Phrozenlight - Far Side of the Galaxy

One colossal 77 minute track, as ambient and spacey as it gets.
But this time with sequences coming in and out (see review).



Tracks ...
1. Far Side of the Galaxy  77:00


Check out Phrozenlight's MySpace page and Virb page
(links below) for examples of the music from this artist


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Phrozenlight's
MySpace Page


 

Phrozenlight's
Virb Page


Comments and reviews ....

I wouldn't say I was an expert on Phrozenlight as he has quite a large catalogue but most of what I have heard 
until now has been ambient music in the more traditional sense. I was amazed therefore that almost from the 
very beginning of this mammoth seventy-seven minute piece we get sequences. All rather fine they are too, 
sounding distinctly Schulzian, in a restrained rather rumbling way. In the background little cosmic effects hiss 
and twitter. Actually there seems to be quite a bit of movement in the sequence as it morphs this way and that. 

At around the ten minute mark the backing has become 'windier' and overall everything sounds more bass laden. 
The sequence also seems to be a little higher in the mix. By the fifteenth minute the pulsations seem much more 
'tinkling'. Five minutes later the sequence has all but departed as we gradually descend to pure drift with little 
metallic shimmers then really strange distorted sampled chatter- or it is to me anyway as I think it is in Dutch 
or German. High register metallic shimmers enter as the chatter slowly subsides and a fresh very bass heavy 
rhythmic sequence can just be heard forming low in the mix, so low in fact that it as much seeps into the 
consciousness as is actually heard. At the half hour mark the distorted chatter momentarily returns. A second 
very subtle sequence makes an entrance but again it is low in the mix compared to the shifting sea of rather 
complex pads. Both sequences increase in intensity but at such a slow rate I didn't at first realise it. From 
time to time the backing becomes a little more violent, even stormy, then subsides again. 

By the hour mark all returns to atmospherics. I suppose it's quite tranquil but there does seem to be a darker 
edge to it. The pulsations haven't left us completely however as they do return, initially so low in the mix they 
were more of an imagination but slowly they once again start to form a more prominent part in the overall flow 
until they are quite positively skipping along. The 'chatter' makes one last appearance at around the 70 minute 
mark. To me it seems that the last half-minute is pure silence, or is that my ears just getting too old? I enjoyed 
this album very much and of those I have heard by Phrozenlight so far it is certainly my favourite. It must be said 
however that with such a long track where the changes are so subtle it is hard to completely concentrate on it 
throughout its duration. My mind kept wandering but there is no doubt that it was a supremely relaxing experience. 

David Law /
Synth Music Direct /
MusicZeit


With a title like Far Side Of The Galaxy, it should come as no surprise that we're in for a spacey ride. 
Opening almost immediately with a sequence, the album directly calls to mind classic Berlin School 
electronic music. The sequence moves along at a fair speed, flitting up and down in register and 
accompanied by an array of swirling, whooshing pads and tinkling sounds. Epic stuff from the off. 
Despite the speed, the changing sequences are soft and keep the album on the more ambient end 
of things. As the sound slowly descends into a background pulse, spoken voices appear at the top 
of the mix, adding a darker, more sinister edge to the proceedings, and as they drift away, the 
sequence continues onwards into a more unnerving space, with the melodic chord changes of 
the piece's opener replaced with darker drones. More voices come and go alongside occasional 
high pitched twitterings, and eventually the melodic aspect of the sequence begins to filter back 
into the piece. Many of these sounds and ideas - filtered sequences, disembodied voices and an 
ever-changing series of pads - come and go in new and different combinations of the space of the 
next hour, keeping the piece ever-changing yet always the same. At the hour mark, all goes quiet, 
and swirling and twinkling effects are all that remain of the piece, before a final round of sequences 
as a finalé. Two minutes of pads slowly and carefully close the album, with the sound drifting away 
to nothingness.
The album certainly lives up to its title, with a scale so grand it's often difficult to imagine an end to it. 
Although slowly changing over time, the album's singular sound over its runtime certainly leave it most 
suitable for those with extreme patience with their listening - but those who do have the time to take 
it in will no doubt enjoy this trip to the Far Side Of The Galaxy.

Ross Baker