LAST WAVE

Bernard Xolotl's work typically lacks some of the complexities of other Berlin School devotees. Further, Xolotl comes in at the end of the 70s and thrives in the 80s, and like many at the time gravitates towards new synth timbres that are thinner, glassier. Some can feel that these tones lack the resonance of earlier synth work--Tangerine Dream's 80s work would be a good comparison.

However, this album has some more impressive keyboard variety and layering, which adds depth. On top of which, the compositions develop and evolve more creatively, suggesting a bit more effort in that department--less reliance on just atmosphere. It is less new agey. Additionally, there is light percussion sprinkled throughout, which adds momentum and texture. Finally, there is some evocative use of violin that really elevates the overall album. In places it is redolent of how Schulze uses cello in his final album, Deus Arrakis.

This is by a margin my most played Xolotl album, and well worth picking up.

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