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Lotus Records Catalog 1986
On cassette only, this is among the top 3 synth release of 1986 on tape. Again, a new name on the synth music scene with his debut release but if I tell you that it is in the same league as Stearns/Burmer/Roach and that that Richard Burmer and Steve Roach play on this tape, you'll know that this is something really special. Musically, it features 4 tracks on side one and the long track 'Waves of Time' on side 2. Full of varied, multi-layered, melodic, rhythmic, sequenced and spacey synths music, it does contain elements of influences form the aforementioned artists, but is entirely self-composed and full of remarkable music. Absolutely essential listening. - Andy G.
Audion Magazine Issue 4 1986
Loren is an exceptional new talent from California. This tape is his debut, and though his music isn't highly original, it's certainly inventive and full of life. The insert credits - Music by Loren Nerell. Additional instruments: Richard Burmer (keyboards); with Ann De Jarnet (violin) and Steve Roach (keyboards) both on Waves of Time. I'm not sure if Loren is a keyboard player (however, note the cover picture), his main talent seems to be in the rhythm/sequencer department as the rhythms on some tracks here are very elaborate, ever-changing and evolving, avoiding the one fault I could find in Roach's Empetus.
Side 1 starts rather abruptly with Eidolon, a very powerful synth/sequencer/drum machine work that rattles along with manic vigour. In dramatic contrast this in turn dives into Soundscape, a gently shifting Fripp & Eno like piece slow and sedate. Matrix fades in slowly with a sequence straight from Robert Schroeder's Galaxie Cygnus A, and synth twitter hijacked from Jean-Michel Jarre's Oxygene, undoubtedly this is the most commercial cut and as it develops, becomes more like Schroeder's Floating Music style, though a lot more happens here. After a long break Growth fades in very slowly, this is pure cosmic void music, a swirling mass of synthetic tones with no real focus or melody, totally enthralling.
Side 2 features the lengthy suite Waves of Time. Here Roach's influence is a lot stronger, particularly on the sequential sections, which form the first and last parts; these are very powerful in contrast with the immensely drifting web that forms the centre section, which is laden with Schulzian Timewind/Mirage style imagery, excellent stuff.
Loren Nerell is undoubtedly a name to keep a watchful eye on, he could well be one of the greats of new American synth music. - Alan Freeman
Electronic Musician July 1987
Synthesist Nerell has two distinct but related styles: fast churning rhythms reminiscent of Gamelan music and broad gauzy drones, which he alternates and sometimes combines. Steve Roach and Richard Burmer provide additional keyboards-and presumably play them too. - Robert Carlsberg
Alien Air Music
Accompanied by friends Steve Roach and Richard Burmer, Loren describes his new release as Tangerine Dreamsih. Side B of Point of Arrival has one long piece that is very similar to the Rubycon era of Tangerine Dream. The music is pure electronics with spacey and slow passages which develop into more upbeat sequencer pieces. Percussion and other sound effects are similar to Eric Wollo's Dreams of Pyramids with a more electronic base. The styles of Roach and Burmer are also present. Cassettes are available through Mr. Nerell
Creativity . . .8 Recording Quality . . .6 Availability . . .5
- Pat Murphy
JJinko Volume 1A Aug 1989
This is Loren's first tape, released in 1986, which was composed all by himself and includes guest artists Richard Burmer, Steve Roach, and Ann DeJarnett.
Eidolon starts it all off with a startling pulse of lush, metallic textures. It features some tasteful use of drum machine and clever sampling: the sound of Balinese ketjak, but used subtly as part of the rhythmic underlay.
Soundscape seems to be a transition to what follows. It displays certain sounds resembling wind instruments but never exactly duplicating any one in particular. If you could "hear" the sound of a small boat rocking in an ocean breeze then I imagine it would sound something similar to this piece.
Matrix begins with a simple 1/8-note sequence upon which layers of textures and a slow, melodic bass line are built. It is very simple in its layout and comes as a stark contrast to everything else. The style of this piece doesn't seem to lend itself to the genre of electronic music as much as the rest of the material.
Growth is a very subdued piece and finishes off side one with layers of floating sounds that seem to be somewhere between acoustic and electronic. It has a live quality to it, as though it was improvised. There is a fine but definite line between this and "new age" music.
Waves of Time takes up all of side two and is an entrancing tour-de-force that reveals new sounds with every listen. The sound of crashing waves combined with a slowly unfolding flute-like melody opens the piece. Gradually it gets more percussive until a drum pattern joins in. A trumpet-like sound carries a sad melody until it all comes to a crashing halt. Then the airplanes land. That is what it sounds like anyway. When this subsides the final section of the piece begins to take shape. It's similar to the previous driving section but even more powerful. An ominous bass line and sharp percussive rhythms bring the piece to a close quite dramatically. This deserves close scrutiny as most of the changes are timbral and happen gradually.
Loren's album merits much more attention than it has received. This sad fact is probably the result of having so many indie releases in electronic styles and of cassettes not being taken seriously by the powers that be. An impressive album that competes with the best, this naturally comes highly recommended. - Mike Ezzo
Dreams Word Issue No. 7 Spring 1990
Nerell has chalked up a winner with this independent release. Though nothing earth-shakingly innovative, the compositions here are solid and inspired. Eidolon draws heavily from the Balinese Gamelan, while Matix has a beat carried by a sound resembling a cat meowing under water in slow motion. The side-long Waves of Time features Steve Roach on additional keyboards and Ann DeJarnet on violin. Richard Burmer is credited as playing additional keyboards throughout the album. This is definitely not the usual one-man show so prevalent in e-music, but Loren still deserves top credit for putting together such a fine set. - Mike Birchet
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