ROBERT RICH

Robert Rich has been around influencing music (especially ambient and electronica music) and releasing many albums since 1982. He is a multi-instrumentalist and builds his own acoustic and electronic instruments, but most of his music consists of ambient instrumental music and the utilization of microtones. He is famous for his all-night sleep concerts and lectures on music.

This album, 'Tactile Ground', released early in 2019, consists of two parts, the first of which is subtitled 'Location'. This part is quite ambient and all 6 of the tracks run from 7 minutes to 14 minutes. 'The Sentience of Touch' is quite lovely, being led off with a piano with other atmospheric tones and layers. The piano stands out the most and plays in a loose, melodic style, but drops out about half-way through the track. After that, the music is mostly electronic with a lot of ambience. This ambient and minimal sound continues through 'Eroding Columns' and 'Shrouded Lattice' that puts the listener in a peaceful mood, evoking soundscapes that hint at the slow creation or destruction of natural forces. Just like watching the formation of frost or ice, or the eroding of a river, in human terms of time, you don't see, or hear, a lot of movement in these tracks.

This changes to a subtle degree in the next track 'A Skein for Skin', which seems to be a bit warmer, and utilizes some nice, ethereal effects behind a lovely, wandering but more musical line. This continues through 'The Abiding Wheel' which adds to the effects and introducing some percussive sounds, which gives it a tribal feel and a slight bit more intensity. The passage of time now is more noticeable in the music. Continuing on, the music flows into the longest track at over 14 minutes, 'Language of Breezes'. Reflecting the name of the track, this one has an airy feel to it, and slowly, the music starts to dissolve from the previous intensity. As it continues, layers drop off almost unnoticed and soon you are left with the slow, moving ambience as before. Even this continues to lessen in intensity until you are left with complete quiet.

The second part is subtitled 'Dislocation'. It consists of 9 tracks, most around 7 ' 9 minutes, but with a few around 5 minutes, and while it stays ambient, the overall feel of this part is experimental. Starting with 'Radiant Groundlines', we get a high- pitched echoing effect with synth chords fading in and out over a quiet drone effect. A sax-like effect and another microtonal effect produce a quasi-melody passing it back and forth. 'Haptic Incursions' continues with the echoing effects, but a dark presence is looming underneath percussive tones. 'Glassmaker's Sand' goes even more ambient as the main drone drops off and the only sounds are slightly percussive tones, but a strange effect grows in intensity threatening to drown everything out, but quickly retreats to the background with occasional short outbursts of odd noise. Darkness still rules the atmosphere. Metallic notes and percussion that sounds like a bouncing object give a continued darkness to 'Senescent Architecture' which is where microtones make the ambience quite dissonant and unsettling.

By the time we get to 'Heat Island Effect' we seem to be 100 miles away from anything melodic or bright as it starts from deep, dark ambience, but a sudden breeze effect fading in and out bring in a little more life and hope with each cycle. 'Dominions of Microns' moves into some avant-garde territory as the strange noises increase and synth chords fade in and out. But on 'Tentative Unfolding' there is a 'tentative' movement away from the dark textures to more hopeful and less harsh tones. There is a feeling of new life emerging as the track brings us back out into the light. 'Elevations' moves on swells that ebb and flow, becoming slightly louder each time as if light is bringing more life with each breath. A high pitched, almost vocalized effect brings back a more melodic style. 'Meridian Resperation' begins with percussive tones and a minimal drone. Later, a tribal flute effect comes in to carry it all home.

The entire album could be considered ambient and minimal, using tones and sounds and quasi-melodic lines to move things forward slowly. This music is best for meditation, relaxation, maybe even sleeping to. The use of microtones in various places make the music seem more naturally made than man-made. It is difficult to just sit and listen to because it moves along so slowly, but it is also beautiful and, used in the right context, enjoyable. But you have to be ready for it knowing that changes are sometime quite subtle.

Sadly not all rainbows end up over a bowl of gold.

A slow and imperceptible departure towards a more cosmic environment, opposite to his quiet unimpressive, not only becase "What We Left Behind" (released a couple of months before) is totally inclined into the New Age like earthly musical environments but because it was scarce of "New" music composition creativeness (in that styling), this "Vestiges", 2016, as mentioned, sets on to more Space music grounds with some heavy earthly touches meeting in the middle of this crossroad and somehow turning back in time to his first releases in a more sophisticated way.

Once I wrote in these Robert Rich reviews that I found a certain thinness in his music compositions which if abused tended to lead nowhere. Well, that peculiar quality overshadows, if not alone in length and time, also in creativity some better suited tracks on this one.

Ironically, which makes these reviews so subjective, the highly praised 16 minutes "Anchorless on Quiet Tide" published among his followers does not tick my bomb. Nevertheless the other 15+ minutes long track "Obscured by Leaf Shadows" is quiet rich and enticing.

So, taking into account that this is a 6 track release, an hour and a couple of minutes long and the before mentioned tracks take off half of the content and a couple of other tracks are just too thin, sums (or substracts) up or down for a 3 out of 6 effort, which of course derives into a decent, far from magnificent, ***3 PA stars rating.

Californian Robert Rich has been producing electronically generated music for well over 30 years (being part of over 46 album releases) yet this recent release, Filaments, has garnered a lot of attention from both within and without the prog and ambient/electronica communities. Like fellow Californian Thom Brennan, Filaments shows a little bit of an edgier side to Robert's music, challenging the long-time assertion/assumption that his place was as a leader in the sleep/dream/relaxation realm of the New Age musical movement. This music also shows a bit more individual instrumental flare and isolation than most other albums of his, making it feel much more fit to be included among the Progressive Rock music scene.

Five star songs: 2. "Majorana" (10:45) (9/10); 3. "Scintilla" (3:48) (10/10); 5. "Entangled" (10:54) (10/10); 6. "Eulalia" (5:44) (10/10); 7. "Laniakea" (3:54) (9/10), and; 8. "Ætherfolds" (3:54) (9/10).

Four star songs: 1. "Filaments" (4:58) (8/10); 4. "Ætherfields" (5:22) (8/10), and; "Telomere" (9:58) (8.5/10).

Five stars; a masterpiece of progressive electronic music.

Robert Rich started out his career as a drone-artist. He created so-called sleep-concerts.

This (his second) release is a mix of new age and ambient music, inspired by the rainforest. It's really calm and mesmerizing, and Robert Rich makes use of electronic (synths) and acoustic (flutes, percussion) instruments. On top of that, he uses a variety of field recordings.

The result is very dreamy, atmospheric and sometimes dark music, with melodic and rhythmic themes going hand in hand. Until now, I hadn't heard of him before, but the music is of such beauty and splendour that I must check out his other albums.

The song The Raining Room is dedicated to russian filmmaker Andrei Tarkovsky. In future releases Rober Rich will often dedicate songs to great artists like Dalí en Gaudí etc.

Robert Rich "Filaments" CD

Quite long time has passed since the last album of Robert Rich, "Nest" was released in September of 2012. However, it doesn't mean this iconic soundexplorer was silent during the last two years. On the contrary, in this period of time he resurrected his legendary sleep concert format, which firstly led to his live presentation in Krakow, Poland, in October of 2013 on Unsound festival (his first sleep concert in 15 years), and one year later, "Perpetual - A Somnium Continuum" monstrous 15 hour Blu-ray was released with 8 hours of new soundscapes. In the meantime, Darren Bergstein's Anodize label has released in December 2013 "Morphology" CD, a stellar sonic document from May 15, 2010. On the top of all that, April 2014 saw the release of "Premonitions 1980-1984", a 4 LP set featuring highly treasured pieces from cassette releases, out on German Vynil-On-Demand label. A quite productive silence... Now it's time encounter the "Filaments" odyssey!!! Released during January 2015, the first impression is splendid, no question about that, because the 6-panel digipak comes with gorgeous front and inside paintings by Nad Wolinska and Daniel Cake and photography by Christian Tanimoto III. As usual, the design and layout is expertly handled by John Bergin. This visual bliss is completed by in-depth liner notes by Robert Rich, displaying the title story behind each track, when focusing on cosmology realms. I am holding in my hands a true piece of art!!!

I am taken on the board as quick as the opening track title, 5-minute "Filaments" spreads across the listening room. The journey has been ignited with utterly immersing and spellbindingly expansive driftscape, gorgeously nuanced with cinematic climaxes, spacious quietudes and cyber-tech biotics, all intriguingly shaped by Robert Rich's innate wizardry. I would say this grandiosely stellar composition is slightly untypical for Robert Rich's soundforging. I am weightlessly drifting into ultimate sonic Heaven!!! "Majorana", with 10:45 the second longest composition, remains on the immense spacefields, cinematically undulating and guarding above euphorically swirling sequences, which continuously counterpoint with piercing lap steel cries. Also utterly gorgeous transitions emerge over the course, when celestial choir-like insignias guide the voyage, before entering breathtakingly unfathomable depths toward the end. Wow, another triumphant aural adventure showcasing musical genius of Robert Rich in full bloom!!! Shorter "Scintilla" effectively merges unmistakable sequencer work with stunningly evocative siren weeps and ear-tickling clinks. "Aetherfields" invade straightly with enigmatic reverberations, gently cacophonous and mindscaping, but wistful piano motif serenely meanders across and meticulously softens this delicate perplexity. "Entangled", the longest track clocking to nearly 11-minute mark, embraces the listener with its peaceful, but gently expressive piano, while lap steel whines ride atop along with distant pulses, which slowly permeate through the nostalgic blankets, transmute and steal the center stage as earmarking melodious meridian, sublimely joyous that is only Robert Rich, before silently fading away into infinite paradise of stillness. But my ears won't get any rest of this delight, because "Eulalia" keeps the attention with its sequencing signature wizardry, again cheerfully shimmering with distinguishingly exuberant cyber-organic percussive layer, all virtuosically reinforced by gorgeously yearning lap steel guitar imagery. Yes, the lap steel sounds in this wonderfully evocative composition are absolutely magnificent, a pure sonic bliss awaits here again, bravo, Maestro!!! With "Laniakea" some exquisitely mysterious horizons reveal, although safely floating on the waves of brightly shinning sequences. The next piece, "Aetherfolds", bridges nearly reverberating, squeaked-like sound ventures with poignantly flavored sparse piano subtleties. Stunningly peculiar, yet deeply contemplative sound collage!!! 10-minute closer "Telomere" gets back to fresh sequencer-driven domains, hauntingly winding and crescendoing through wide-screen, warmly fascinating space expanses. A very strong conclusion to this highly accomplished recording!!!

"Filaments" album is another proof of Robert Rich's musical superiority and a tremendously essential addition to his already glorious discography. Each of his new releases is worth the wait, no matter how long it takes. This album is, as always, filled with Robert's many signature sounds, even without his flute artistry this time, and trademarking perfection is displayed in every single detail of this album. Even the way the transparent tray is glued to the digipak is absolutely flawless... Aural and visual thrill is served here in huge doses, certainly another tour de force by this Californian sound aficionado!!! And don't forget, by the time I am publishing these lines, Robert is optimizing dates for his North American spring tour, with most dates during April and May, so if you have a chance, don't miss another spectacular experience!!! For those based not far from Copenhagen, Denmark, note that April 18th is a date for Robert's another sleep concert taking place in the beautiful former church of Nikolaj Kunsthal. We couldn't ask for more!!!

Richard Gürtler (Mar 22, 2015, Bratislava, Slovakia)

Robert Rich's "Numena", a four piece album, is by itself and its date of release 1987, a turning point in progressive electronic music, which by then was happening in the USA not Europe, The Bay Area / Los Angeles school of electronic music, to be specific. By blending different electronic music stylings and primitive or traditional acoustic influences the style uprised and was called "alchemical" or "Sacred" space music.

Therefore according to its date of release and its direct plunge into this kind of artistic expression, NUMENA sets a perfect referential for this "New" school's directions and goals. But this work certainly grows beyond its date or taggins or style. Robert Rich's abilities as electronic composer did find the perfect route, which in his discography will eventually reach extraordinary sophistications, but it all started to take shape with this project and its daring blend of environments which travel back and forth music wise and time wise, thus the combined elements complement each other to perfection.

An unexpected emotional and frantic electronic "sacredness" counterpointed by excellent music composition, a true understanding of its primitive roots and a perfect sense of simplification by not sounding simple but deep and dynamic.

****4.5 PA stars

Welcome to the jungle!

"Bestiary", Robert Rich's 2001 release, is certainly a jungle, an electronic one of course. Experimental without any kind of compromise but his own self-refinement and taste, opposite in that regard to "raw for raw sake" electronic experimentation, this one is carefully threaded .

An assorted trip in every song, it flows freely creating obtuse, obscure, soft and rough, cosmic, unappealing/hypnotic, unearthly/ earthly, uncompromising spaces, full of bubbling as buzzing surprises as showering delights and windy storms. And like a jungle, anything goes, and you have to go through it in able to enjoy.

It is quiet fun to listen to such unambiental "Ambient" music for a change. Those familiar with the Cubase of yore, will certainly re-think its possibilities in the sense of songwriting and sequencing.

Irreverent playfulness, more in tune with Rock in Opposition in a Progressive Electronic environment!

****4 PA stars

In a perfect world, Tangerine Dream would have ended sounding this good!

Robert Rich-Filaments, 2015, is Progressive Electronic to the core, Berlin School in its bones, Contemporary Classic in its heart and environmental or Cosmic more than the usually misunderstood Ambient tagging, in its soul.

Perfection coming from a quiet unknown musician, even among the PE crowd. (Business as usual). Although it is quiet understandable, considering the inherent thinness and transparency of his musical structures from album to album, which will never outcome the disadvantage of a world of fast-noise.

Filaments consists of nine THICK individual musical structures. Each one travels its own route and direction. Each song is unique in its language and Robert Rich's personal style evolves between poles of electronic or contemporary music influences (TD & Steve Reich´s ones are quiet notable) , BUT transmuting them to his own self constructed musical idiom. The results are overwhelming opposite to my expectations. Speechless!

I have to confess, I was just expecting another Robert Rich's environmental album, to play along while I painted. I was completely wrong, this work deserves full attention to understand why it rates for me *****5 Masterwork PA stars.

Robert Rich is best known for his "sleep concerts". During the 80's, in the San Francisco Area, his ambient music was playing, and the audience has to sleep. Robert Rich woke them up with piano notes. So, Robert Rich make ambient music to sleep or to meditate. So, often, the ambient music is long, right ? Somnium is SEVEN HOURS LONG !!!! Seriously, it's huge. It's a music to sleep, and night is long so the music have to be long, but seven hours, it's really long. It is boring ? If you listen to it like a classic rock album, of course it is. But if you try to sleep or to meditate, it's just the perfect album. There's very uplifting moment. For this huge work, Rich deserves 4 stars.

I have recently reviewed a "duplicate entry" of this album as I had added it under the "ALIO DIE" page. Later, realisung that it was already on the site as a Robert Rich's album I have informed the admins and now I'm posting the review again.

Please consider that I knew this collaboration as an ALIO DIE album, but it's effectively a 50/50 effort and what really matters is that this is a very good album. This was my original review:

Speaking of progressive electronic I think that Stefano Musso (aka Alio Die which in Latin means "another day") deserves a particular mention.: As the Tangerine Dream of the debut he didn't start directly with the electronics as his musical research includes acoustic and ethnic instruments plus everything can make a sound, so in this collaboration with Robert Rich the second plays things like flute and dulcimer. Years ago, buying some pills against migrain, I had a "bonus CD" of meditative music by the flutist Andrea Griminelli. I'm saying this because the opening track of this album is very similar: a relaxing keyboard layout on which flute and percussion create a dreamy environment which speaks to my mind of woods, winds and nature in general.

The sudden passage to the second track brings us to Asia. The percussion have an Indian flavor but the flutes are more far eastern. Behind all, the keyboard layer is on minor chords so that the ambient is a bit darker than on the previous track. I think to a mountain landscape before a storm. The track title "A Canopy Of Shivers" demonstrates that what the artists succeded in transmitting the impression they wish to.

"Sirena"(Mermaid) starts, of course, with the sound of water and seashores. The soundscape is now very dark, similar to the spacey drones of Phrozenlight, with incomplete keyboard chords coming and going, apparently nowhere, but surely more things happen in this 9 minutes track than in a 30 minutes Phrozenlight's drone. I think that this track could be inspired from the famous episode in Homer's Odyssey when Ulysses listens to the mermaids' chant. After 4 minutes the keyboard layout becomes more consistent and the track reaches the level of the previous two. Unexpectedly there's a classical guitar which adds a floydian flavor so that the second half of this track is much more interesting. I think to Cluster One from the Division Bell or some slow atmospheric parts of "On An Island".

"Mycelia" starts with one minute of jungle noises (rain or fire?). The keyboard background is cold and a little dissonant. The percussion contribute in making it darker while the sound grows in volume. At the top of the crescendo the flute enters. It takes some time to get where the artists want, but at the end they reach the target. Meditative ambient music with a touch of darkness.

"The Divine Radiance" begins with noises which make me think to mechanical devices in a SciFi movie. A minor chord of Keys and flute accompanies them. After two minutes the keyboards are louder than the other instruments even though the initial noises are still perceivable. There's a string instrument below. Probably it's the dulcimer played by Richard Rich, but it could also be a guitar. The track which was apparently static is now developed. The atmosphere seems taken from Blade Runner, but later some strong noises and tapes are added so the final result is quite psychedelic.

Now it comes the longest (more than 18 minutes) track. Bells and drone noises in a jungle village. The bells sound like in a Buddhist temple and the contrast with the flute creates a strange atmosphere. The percussion are well inserted into this environment which grows sligthly. If I close my eyes I see a jungle in the morning and I can imagine a temple nearby, something like Angkor Wat. I'm used to let my mind travel when I listen to ambient music and enjoy when the music is able to transmit images to my mind. However the "Road to Winkuta" is in Mexico, not in Asia. I don't think it's a real place. I have read somewhere that "Winkuta" is where the peyote gatherers go. Thinking to this, the central part of the suite appears very mystic, and some sounds can also remind to the atmosphere of Ken Russel's movie "Altered States".

The closer "Tree of the Wind" is a relaxing piece with an unusual touch provided by the dulcimer which is played like an oriental instrument. The track starts in a very light way but when the dulcimer enters the keyboard chords become minor and the environment is darker. The instruments fade out in different moments and the album is gone.

If you like this kind of ambient electronic you'll surely be happy to get this album in your collection.

Dream.