[1 May 2000]
The concept of convergence in new media fascinates me. That is, we live in an age where our television will soon morph into our computer. Everything seems to be merging, including pop music forms. With computers, MIDI and sequencing, the possibilities for recorded music are endless today. You can drag, drop and cut and paste sounds. Where the composers of yesterday needed a room full of musicians to bring to life the composition in their head, today’s composer can do it with a keyboard alone. It is a fascinating time, and Departure Lounge embodies the paradigm. Unlike some recordings that are left bereft of feeling by painstaking editing, this recording has feel. This recording is a classic merger of technology, pop, bossa nova, lounge, classical and dance music.
The opening track is subtle pop. It shifts on “New You” into a vocal reminiscent of Herb Alpert on “This Guy’s In Love With You”. Understated but powerful. “Starport” has a “Theme from Exorcist,” trippy feel, one of my favorite tracks. “Johnny A” opens with a distressed flute, growing into a very Zumpano-like composition. Interesting, real sounds abound on this CD. There are oboe, stylophone, and fantastic horn sounds. “Late Night Drive” is the highlight with its stylophone riffs, funky backbeat and Peter Gunn guitar. I hear this song in a movie. Imagine a closeup of Patricia Arquette with a blank expression on her face. Nothing there but that face. A soundtrack for a face. I like that image.
A lot of people will not get this record. Fans of Sean O’Hagan, traditional lounge, Zumpano, See Venus and Stereolab might get this. But what is to get anyway? This is quality stuff.
The future is now with Departure Lounge.
Published at: http://www.popmatters.com/pm/review/departurelounge-out/