AUDION

Larry Fast is definitely rock here, at least on side 1! I really wonder if he uses a genuine electric guitar: indeed he produces memorable rock riffs and it is quite reasonable to think they are made with a string instrument!

The first side of this record is a good example of what electronic rock is; the pieces are rather structured as any conventional piece having the rock genre. This sudden genre change is probably due to his experience with Peter Gabriel. The keyboards are less random & experimental, and they really take part in the melody and rhythms involved. Plus, Larry Fast really modernized his synthesizers here: the sound is quite rich, deep and colorful. Larry Fast even puts some true sentimentality in the "Electric blue" track!!

On side 2, he adopts his usual melodic & symphonic elements that were so present on his first records: a good return to form! Actually, I think he never sounded closer to Tomita than here!

Rating: 3.5 stars

Synergy's best album of the 80s !

Audion will transport you to unknown places of an universe far far away... The record can be divided in two parts : the first side consists in catchy rocky space music whereas the second side is composed of more delicate symphonic electronic pieces without guitars.

The record opens with the little cosmic Orbit 5 which puts you directly in orbit of a mysterious stellar system. Revolt at L-5 is an energic electronic spacey song supported by a heavy guitar. The theme really rocks ! The next song, Terminal Hotel, is more vaporous and frightening, as if you were exploring a spaceship. Melancholism and wonderment are also present here with the beautiful Pink Floyd-ish tune Electric Blue and the cristalline Ancestors, containing a superb synthetizer solo. The first side of the album is flawless. After the Earthquake and Flight of the Looking Glass remind Synergy earlier symphonic days and is quite enjoyable. On the opposite, Falcons and Eagles sounds a bit lazy and is rather weak. The oddest song here is undoubtly the pretty Shibolet, which looks like an oriental classical music electronic reprise ! Pleasantly surprising ! The album ends simply with... An End, a beautiful ambient track.

Audion features Larry fast in top form and ranks with great electronic releases of its time by clearly marking its difference. A very good place to start with Synergy. Strange and unique !

Audion:This is a well-thought-out group of compositions that reveal a diverse and complex imagination. Audion is superb experimental electronic music. Let us no forget that one of the main roots of progressive rock is the willingness to experiment, push ones audience to it's limits, and make use of all the musical tools of the day, no matter how simple or sophisticated. The experimental aspect is what makes it exciting. It's not an accident that Larry has recorded and toured with some of the greats of progressive rock over the years.

The most important thing about music is that it moves you. Audion does that in a way that holds your attention! And unlike so much of todays music, its not dark and depressing, either. It's light, symphonic, and rich with aural treats. This is one electronic composer who understands rythme and melody...but still not bound by it. One of the things that makes this music great is that it is not dated. One can respond to it no matter what age. There is dated music out there, no doubt, but one has to distinguish between dated musical taste and dated music; these are not easily disentangled.

Larry Fast and Synergy is so often misunderstood, especially by the marketing people in the music industry. But, to the marketing people out there....that's a pretty low standard for classifying this album as electronic/dance. I guess that would also make Vangelis electronic/dance, too. Absurd.

Synergy's masterful "Audion" is fully deserving of all the electro accolades, whether sequenced or not, that an electronic-prog album can ever hope to garner. Certainly not as exuberant as Schulze, Tangerine Dream or Ashra, Larry Fast is sort of an Eno like sound craftsman instead of your classic soloing maestro, and his resumé reads like a prog's whose who: Peter Gabriel, Nektar, Tony Levin Group, Synergy and a score of non-prog artists. But just reading the credits on this seminal 1981 album gives you an idea with whom he was innovating: Moog Music, Sequential Circuits, PAiA & Apple computers, Deltalab Research, Eventide Clockworks, Oberheim and 360 Systems. Today's techno gurus were yesterday's neophyte nerds when software was really "soft" and hardware was, er.. well you get the message.Listening to this 17 years later, I cannot help acknowledging that this recording was way before its time , a Jules Verne-like glimpse into the future that reveals an incredible vision that deserves massive applause (your choice, analog or digital). From the extraordinary cover art to the entire 10 visceral sci-fi compositions, this is primal first rate synthesizer playing in a style that is ultimately warmer than you may realize, at a time when this brand of music was pilloried by the ignorant masses as cold and soulless (????). From the swirling opener "Orbit Five", the main melody is transcended by synthesized percussion that was again light years ahead in terms of programming and tone ("Revolt at L-5"), with ominous crisscrossing guard tower leads weaving an image of futuristic prison break, alarms ringing, unruly androids vying for escape and control boxes gone haywire. The somber "Terminal Hotel" certainly evokes a futuristic journey's inn, with supple translucent mattresses hanging in no gravity area bubbles, where room services supplies "squeeze me" tubes of sushi & udon soufflés or teriyaki mahi-mahi to the weary interstellar space travelers. "Electric Blue" is a placid electronic lullaby that swings in sequenced ecstasy, trance-like explorations of the outer realms of the cosmos. The colliding rhythmic synths are almost symphonic and certainly lead to reverential contemplation. "Ancestors" has been a favorite of mine for decades, a synthesized flute patch solo leading the massed strings in a crescendo of computerized orchestral beauty, a musical look back at history's contribution to the advancement of technology. "After the Earthquake" is, despite its rather cataclysmic title, a rather optimistic hymn of hope, with sweeping fanfare keyboard arrangements that are closer to the Enid than, say Kraftwerk. Even though only computerized equipment was used, this music remains sizzling, warm in its numerous inflections and structure, with an almost classical music compositional style. "Falcons & Eagles" and "Flight of the Looking Glass" both veer into this almost totally neo-classical zone where you almost wonder when the cellos are going to kick in, aided and abetted by timpani! Not my preferred tracks, a little too Wagnerian for me, to be honest. "Shibolet" is a playful and bouncy little space ditty, full of weightless bravura, cosmically medieval as if were some kind of stellar pavane with the lead synthesizer imitating the krumhorns of the Middle Ages. An amazingly creative celestial gem. "An End to History" is another rather gloom and doom title that perhaps prefers to lament the lack of inspiration from the past, instead of ushering in some apocalyptic message of universal extinction. This is serious experimental music that was perhaps misunderstood then by most but not by all. Not an essential prog masterpiece but a crucial cornerstone of any electro- prog collection. 4.5 swirly asteroids