Recording from the best Berlin School electronic artist in America. Volume two of their planetarium soundtrack series!

REVIEW of "PLANETARY ELEMENTS"
by Paul Ellis

As an unedited raw document of a show this is one of the best of the recent live EM releases (in the classic style) that I've heard for some time. Creating in the moment like this raises several difficulties... and hearing them surmounted can be very interesting, but as I've mentioned before to my way of thinking it has become something of a golden calf in these quarters... it isn't a magic formula that alone makes your music legit.

It IS a pleasure to hear when done right and I have to say that I think Craig and Skip are among the very top live acts doing it right now.

Craig Padilla - Synthesist, Sound Design, Programming and Production
Skip Murphy - Synthesist, Sound Design, Programming

A top ten artist at Space for Music. A magical planetarium soundtrack!

REVIEW of "PLANETARY ELEMENTS"
by Paul Ellis

As an unedited raw document of a show this is one of the best of the recent
live EM releases (in the classic style) that I've heard for some time. Creating in the moment like this raises several difficulties... and hearing them surmounted can be very interesting, but as I've mentioned before to my way of thinking it has become something of a golden calf in these quarters... it isn't a magic formula that alone makes your music legit.

It IS a pleasure to hear when done right and I have to say that I think Craig
and Skip are among the very top live acts doing it right now.

Craig Padilla - Synthesist, Sound Design, Programming and Production
Skip Murphy - Synthesist, Sound Design, Programming

The best solo artist in America playing in the vintage electronic Berlin School sound!

Craig Padilla, a 14 year electronic music veteran, has proven to be a driving force in the current electronic music scene, creating "Electronic/Space Music" with an occasional nod to New age and Ambient Trance. Analog sounds combine with digital synths to create a blissful tapestry of sound; appealing to all fans of electronic music!

Craig Padilla - Synthesist, Sound Design, Programming and Production

Craig is joined by fellow synth collaborator, Skip Murphy.

A good friend and collaborator is Skip Murphy, who has helped with playing, recording and concert performances. His style of playing meshes seamlessly with Craig's own brand of synthesis.

Craig Padilla - Synthesist, Sound Design, Programming and Production
Skip Murphy - Synthesist, Sound Design, Programming

Folding Space and Melting Galaxies
(Space for Music Records) 2001

Both tracks are magnificent cosmic trips. First up is 'Folding Space'. A reverberating throb brings up images of an approaching spacecraft. More cosmic effects and whooshes are added to emphasise this image still further. Delicate notes and tinkling effects make one think of the sparseness of deep space but the throb of the engine returns transporting us to more active realms. Fast tinkling sequencer runs keep coming in sounding like pure energy trying to escape from some restraint.

A more conventional sequence also keeps rising to the surface then descending lower in the mix to then disappear entirely before following this same pattern time after time. It's as if seeing some area of cosmic activity only for it to be obscured again behind a planet or nebula. In the eighth minute we get another fast more conventional sequencer run and faintly melodic loop. This is space music but there is very little in the way of float about it. Its like a thick ever pulsating soup of sounds, effects, whooshes and God knows what else. Amazingly there is hardly a drone to be heard. There is so much detail which is constantly changing that it is hard to take it all in. The cover indicated that this album is Berlin School and mentions the use of Vintage Synth sounds. I would disagree with both these points. Yes, there are so many different sequence lines used that you will very quickly lose count and there are some awesome sounds used and what's more the tracks are very long but to me they didn't sound particularly retro.

Each sequence didn't really stay around as long as is the case on most Berlin School tracks. This isn't to say however that what Craig is doing isn't excellent, it most certainly is - just hard to classify which in itself is also a good thing. I have already described this as space music because of the images it conjures up but I am sure that especially our American readers would disagree with this because it is just too dramatic and syncopated. I think it would be farer to say that it is taking the best from both styles, the excitement of Berlin School and the descriptiveness of Space Music. At around the twenty-two minute mark we return to cosmic realms but there is still plenty to keep the mind occupied such as a bell tone melody which soon develops into the main feature. Another sequence, itself fairly melodic, starts to run alongside the bell tones which slowly sink lower in the mix as another sharp but very electronic lead line comes in to replace it.

Moving on to 'Melting Galaxies'. Initially little melodic flourishes ornament a sea of yet more cosmic effects. A playful jaunty sequence then bounces into life. It develops a meaner edge and really surges forward. This is as close as it gets to retro. There is real power here and even some melody but it sounds closer to Jarre than TD. We continue to zip along at quite a pace until the ninth minute where it subsides and becomes much more subtle, some nice melodic colouring over the top. At almost the half way mark we get a transitional point where all the familiar elements disappear into a haze of sounds which become increasingly more cosmic until we are back in our alien spacecraft floating past galaxies and supernova. With five minutes to go more optimistic sequences bounce into life. The energy level builds further with the introduction of drums and high hat percussion. This is just so good! An excellent end to a superb album! (David Law: Synth Music Direct)

Second Opinion...

Craig Padilla is one of America's premiere electronic musicians. It's rare to find someone who is doing classic melodic synth music in the style of Jarre and TD, AND doing longer, flowing space music in the style of early Schulze, AND doing both extremely well. This CD combines elements of both, with a plethora of vintage analog sweeps and pads, as well as really strong sequencing. 'Folding Space' begins with cool undulating layers of flowing synth sounds. Eventually it develops into a full-on assault of intense sequencing, finally cresting and ebbing midway through, giving way to more pulsing, swirling electronics. At times brimming with energy, at times mesmerizing and meditative, this is music on the move. The music tugs and pulls in different directions, but always paints a picture of deep space. For instance, just when you think you know where it's headed, crisp bells and clanging sounds emerge just past the 20:00 mark. It's an unexpected but exciting turn of events. Like TD at their peak, the tracks are long, but have several distinct movements. On the one hand, the progressions and transitions are very natural, but on the other, you'll find yourself going "how did I get here?"

After 'Folding Space' folds back in on itself from whence it came, 'Melting Galaxies' pulls out another half hour of music suitable for your next venture to alien distant places. The first sequence starts after only a couple of minutes, a low stuttering pulse that sort of dances along. It builds beautifully, with thick synth pads folded in, and still more sequencing, bubbly and upbeat. It maintains a moderate pace, finding a cool hypnotic groove for a few minutes. I can't say enough about the synth soloing that begins around the 10:00 mark, drenched with classic Jarre influences. It sounds familiar and yet fresh. I could go on and on about the little details that make this so good, but you get the idea. The last five minutes are pure sequencer perfection. Operators are standing by, order now. (Phil Derby)