is actually the encore which could not be included on the "Toll" album because of space limitations. Also, there were some significant problems with guitar feedback during the actual concert which were so bad that James Goddard had to recreate (as closely as possible) all these parts in the studio a couple of weeks later.

"Broken World" is a studio recording made in 1996 shortly after Redshift had become a 3 piece band and just before the arrival of Rob Jenkins. Although recorded in the studio this track is in fact a "live-to-tape" one-take performance complete with the occasional, but obligatory, "stray" notes, unexpected sounds and unconventional tuning.

Reviews:

"Wild 3 is an excellent collection of previously unreleased live and studio recordings. The band describes "Redshift 08" as a loose interpretation of the title track from their first album; it has that usual driving bass pulse and those soaring synths and sequencers, everything that fans have come to expect. The Boddy/Shreeve/Shreeve lineup keeps the aggressive Berlin school train chugging right along, although my favourite passage is the spacey atmospheric section in the closing minutes.

Continuing the homage to their debut, "Shift to Blue" is tenuously related to "Blueshift" from that album. Both of these new interpretations are wholly viable pieces in their own right, the latter in particular.

Stepping back to 2004 we find "Schlachthof-Fünf", a light airy piece featuring a soft touch on electric piano by James Goddard at the beginning and end, very nice. Of course, things don't stay that way for long, as a warbly bit of sequencing and an aggressive bass line kick things up a notch in that moody dramatic Redshift way. Goddard also plays a rocking guitar section here that is superb.

"Broken World" dates back to 1996, and starts with deep space transmissions and male choirs. The lead synth line seems just a bit different in tone, a precursor to the sound they would firmly establish in short order. After a few minutes sequencing and fluty synths carry it along. This piece is a particularly fun bit of EM history, and a great way to close out another solid Redshift outing."

Electroambient Space 2010.



"The CD RW3 (59'18") is the third in the "Redshift Wild" series. Containing five tracks from the vault, RW3 presents previously unreleased live and studio tracks. Redshift's core group features Mark and Julian Shreeve with contributions from James Goddard and Ian Boddy. While these works originate in 1996 and 2004 the sounds still seem to leap out of the speakers - liberated as objects in space.

There is a fearlessness to the live tracks while in the early studio work we hear the ensemble first venturing into the void. The greatest music reaches past the initiated. From bone rattling basslines to dark as night atmospherics the music of Redshift whirls and unfurls into magnificent songs of space.

Do not wait to experience their works, such a biography will quickly metamorphose into legend. "

2009. Chuck van Zyl / STAR'S END

Redshift came into existence in 1994, initially as a solo project by Mark Shreeve. Shreeve had already established himself with his own more "structured" style of electronic music, along with pop songwriting, film score, TV and Library music output.
The idea behind Redshift was to create a darker, organic style of electronic music using mainly, though not exclusively, old analogue synthesisers.

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