Redshift ~ England

VII: Oblivion (2004)

---Jun 2005

Redshift are now down to a trio, minus guitarist Rob Jenkins. Oblivion is more about emotional soundscapes rather than complex sequences and sharp dynamics. I think the absence of guitar hurts the intensity somewhat. For those that wish Redshift would branch out more, this might be the perfect entry point. Still no mistaking their collective Berlin influences - or overall identity though. Highlight for me is the near 15 minute 'Runes', considering its creative and atmospheric Moog sequencing.

---9/22/25

'Runes' is old school Redshift for certain. More sequence heavy than I recall. The album closes with choir mellotron, which may be the greatest sound ever created (well other than maybe the flute tapes, also on this track). When thinking about Redshift, it's like going to your favorite restaurant, and ordering your favorite meal. Even though you instinctively know you should try something else. But you have a craving, and that meal satisfies every time. There are definite differences in their albums, as the below reviews suggest. At some point, I'll likely trim a few more of these titles, including this and Siren below. But I'm in no hurry. The restaurant will close before I change dishes. The band is no more due to Shreeve's demise, but he left quite a legacy to explore.

Ownership: 2004 Distant Sun (CD)

6//05 (acquired / review); 8/18/13; 9/22/25 (update)  

IV: Siren (2002) 

As with Radio Massacre International (RMI), I have a large amount of Redshift CDs. In this case I own 12 of them (ed: now 11). Of all the great bands operating in the retro Berlin School Electronic space, I would submit that Redshift are the best of the lot. Even within those tight confines, I had Siren in the upper tier. This listen may have moved it down to the second division. Which is still excellent in my book, but the competition is fierce. Siren is from their 1999 Alfa Centauri concert, and features them as a quartet, which was their best lineup. Veteran synthesist Mark Shreeve leads the group with his Modular Moog in tow. Literally you need a tow truck to move it around. When folks talk about fat analog sequences, you cannot surpass the original Moog. And that's on full display here. Like with RMI, Baumann era Tangerine Dream is the blueprint. Maybe more towards Rubycon than RMI's Encore sounds. As wonderful as Siren is, I would suggest it is one of their more mellow releases. There isn't the sequencer, mellotron, and guitar rave-ups that you'll find on their best albums. Siren is sort of their Stratosfear if making a comparison. The best track is 'Bombers in the Desert', but that is not a new composition, coming from arguably their best album Ether. Everything else is new to this recording.

Ownership: 2002 Distant Sun (CD)

2003 (acquired); 11/11/16; 6/26/22 (review)

RW2 | Redshift Wild 2 (1996-2002 / 2006)

Redshift's Wild series is their name for the band's archival material. Originally conceived as a CD-R only project (similar to country mates Radio Massacre International), they decided the material was worthy of factory CD status. And I agree. Wild 2 is an odds n' sods release of unreleased recordings made up from 1996 to 2002. Only Redshift could release a masterpiece made up of leftovers! The two early tracks from 1996 are the brilliant 'Prime' (their first ever recording) and 'Heaven Is a Turquoise Avenger'. If you're looking for that thick Moog sound, with complex sequencing, mellotrons, and Edgar Froese styled psychedelic guitar, well then... here you go. I'm always looking for that! Redshift were the best of the Berlin School revivalists IMO.

Ownership: 2006 Distant Sun (CD)

2009 (acquired); 8/30/18 (review)

Colder (2011)

Colder is the 14th album by Redshift (in the world of electronic music, live albums are often akin to a new studio release in that it's usually all entirely unique material). By this time, the ensemble Redshift had been around 15 years, and Mark Shreeve and Ian Boddy themselves have been going at it for 30 years (recorded history that is). So you should know what you're going to get here. And that's exactly what you do get. What's that again?

Oh yes. You get good old fashion Berlin School heavy thick wedgy Big Moog analog heaven. Excellent melodies are dispersed, there are plenty of dynamic and meter shifts, and the whole thing oozes atmosphere. Redshift are a few years from their peak era of the late 90s and early 2000's (lack of real guitar does diminish their sound a bit), but this concert from 2010 is no slouch. The trio are clearly engaged, in sync, and shows off their professionalism. With Ian Boddy on board, the distinction between Redshift and ARC blurs a bit, but I'd say the former is heavier while the latter is more kinetic. 

---3/12/24

I decided to move this out as I have plenty of similar albums by Redshift and ARC. Last in first out (LIFO).

Former ownership: 2011 Distant Sun (CD)

6/29/18 (acquired / review); 3/1/24

Redshift (1996)

Redshift, in my mind anyway, are the premier Berlin School revivalists from the UK. They started as a quartet led by accomplished synthesist Mark Shreeve, and their blueprint is Baumann era Tangerine Dream. Nobody does it better, and it seems Redshift picked up where Tangerine Dream left off after Stratosfear. Their debut perhaps apes their mentors more than later efforts, but is by no means unoriginal. 'Redshift' is sometimes jokingly, or reverentially, referred to as 'Rubycon Part 3', as the sounds created from the Moog and the mellotron are identical to Tangerine Dream's greatest work. The music, however, is entirely Redshift's, proving that there are many doors still open within this house. 'Spin' is the highlight of the album and demonstrates Redshift's trademark variation of the classic Berlin School of music. 'Shine' is a short but effective sequencer driven piece while 'Blueshift' represents the longest track, though one third is a boring outro that could have been trimmed. Many consider this piece to be the highlight, and while good, isn't up to the standards of the first two tracks. Redshift were to improve dramatically for their sophomore album Ether - for me one of the greatest electronic albums of all time. 

Ownership: 1996 Champagne Lake (CD)

2003 (acquired); 8/28/10 (review); 7/20/18

Other albums I own and need to review: Ether; Down Time; Halo; Faultline; Toll; Last; Turning Towards Us

8/28/10 (new entry)