Right from the beginning of Track One 77 Slightly Delayed you just know
that this is going to be something special, Manuel wastes no time in setting
up a great syncopated backing. Then the guitar comes in - and what guitar!
Clean, precise and wonderfully effected. OK, yes I am a fan and have been
for over twenty years. So its a joy to pull this album from the shelves in
order to write this review.
Manuel manages to mesh his rhythm and lead playing so well, the rhythm being
one of those classic and perfect sounds. This isn't one of those guitar
improv work-outs, the listener is left in no doubt that Manuel meant to play
every note he played.
Track Two Midnight On Mars, ah - my favourite ASHRA track EVER. It's
"Midnight on Mars" and I'm there right alongside him. Again Manuel sets up
the lead line perfectly with his mix of synths, drum machine (wasn't it the
classic EKO Rhythm Computer?) and wicked guitar. This particular melody has
lived in my brain since the first moment I heard it, twenty plus years ago.
In fact, everyone I've ever played this track to has commented on it. Manuel
should be praised for creating one of the most sublime guitar moments ever
to be recorded. I think I'm gushing here. Still what the hell, this track is
worth it.
Track Three Don’t Trust The Kids isn't letting up, a bass sequence brings
in the piece. This is soon joined by subtle percussion and a very
well-crafted rhythm guitar. Manuel certainly gets an amazing rhythmic feel.
The lead line isn't far behind, this time two guitars playing in harmony.
I've never been really sure whether or not that's a guitar synth. It's the
right time for the early Roland GR500 and I believe Edgar Froese was using
one at about this time as well.
The lead is given over to a nicely distorting guitar, again Manuel really
means every note he's playing. A superb bit of programming moves the whole
piece into double-time, and Track Four Blackouts. He isn't even breaking
into a sweat, this is fantastic guitar.
Track Five Shuttle Cock again shows off the rhythm playing and what a
groove he sets up. The piece just lopes along with some great interplay
between the guitars and the sequencers.
Track Six Lotus Part I-IV continues the lesson in setting up a groove,
Manuel actually gets a bit discordant here for a while before pulling it all
back for the typical ASHRA sound, namely babbling sequencers, the minimum of
percussion and smartly effected arpeggios. This track shows his ability to
generate a flowing piece of music that takes the listener with it, wherever
the end of the journey may be.
The Bottom Line: Buy it, buy it, buy it. Couldn't be clearer really, could
it? Beware there is a subliminal message hidden in that last sentence.
The wording on the old LP sums it up quite nicely really, "Manuel Göttsching
plays Sequencer, Keyboards and a lot of Guitar". He sure does.
