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REDSHIFT

Progressive Electronic • United Kingdom


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Redshift biography
Electronic music (or the "EM factor"), which bases its major structure from the Berlin-school high classic achievement and, mostly, from the typical grandly considered artists of the genre, such as TANGERINE DREAM, SCHULZE and ASHRA, continues a long way into the modern and contemporary phase (and distractions), with a lot of particular changes and new-waves, but mostly with a good definition of synthesizing and ambientizing spiriting up the electronic art and also with solid attitudes of music and composition, that resemble the most evolved, persistant or popular adapted such electronic definitions. REDSHIFT can be considered, with all its Berlin-synthasy, neo-sound and dark ambiance, a band of modern sound and high common groove, having, nevertheless, a deep dish of influences and music arrangements, within the classic or modified electronic ideas and movements.

The founder of REDSHIFT is Mark Shreeve, who in the mid-90s invited Julian Shreeve, Rob Jenkins and James Goddard to a full-adrenaline work of electronic modern sound music and art. Mark Shreeve was already famous by some succesful films scores, plus by a lot of late 80s typical solo projects, filled with ambience and with a sound of strange complexity. The band's sound evolved to use the analogue basic characters with a lot of combined digitality and tech-effects. A lot of live and studio works (done under healthy dreams of discovering and improving/improvising) managed to pull REDSHIFT into popular charts, but also into the experienced and relatively profound EM art spot. Much of the solid sequence, synth and sampling efforts lead to full Berlin-school impressions, though REDSHIFT also compared a lot of modern shrieks and new electronic values. The more progressive nuances arrive when all the influence can include some heavier elements by SCHULZE (instead of some NEU-rock and "kraft" tonalities) or some guitar-work, much like PINK FLOYD in a marooned way.

REDSHIFT finally explores its most lucid art and sound-machine manner through a lot of modern and traditional, atmospherical or cibernetic, analog or digital, sound-sapient or mood-ambitious creation. The biggest styles, chalked by already eight major albums and some extra released material, brings good combinations of dark ambient, cosmic textures, new-atmosphere themes, guitar-keyboard melodism (styled a la E. Froese?), sequential explorations and small experimentalism/abstractionism. There are modern taste reluctancies, like ...
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Buy REDSHIFT Music


Any Given SystemAny Given System
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Audio CD$29.85 (used)
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REDSHIFT discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

REDSHIFT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.19 | 5 ratings
Redshift
1996
3.74 | 7 ratings
Redshift II - Ether
1997
3.05 | 2 ratings
Redshift III - Down Time
1999
2.18 | 3 ratings
Redshift V - Halo
2002
0.00 | 0 ratings
Wild
2002
2.00 | 2 ratings
Redshift VII - Oblivion
2004
0.00 | 0 ratings
Wild 2
2006
0.00 | 0 ratings
Turning Towards Us
2008
0.00 | 0 ratings
Wild 3
2009

REDSHIFT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.00 | 2 ratings
Redshift IV - Siren
2000
3.00 | 1 ratings
Redshift VI - Faultline
2002
3.95 | 2 ratings
Redshift VIII - Toll
2006
4.00 | 1 ratings
Redshift IX - Last
2007
0.00 | 0 ratings
Colder
2011

REDSHIFT Videos (DVD, Blu-ray, VHS etc)

REDSHIFT Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

REDSHIFT Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

REDSHIFT Reviews


Showing last 10 reviews only
 Redshift II - Ether by REDSHIFT album cover Studio Album, 1997
3.74 | 7 ratings

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Redshift II - Ether
Redshift Progressive Electronic

Review by Guldbamsen
Forum & Site Admin Group Site and Forum Admin

4 stars Nectarine Fiend

A tale of fan-boys turning into the very image of their adoration pt. 4.

Somewhere in the midst of this album I completely lost myself, time and whatever loose ties I had to the surrounding world. I entered a state of delightful bewilderment, - some bizarre scuba diving scene with myself in the leading role swimming deeper and deeper into the coral blue abyss, where the waters are illuminated in star glistened shimmering surfaces. Diamonds of sound for lack of a better wording - opening up an alien universe of fluid and luscious atmospheres.

Starting with a monster of a live track, this album from British group Redshift is by far the best I've heard from the modern Tangerine Dream heir takers. Sure, like other reviewers here have mentioned, you could be fooled into believing that this is a bootleg concert of Froese and co from around the time Rubycon saw the light of day, but then again, I think Ether shows true and original signs of an album come to life under its own circumstances and settings. Yes, the inspiration is there, the modular synthesizers, towering mellotron sculptures of ice, tweaking sputtering sequencers - all of those familiar trademarks are all featured in full force as well, relegating that oh so seductive and watery vibe to the music..... Yet there is something here hiding underneath the embers of the old TD fire - something futuristic - it shines through in every facet of the music colouring the proceedings in a modern lighting that continues to draw attention to itself, rather than having the insistent stubborn old electronic fans focusing on all the stuff that brings to mind, a band that pioneered almost everything in regards to the genre. I'm not entirely sure, if this is because of the smooth guitar stylings of Rob Jenkins that add a touch of the symphonic and bombastic - especially during the latter part of the final live track, where you could swear you were listening to a distant brother of Shine on you Crazy Diamond, - or if it's the omnipresent crabbing myriad of synth patterns and hypnotic segments of sequencer that together conjures up images of a huge electronic symphony with a hundred different voices coming from all directions at once, whilst never yelping, yelling or screaming on top of each other. Everything seems democratically orchestrated, and this from a band that only counts 4 lads....

The middle studio tracks are also of high quality, and I especially adore Bombers In The Desert for it's menacing throbbing bass thumps that catapult the track forth - into the desert on the wings of warmongering planes. Very easy to imagine this music as the soundtrack for a future desert bloodshed.

Just like the previous review I did, there is no real distinctions between the live tracks and the studio ones. The band very elegantly move and weave within the same swirling hypnotising sound appearances, and apart from the inspiring applauds coming on now and again, you wouldn't know those two epic pieces of music were recorded in front of a live audience. The thing is, that while a huge portion of prog fans currently are digging the feel of the old time classics - hoping to revive the same sort of sound with the artists' on board usage of mellotrons, analogue synths and whatnot, - people seem to forget how colossal these things are. Not to mention how heavy and unhandy they are to carry around. It costs a small fortune catering these wonderful tools of sound, which is why you often get these 'mixed' albums from Redshift. These guys are not millionaires in any way, shape or form. Almost every time this band performs live, they publish an album.

Now one could very easily say this sort of dilemma has everything to do about finance, and while that maybe true in a minuscule and very uninteresting way, - it's still the output here that deserves all of your attention. Trust me. Can you imagine having to be in the moment - instantly - be inspired, imaginative - totally into what you have to do - that ever so rare live concert, freeform improv electronics with no real bearings other than what your fellow astronauts are giving off.... Can you imagine that? - And then time and again delivering music that is so awe inspiring and stunning.... To me personally, it's proof of the human spirit in one of its most beautiful forms. 4.5 stars.

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 Redshift by REDSHIFT album cover Studio Album, 1996
3.19 | 5 ratings

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Redshift
Redshift Progressive Electronic

Review by colorofmoney91
Prog Reviewer

3 stars '90s take on classic Berlin school style electronic music with subtle touches that make the difference.

Redshift's debut, self-titled album has all of the electronic grandeur as Tangerine Dream's classic era and the epic progression of Klaus Schulze's classic era, but with slightly improved production quality. To be honest, Redshift does kind of sound like a long lost Tangerine Dream album that's been remastered, but that doesn't dampen the value of this album at all.

Much like Tangerine Dream and Schulze's music, all of Redshift follows their standard of epic track length Berlin school synth exploration put to a propelling beat that drives each track towards its finish line. What makes this album different are the breaks during some of the tracks that make way for very deep, empty, and galactic sounding voids that display a kind of malicious beauty. It may not sound like much, but it works well in contrast with the powerful kraut beats that break off right before. The progressions and developments in each track have a much more immediate or urgent than found in Redshift's earlier German inspirations, and some portions of these tracks take an imperial turn and become nearly symphonic. Beyond this, I'd say Redshift is very nocturnal, sounding rather dark but in a glimmering moonlight kind of way.

Fans of Tangerine Dream and Klaus Schulze's classic eras, and even fans of Kraftwerk's more progressive works, should find Redshift very enjoyable. Not essential, but could prove to be a refreshing quencher for people who already have all of Tangerine Dream's best albums.

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 Redshift by REDSHIFT album cover Studio Album, 1996
3.19 | 5 ratings

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Redshift
Redshift Progressive Electronic

Review by Roj

4 stars I am a huge fan of electronic music, both of the type that one finds here on PA and also modern electronica/IDM, a genre which I also find to be truly progressive.

Redshift had escaped my attention but the reviews here took my eye and after sampling some tracks I took the plunge. I was not disappointed. Of the four albums I have thus far, this is probably my favourite.

As a big fan of the 1970s halcyon days of Tangerine Dream, I couldn't fail to be impressed by Redshift. Using the old 70s analogue technology, they have produced music very much in the vein of TD. It is clear they too are big fans. However, for my money some of the material on Redshift is superior to that of their predecessors. I am sure some will be horrified to read this, but it is true. Some may find them to be wholly derivative, and the influence is clear, but such is the quality of the music offered, I am totally enveloped. This is wonderful stuff, almost like a missing TD album from 1975. It really is that good. And the even better news is that whilst with TD we were lucky to get 35 minutes of music on an album, Redshift clocks in at well over an hour.

As for the structure of the album, we have two long pieces bookending the album with two shorter pieces in the middle. Redshift the opener is not far off 20 minutes in length, full of ethereal mellotron and classic pulsing sequencers. Fabulous stuff, and as Russellk has pointed out, not too far away from Phaedra. The closing Blue Shift is out of this world for the first quarter hour, truly wonderful stuff. However the last ten minutes or so consists of a heartbeat, and loses its impact for me.

The two shorter pieces, Spin and Shine are simply amazing. I would struggle to find anything within this entire genre to compete with the quality of these two tracks. The most stunning atmospherics you could ever hope to hear. The combination of mellotron and sequencer on Spin is simply awe inspiring. Listen to Shine with headphones on and sail away into the cosmos. If you are a fan of electronic prog, give these a listen and you will see what I mean. A TD fan's ultimate dream.

I am sorely tempted to go for 5 stars here. Wholly original or not, this is a work of the very highest calibre. The last ten minutes or so of Blueshift does detract a little from the overall though. 4.5 stars would be about right. Totally recommended.

This band is prodigious in output and I have another dozen or so albums from Redshift to get. I plan to enjoy the journey!

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 Redshift II - Ether by REDSHIFT album cover Studio Album, 1997
3.74 | 7 ratings

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Redshift II - Ether
Redshift Progressive Electronic

Review by stonebeard

4 stars It's way too late for a proper review, so I'll knock this out fast. It's not like I really have to go into much detail anyway.

Hokay.

Ether is a long-lost Tangerine Dream album from sometime between Phaedra and Rubycon, with the production values and clarity of Up the Downstair/The Sky Moves Sideways era Porcupine Tree. Essentially, this is a Tangerine Dream album, and you should be happy it exists. Of course, is it a compliment to say that this album is essentially 20 years absent from current times and happenings? Well, heheh, that's something prog fans grapple with a lot. How many times can you listen to the same album, tweaked here and there or put out by a fresh artist? (Hopefully I don't need to say Ether is a ripoff. No, perhaps a tribute album of original content and of the highest quality is a better way of putting it). It's hard to gauge the vlaue of an album like this. Does it add anything new? Mmm...nothing I can think of. Is it entertaining? To me, phenomenally. How many licks does it take to get to the center of it? Between 7 and God I really need to go to sleep....

As a die-hard Tangerine Dream fan of all eras and shifts in personnel, I love this album. Some may question what the point of getting it is if it doesn't add anything terribly new. Well, sometime you find yourself scrolling through your music library on your computer (don't tell me you still use CD racks and shelves? CNN just made a fake hologram for the election coverage. Get with the program!) and you think, Hmm. Rubycon or Ether? They're both equally good, but differing in movements and timbres and I happen to think Ether has more going on (it packs quite a punch), so *shrugs* why not give Ether a spin? Maybe you want something a little clearer, slightly less mystical. Go for it!

If you're a die-hard Tangerine Dream fan, buy it!

If you're a prog electronic fan, look into it!

If it's 3:30 AM, don't suddenly get inspiration for reviews!!!

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 Redshift IX - Last by REDSHIFT album cover Live, 2007
4.00 | 1 ratings

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Redshift IX - Last
Redshift Progressive Electronic

Review by russellk
Prog Reviewer

— First review of this album —
4 stars There's something ominous in this live album's title, sort of like PINK FLOYD's 'The Final Cut'. Their last album? On the evidence presented here, I hope not.

'Tormentor' is exactly as advertised, a house of horrors to chill the blood. Discordant synths and liquid percussion suggest dark corridors, and the faint shrieks reinforce the message. The sequencer introduces a hypnotic, repetitive motif after 5:30, drawing us into a splendidly powerful section at the 12 minute mark. Very convincing, this. Right up there with anything TANGERINE DREAM ever manufactured. Why not make 'soulless' electronic music as disturbing and unsettling as this? After a dark segue, the title track tinkles into life without quite the purpose one would hope. It does build gradually, its timbre generally more upbeat than the first two tracks, though still with some discordant elements. To my mind it's the weakest track on the album, but still an enjoyable listen.

A short segue and on to the album's premier track. 'Damage' is just superb, a multi-faceted beast deserving of a far wider audience than it will get. Oddly, there's a final track after the well-deserved audience applause. An encore, perhaps? Nice enough, but it detracts from the impact 'Damage' has as an album closer.

Fans of electronic music really ought to hunt this and its predecessor 'Toll' out and give them both a listen. They offer sophistication, drama and genuinely excellent musical moments. REDSHIFT's 'last' album? My fingers are crossed they make many more of this calibre.

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 Redshift VII - Oblivion by REDSHIFT album cover Studio Album, 2004
2.00 | 2 ratings

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Redshift VII - Oblivion
Redshift Progressive Electronic

Review by russellk
Prog Reviewer

2 stars 'Oblivion' is the last of REDSHIFT's attempts to establish their own brand of electronic music. More sophisticated than 'Halo' or 'Down Time', it nevertheless suffers from many of the same flaws, sacrificing breadth of concept and power for a static collage of sound.

This is not immediately obvious from the title track, an excellent opener that has at least some of the old Berlin School spirit and drive. From there it goes downhill: two other significant tracks are separated by purposeless ambience. Even the longer tracks are sparser than normal. It seems, from the evidence of their studio work between 1999 and 2004, that when REDSHIFT shift away from their Berlin School roots they lose in comparison to the wide array of electronic acts available.

There's a concept hidden here: the death of a star is my best guess, though there's little more than the track names and album cover to guide the listener. None of this compensates the listener for the lack of intensity in the compositions, however.

Fortunately the band rediscover their purpose in the live albums following this release.

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 Redshift V - Halo by REDSHIFT album cover Studio Album, 2002
2.18 | 3 ratings

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Redshift V - Halo
Redshift Progressive Electronic

Review by russellk
Prog Reviewer

2 stars If the twenty or thirty minute tracks common on REDSHIFT albums are likened to interstellar journeys, much of the material on this album is not much more than a trip to the shops.

'Halo' continues the band's move (in the studio, anyway) away from the enormous Berlin School canvases popularised by TANGERINE DREAM and KLAUSE SCHULZE in the 1970s, providing us instead with shorter vignettes, excerpts of sound that really don't progress anywhere. This really is a case of 'less is less': by limiting themselves largely to tracks with lengths under ten minutes, the atmosphere of blissful contemplation never builds. Yes, the tracks segue into each other, but a continuous sound is not the same as continuity of ideas.

So, what is this if it's not what we'd expect? The sounds are more melancholic and therefore less upbeat than either previous material or their more recent live album work. Irrelevant ambient tracks link larger pieces of interest, but the resulting picture is static. This lacks propulsion, it goes nowhere. Even the title track tinkles nicely but without intent, in the manner of a poor JEAN MICHEL JARRE number from the 1980s.

The band would give this direction one more try (Oblivion) and then abandon studio albums altogether, the remainder of their output (up until 2007 at least) reverting to long-form live tracks, and their music became all the better for it.

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 Redshift IV - Siren by REDSHIFT album cover Live, 2000
2.00 | 2 ratings

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Redshift IV - Siren
Redshift Progressive Electronic

Review by russellk
Prog Reviewer

2 stars A rumbling, pulsing beat emerges from a miasmic metallic synth wash, and the ethereal choirs start up in support. Thus begins another REDSHIFT odyssey.

This live album in no way reflects the contents of their previous studio album, 'Down Time'. Not only do none of the tracks come from that album (the only track previously recorded is from 'Ether', issued three years earlier), there is little of the sound that characterised 'Down Time'. Instead they return to once again mine the 70s Berlin School sound exemplified by TANGERINE DREAM. Further, they return to their previous habit of bookending two shorter tracks with two 20 minute plus tracks.

Unfortunately, the compositional quality of these tracks is nothing like as good as their previous similar effort, 'Ether'. The tracks chop and change too often, never surrendering themselves to the moment or exploiting it by letting tension build through the use of incremental changes. I can't overstate this enough: in my view the primary attraction of the Berlin School sound is the way in which incremental change keeps a repetitive sequence just interesting enough to compel your attention. TANGERINE DREAM's 'Phaedra' and 'Rubycon' exemplify this, as do REDSHIFT's own debut album, as well as 'Ether' and the brilliant 'Toll'. In this release, however, the musicians can't leave well enough alone, never allowing that hypnotic sequence its head.

That said, there are still some excellent moments here. The fabulous Gilmouresque blues guitar at the end of 'Bleed' is worth the 20 minute wait, and 'Bombers in the Desert' is as good live as in the studio (but isn't a compelling reason to buy this album). Part 2 of the title track is excellent, but ought to have been made into something rather than being spliced haphazardly into the track.

Overall, not up to the REDSHIFT standard.

Fade out into silence.

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 Redshift III - Down Time by REDSHIFT album cover Studio Album, 1999
3.05 | 2 ratings

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Redshift III - Down Time
Redshift Progressive Electronic

Review by russellk
Prog Reviewer

3 stars REDSHIFT owe their existence to the 'Berlin School' of electronic composition from the 1970s, but their rise in the 1990s was facilitated just as much by the burgeoning electronic scene in the UK and continental Europe as a desire for nostalgia.

This then, their third album, is based on inspiration from both the 1970s and 1990s. There is much here indebted to ambient house ('All Things Bright' is very dubby, for example). The format adopted for their first two albums (two 20 minute plus compositions either side of two shorter works) has given way to a more even spread of sound, the 'Ricochet'-like epics replaced by something more like 'Stratosfear' - melodic and with greater structure. Just as with TANGERINE DREAM twenty years previous to this, the change is largely unsuccessful. 'Nails' is rather irritating, relying on the master volume knob a little too often to create its not-so-subtle effect. Rather than a constant aural bath, this is more like a shower when someone is turning a hot tap on and off somewhere else in the house.

Subsequent tracks are laced with an experimental ambient feel influenced by contemporary electronic artists. 'Mania' is an uptempo piece drenched in distorted guitar, one of the highlights here. 'High Noon' is a rather less successful attempt to invoke the wild west. The aforementioned 'All Things Bright' lumbers along like Frankenstein at a Halloween party. By contrast, 'Protoland' is a sparse affair to start with, a slow builder that would not have been out of place on TANGERINE DREAM's 'Exit'. The title track is a rather nondescript affair, disappearing into a sandstorm of sound.

REDSHIFT forgo the simple TANGERINE DREAM nostalgia invoked by their first two albums for a more original sound, invoking THE ORB's dub and even SYSTEM 7's guitar glissade on occasion. However, my reaction to this eclecticism is more admiration than enjoyment.

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 Redshift II - Ether by REDSHIFT album cover Studio Album, 1997
3.74 | 7 ratings

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Redshift II - Ether
Redshift Progressive Electronic

Review by russellk
Prog Reviewer

3 stars Though this is listed in the Archives as a studio album, tracks 1 and 4 (the bulk of the album) were recorded live at Jodrell Bank observatory. Just thinking about this glorious spacemusic in such an apposite setting gives me goosebumps.

REDSHIFT purvey a TANGERINE DREAM-like mixture of cold ambience and warm bass-heavy pulsing sequencers, and on this, their second album, they are true to form. It's the soundtrack to accompany the exploration of the universe: huge synths and choral sounds reflecting the stardust from whence we all came, chattering sequencers imitating the bright cold stars.

'A Midnight Clear' and 'Ether' are the two long tracks, and they both begin with portentious synth and mellotron before surrendering to the sequencer (at 8:30 and 5:45 respectively), reaching a climax and then fading back into silence. If this sounds like the compositional structure TANGERINE DREAM used with such success, you'd be right. Had I been played this and told it was TD live, I would have no reason to disbelieve it.

The shorter middle tracks are studio efforts, and the sinister, eastern-tinged 'Bombers in the Desert' is perhaps the highlight of the album, along with ROB JENKINS' sublime guitar in the closing section of the title track.

This is nearly as good as REDSHIFT gets, but the album does not exhibit anywhere near the inventiveness required for serious consideration as a masterpiece. There are progressive electronic musicians (many not included here) whose work is redefining popular music. By contrast, REDSHIFT is a pleasant backwater.

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