Crystal Machine [Translucent Blue Vinyl]

Too many synth artists of the early to mid-'70s seemed more interested in demonstrating their dexterity with their instrument than actually showing why it was worth being dexterous with in the first place. The reason is important is because he took the opposite approach entirely. Schooled in and soon to dignify , is a composer first, a technician a very distant second. And if , his solo debut, represents a peak which in general has yet to top, is at least equal to the task. In maintaining the earlier album's application of melody over mood, totally separates himself from the ranks of sallow, clever souls who let their machines do all the talking -- a lesson which, by year's end, both and 's would both have translated into worldwide chart-toppers. More importantly, however, also liberated the synth from the showroom and showman. Two tracks -- -- were drawn from live concerts, an arena where very few onlookers are listening in on headphones and even fewer care how clever the musician is. The fact that flying bottles, cans, or coins interrupts neither performance testifies to that. There is nothing here which packs the sheer visceral energy of itself, of course, but that's a point which himself confirms, by confining the title track this time to a scant minute or two of oscillation, then slipping it nicely into a stick groove at the end of the vinyl. If listeners let their attention wander for a moment, it could play on forever. ~ Dave Thompson