Trance To The Sun
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
Ghost Forest , 5/10
Bloom Flowers Bloom , 6/10
Venomous Eve , 6/10
Delirious , 5/10
Azalean Sea, 5/10
Urchin Tear Soda, 6/10

I Trance To The Sun di Ashkelon Sain e Zoe Alexandra Wakefield sono fra i tanti gruppi che trasportano il pop atmosferico di Dead Can Dance e Cocteau Twins in ambito gotico. Formati a Santa Barbara, esordirono con Ghost Forest (Tess, 1994).

Quelli di Bloom Flowers Bloom (Tess, 1995) sono lieder ambientali per elettronica, chitarra, percussioni e canto. Il sound delicato di You So You F, per nebulose d'accordi e gorgheggi d'opera e le astrazioni new age di A Sun Lingering Disease non valgono in realta` i brani dal ritmo piu` pronunciato, la vertigine da delirio di Fish & Knife, o l'arringa veemente di Trans-Lucia (Patti Smith agli angeli), Una ritmica dub e jazz fa di Spiderlike un incubo piu` intenso. Le sincopi ballabili, i vocalizzi eterei e gli esotismi vellutati di Fin e Yellow Hair spostano il baricentro verso il progressive-rock.

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From: Precipice Recordings
PO Box 190552 Miami Beach
FL 33119 USA

TRANCE TO THE SUN BIO Santa Barbara's "Trance to the Sun", as most innovative bands, defy placement in any of the tried and true categories; not quite prog, a bit less morose than goth, not heavy but not dreamy and certainly not pop! The band's first release, "Ghost Forest" appeared in 1994 on Tess Records and foreshadowed the dreamy electronics of other more mainstream acts. After the chilling, beautiful "Bloom Flowers, Bloom!" in 1995, Trance released several CDs on their own label, Ambulancia. These came to include "Venomous Eve", "Delirious" and a collection of unreleased material from previous sessions ("Azalean Sea 1998,1997,1996"). The band has also appeared on a multitude of compilations worldwide.
Alternative Press gave "Venomous Eve" 4 out of 5 "fingers" and commented; "Trance cast off the crutches of conventional song structure and bask in a shimmering miasma of tweaked and freaked guitars, synths, violins and bass...These nine long songs move with knight-like stealth and elegance, wreathed in all manner of bizarre noises...Goth be damned; this is complex experimental music that doesn't require that one have an all black wardrobe to enjoy" .
More than a studio act Trance to the Sun have toured extensively in the United States as headliners and as openers for the likes of Cindytalk, Switchblade Symphony, Love Spirals Downwards, Lycia and others. They have charmed audiences from Manhattan to Miami to Missoula Montana and beyond. The band plan to tour extensively to support their new release as well. Trance to the Sun was founded by Ashkelon Sain who is joined by Ingrid Blue on vocals. Over the years the duo have carved out a cult following with their genre defying dark psychedelia. Mixing elements of darkwave and progressive music Trance to the Sun's unique vision has been a favorite of fans of the underground since their origin. Rock, trip and trance all describe the band's mood and music. Look for the band's 6th full length release on Precipice Recordings in November 1999.

"Urchin Tear Soda" 1999 Precipice Recordings
"Azalean Sea" (1998, 1997, 1996) 1998 Ambulancia Records
"Delirious" 1997 Ambulancia Records
"Venomous Eve" 1995 Ambulancia Records
"Bloom Flowers Bloom" 1995 Tess Records
"Ghost Forest" 1994 Tess Records
They also have a number of limited edition CDs they sell on touring and have appeared on dozens of compilations.

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Venomous Eve (Ambulancia, 1995) was greeted as a milestone for gothic electronic music. After Delirious (Ambulancia, 1997), the band released Azalean Sea (Ambulancia, 1998), a collection of unreleased material.

On Urchin Tear Soda (Precipice, 1999) Trance To The Sun's atmospheric songs have vastly improved from a purely sonic point of view, but still lack the bite that would make them a lasting experience. The languid cocktail-lounge soul-pop of Calling All Vanished Airplanes harbors textures of immense sophistication, propelled by techno-funky rhythms of Peter Gabriel magnitude. In general, Sain's scores aim for a suspense that sounds ever more noir than gothic and often hint at chamber music (Swing Lower, Czar Chasm). But at last in Heart Transplant a propulsive rhythm pushes the envelop and enters techno territory.
Two ten-minute suites crown the album. A plethora of sounds and techniques helps paint soundscapes of minute detail and broad perspective. Spider Planet's three movements recall progressive-rock in its heyday (early Genesis and King Crimson). Vortex Airplane Itinerary is a more dissonant and sparse affair, with Steve Roach's electronic music in mind and a coda of otherwordly noises. It may very well be Sain's masterpiece.
The duo's weakness are the vocals. The female singer only "speaks" over the music, thereby detracting from the score. Sain, on the other hand, has achieved the stature of a full-fledged electronic composer, and should try a solo instrumental album. His crowded compositions would fare well in any auditorium.

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