Liner Notes by Kim Pool kmpool64.wixsite.com/londonpennymag

¨Formwaves is Thom Carter’s newest project. In name, it is inspired by concepts found in the original manual for the ARP 2600 synth. The album itself is inspired by various themes including the film Apocalypse Now and the concept of the holy grail with the life-death-rebirth cycle from Jessie Weston’s book ‘From Ritual to Romance’.

The album begins with a rather serene introduction. However, the softer beginning of “Buried in Mist” is not something to underestimate for there is an anticipation present. Tension builds as more alarming sounds flow into the originally perceived calmness of the melody. Halfway through the track, the tension breaks into a rising launching sound that stirs about images of a rocket taking off far above. So it seems this is how the ritual begins with a rising synthesizer as our guide.

“Planting Pines” is one of the more eccentric tracks. Before the melody approaches, it is filled with intriguing echoing notes that build off the next. A moodier emotion with lower notes and greater pauses between sinks in from the last minute. It is like the calm before the storm with the anticipation still present but is yet to sizzle up and explode.

The title of the third track “Gateway” brings about different images. If there is a cycle between birth and death and onto rebirth, is there perhaps a gateway between each, to journey from one and onto the next? “Gateway” resembles the anthem to an epic with the anticipation simmering. The more brassy sounds of synth soar with majestic tones and allude that such thoughts could have a shape in reality.

“Red Water” sneaks up on the listener… The synth rhythms are paired with a wind-like sound. It feels like the soundtrack of being in the heart of the jungle, and everything you were once familiar with has passed aside. A shift into a haunting atmosphere is underway.

“Wire-Tired Fences” calls out in beauty and serenity. It requires all attention free from distraction to revel in and just simply listen. A peaceful transition from life to death.

The connection between “Wire-Tired Fences” and the next track “Boar Skull” is perfect. “Boar Skull” is a longer track, composed of cinematic melodies that freely travel from one speaker to the other. There is again that great ‘wind’ synth sound scattered throughout. The melodies present intrigue and entrance with longer, slower layers of notes, evoking a haunting tone. Slowly, the anticipation starts to return. The second half of “Boar Skull” is easy to sink into, but the foundation crawls upward once more; the ritual is not yet complete.

“Gone in the Mountain Wind” changes gears: the soft whisper of a flute synth opens the track. The faster synth with its brass tones creates a strong contrast. The fierce punch of synth launches forward, hardly ceasing for a brief interlude. It is perhaps the track most heavily inspired by the Apocalypse Now soundtrack, as the synths recoil towards the end and helicopter sounds much like the ones in the opening scene of the film make their way into the listener’s ears.

The conclusion “In This Light You Can’t See Everything” creates a sense of finality. One has passed from life to death and is now in the strands of the next part of the cycle: rebirth. Excitement rolls off from the melody with its numerous layers that shift in waves. A subtle hypnosis unfolds, creating a trance with melody lines that resemble elements from classical music. With the sound rising in the left speaker to end on an exciting atmosphere, this concludes the first volume of the ritual of Synthesiser Improvisations."


Released in 96k/24bit audiophile quality.