The Aqua Path

Review by Bill Binkelman, reprinted with permission:

“Kate Durkes, who records as Melusine, has released one of those albums that I enjoyed listening to but is difficult to categorize effectively. In the liner notes, she describes the aqua path as being a “mix of ambient, electronic, new age, and world music combined with water sounds.” Hey, it works for me – except I’d even throw in the term shoegazer/semi-gothic (a la Projekt, the label) for at least one track (“seaglass”). As intended, the album holds together thematically since all the songs have some source of inspiration (or sound/feel/texture) having to do with water in one form or another, i.e., this is a recording of various styles of music that are cohesive thematically (and musically to a degree). Die-hard fans of any one genre, e.g. ambient, may find only some of the tracks interesting. I’ve always maintained it’s better to like a broad spectrum of music, so if you have a narrow tastes, well, it’s your loss amigo/amiga.

“The CD opens with “feather-star,” which mixes delicate minimal flute samples with bubbling, rumbling underwater sounds. Due to the song’s minimalism, this is closer to ambient than new age music. “remember to rise” is definitely an ambient cut, and at eleven minutes, it’s also the longest selection on the album. Floating synth washes are mixed with other electronic textures and ethereal wordless vocalizings from Durkes. She has a pretty yet fragile and emotive voice (it’s showcased more fully on the two outright vocal tracks on this CD). The keyboard work is in the spacemusic realm, but the cut is also reminiscent of Kevin Braheny and Tim Clark’s Rain (when Durkes adds in tinkling rhythmic elements and spacier electronic textures). “rain chains” weds the sound of rain with an underlying soft drone on top of which one hears the sound of various chimes. While not totally random (a distinct melody is discernible), I did “hear” wind-chimes being “played” by the rain. A warm flute sample adds a Far Eastern feel to the track (in the liner notes, Durkes notes that the song was inspired by her grandmother’s “Japanese rain chains”).

“Uncharacteristically (for me), one of my favorite tracks is a vocal one, “seaglass.” The lyrics are a sad affair about journeying in search of something, probably in vain. Musically, minor key synths weave a solemn undertone that evokes fog and the unknown, while a Fender Rhodes (or sample) plays the main notes. Durkes’ voice hints of sadness and resignation even when she sings the chorus “I’ll leave tomorrow/but when I return/there’s a light in the window/for me.” I can’t describe how totally cool this track is, what with the sounds of waves lapping at the hull of a slow moving ship and the use (several times) of an echoed tone receding into the distance (a sonar blip? a cosmic bell buoy?).

“‘river dragon’s daughter’ is a nice Chinese-fusion piece, full of bouncy percussive effects (triangles, bells, gongs, and water drums). Coming after “seaglass” it lightens the mood considerably. The title track features acoustic guitar (played by Durkes) and synthesizer (from Jeremy Shaw). This is a low-key affair, the guitar played in a slow deliberate and somewhat mournful fashion while the synths having a distinctly mellow warm retro sound to them, whether swirling or creating a vibrating effect. “barriers” is another flat-out ambient cut, and also a long one at nearly nine minutes. High-pitched synths in the background blend with sparse arrhythmic bell tones. Later in the track, thunder and falling rain add to the ambiance, as does the sorrowful sound of a perfectly-executed oboe/clarinet sample, reminding me of either Tim Story’s or Mychael Danna’s music.

“Closing out the aqua path are two more selections. “gelid” is the other vocal track, anchored by Jeff Pearce-like guitar (from his Tenderness and Fatality phase). This cut is less atmospheric than “seaglass” being closer to a “real” vocal song, although it’s not like it’s Top 40 or anything, just that I can see Sarah McLachlan covering this or someone like her (Kate Bush perhaps?). Sampled cello and other keyboards flesh out the song nicely, along with bell tones. “cream soda” opens with twinkling synths and bells, then a jazzy upright bass enters the song, and is soon joined by swirling pitch-bent keyboards and pseudo-drum and bass rhythms. The disparate elements (the gentle ambient tones and the toe-tapping beats) have a lot of fun with each other, taking turns in the spotlight.

“Well, there you have it. I seldom detail an entire album, but I think you’ll know why I did just that here. the aqua path is an ambitious effort, doubly so since it is a debut recording. Durkes is imaginative and talented; in fact, engineering is remarkable given that she describes this being recorded at “n-heptane studio (my bedroom).” I enjoyed this album a lot. I had no trouble with the “split personality” nature of the music itself. Track sequencing is a highlight of the CD as are the judicious use of water sounds. All in all, an auspicious start for this ambient artist.”

Original review page:

http://www.windandwire.com/june/the_aqua_path.htm