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Progressive Electronic • United Kingdom

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Redshift biography
Electronic music (or the "EM factor"), which bases its major structure from the Berlin-school high classic achievement and, mostly, from the typical grandly considered artists of the genre, such as TANGERINE DREAM, SCHULZE and ASHRA, continues a long way into the modern and contemporary phase (and distractions), with a lot of particular changes and new-waves, but mostly with a good definition of synthesizing and ambientizing spiriting up the electronic art and also with solid attitudes of music and composition, that resemble the most evolved, persistant or popular adapted such electronic definitions. REDSHIFT can be considered, with all its Berlin-synthasy, neo-sound and dark ambiance, a band of modern sound and high common groove, having, nevertheless, a deep dish of influences and music arrangements, within the classic or modified electronic ideas and movements.

The founder of REDSHIFT is Mark Shreeve, who in the mid-90s invited Julian Shreeve, Rob Jenkins and James Goddard to a full-adrenaline work of electronic modern sound music and art. Mark Shreeve was already famous by some succesful films scores, plus by a lot of late 80s typical solo projects, filled with ambience and with a sound of strange complexity. The band's sound evolved to use the analogue basic characters with a lot of combined digitality and tech-effects. A lot of live and studio works (done under healthy dreams of discovering and improving/improvising) managed to pull REDSHIFT into popular charts, but also into the experienced and relatively profound EM art spot. Much of the solid sequence, synth and sampling efforts lead to full Berlin-school impressions, though REDSHIFT also compared a lot of modern shrieks and new electronic values. The more progressive nuances arrive when all the influence can include some heavier elements by SCHULZE (instead of some NEU-rock and "kraft" tonalities) or some guitar-work, much like PINK FLOYD in a marooned way.

REDSHIFT finally explores its most lucid art and sound-machine manner through a lot of modern and traditional, atmospherical or cibernetic, analog or digital, sound-sapient or mood-ambitious creation. The biggest styles, chalked by already eight major albums and some extra released material, brings good combinations of dark ambient, cosmic textures, new-atmosphere themes, guitar-keyboard melodism (styled a la E. Froese?), sequential explorations and small experimentalism/abstractionism. There are modern taste reluctancies, like ...
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Harvest Media Group 2003
Audio CD$1.50
Audio CD$44.99 (used)
Down TimeDown Time
Champagne Lake Productions
Audio CD$59.99 (used)
Redshift / I Want YouRedshift / I Want You
L-Mo Records
Vinyl$4.27 (used)
Butterfly EffectButterfly Effect
ILK Music 2011
Audio CD$15.99
Redshift / Sweat & GrooveRedshift / Sweat & Groove
Vinyl$8.45 (used)
Innocence BreakdownInnocence Breakdown
CD Baby 2007
Audio CD$12.44
Mayday RadioMayday Radio
CD Baby 2005
Audio CD$12.99
$4.98 (used)
Any Given SystemAny Given System
CD Baby 2005
Audio CD$34.99
$3.54 (used)
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REDSHIFT discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

REDSHIFT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.25 | 9 ratings
3.76 | 9 ratings
Redshift II - Ether
3.13 | 4 ratings
Redshift III - Down Time
2.33 | 5 ratings
Redshift V - Halo
3.00 | 1 ratings
2.21 | 5 ratings
Redshift VII - Oblivion
4.33 | 3 ratings
Wild 2
3.00 | 2 ratings
Turning Towards Us
1.00 | 1 ratings
Wild 3
4.00 | 2 ratings
Life To Come

REDSHIFT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.17 | 4 ratings
Redshift IV - Siren
4.00 | 3 ratings
Redshift VI - Faultline
4.04 | 5 ratings
Redshift VIII - Toll
4.00 | 3 ratings
Redshift IX - Last
4.50 | 2 ratings

REDSHIFT Videos (DVD, Blu-ray, VHS etc)

REDSHIFT Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

REDSHIFT Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)


Showing last 10 reviews only
 Life To Come by REDSHIFT album cover Studio Album, 2015
4.00 | 2 ratings

Life To Come
Redshift Progressive Electronic

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars Redshift is a Berlin School-influenced electronica band from the United Kingdom that was founded by Mark Shreeve and originally was made up of five collaborating artists but has been pared down to a solo act. Life to Come is Mark's first Redshift album since 2008. His often unsettling music ranges from almost techno-rave to horror soundtrack music. Along with driving computer-sequenced rhythm tracks the music is often quite busy with sound effect incidentals--like Halloween scare music. It is also often quite evocative--even imitative--of old TANGERINE DREAM music.

Five star songs: 2. "Vampyre" (11:39) (9/10); 3. "Mission Creep" (8:48) (9/10); 4. "Bloom" (5:31) (10/10), and; 5. "Slam" (12:59) (10/10).

Four star songs: 1."Soft Summer Rain" (10:17) (8/10); 6. "Circling Above" (8:25) (8/10), and; "Life to Come" (6:13) (8/10).

 Redshift by REDSHIFT album cover Studio Album, 1996
3.25 | 9 ratings

Redshift Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars Tangerine Dose

3.5 stars

Can't get enough of vintage 70's TANGERINE DREAM music? More specifically, their 'golden' mid-seventies era with Peter Baumann? Do you own the "Bootleg Box Set Volume 1"? Then "Redshift" is the place for you! Entirely synthesized, the music features good old long pulsing and hypnotic sequences, pretty much in the style of the well-known trio. But, surprisingly, although released in 1996, during the electronic revolution of the nineties, the sonorities and ambiances sound really identical to the TD of 1974-1975. Apart from a cleaner sound quality, there are no genuine will of modernization or innovation, the band could have realized these tracks back in the days.

To make it simple, the title track is clearly a cousin of the 1975 album Rubycon. An atmospheric mysterious opening, followed by trippy deep and meditative sequences. Everything is here, even the beautiful contemplative ending ' la POPOL VUH, again like TANGERINE DREAM in the first half of the 70's. In fact, these 19 minutes could have been part of an improvised TD concert, a very good one, deserving to be selected for the great "Bootleg Box Set Volume 1" compilation. The best piece of the record.

The two short tracks do unfortunately not stand the comparison. "Spin" is spacey but not varied enough and tends to become a little repetitive. Despite its name, "Shine" is rather threatening and oppressive. Consider it as a lost track from "Sorcerer". The other long suite, "Blueshift", resembles this time the eponymous track of TD's "Phaedra", especially its first half, however more accessible than the original. The second half begins with experimental bizarre sounds... for the seventies. Then comes the slow and contemplative floating passage, and... 10 minutes of heartbeat. The organ-dominated ending wakes you up quite abruptly and is finally not very useful. The overall suite is cool but could have been shortened to 20 minutes.

Want your TANGERINE DREAM dose? Here it is. The recipe book from 1974-1975 is perfectly executed. Close your eyes and you'll be there. Nothing more, nothing less. The very nice long compositions are truly the main interest of the disc. Not original, but well done.

This first effort from REDSHIFT should please classic electronic Berlin School and Froese/Franke/Baumann's lovers.

 Redshift II - Ether by REDSHIFT album cover Studio Album, 1997
3.76 | 9 ratings

Redshift II - Ether
Redshift Progressive Electronic

Review by Guldbamsen
Special Collaborator Retired Admin

4 stars Nectarine Fiend

A tale of fan-boys turning into the very image of their adoration pt. 4.

Somewhere in the midst of this album I completely lost myself, time and whatever loose ties I had to the surrounding world. I entered a state of delightful bewilderment, - some bizarre scuba diving scene with myself in the leading role swimming deeper and deeper into the coral blue abyss, where the waters are illuminated in star glistened shimmering surfaces. Diamonds of sound for lack of a better wording - opening up an alien universe of fluid and luscious atmospheres.

Starting with a monster of a live track, this album from British group Redshift is by far the best I've heard from the modern Tangerine Dream heir takers. Sure, like other reviewers here have mentioned, you could be fooled into believing that this is a bootleg concert of Froese and co from around the time Rubycon saw the light of day, but then again, I think Ether shows true and original signs of an album come to life under its own circumstances and settings. Yes, the inspiration is there, the modular synthesizers, towering mellotron sculptures of ice, tweaking sputtering sequencers - all of those familiar trademarks are all featured in full force as well, relegating that oh so seductive and watery vibe to the music..... Yet there is something here hiding underneath the embers of the old TD fire - something futuristic - it shines through in every facet of the music colouring the proceedings in a modern lighting that continues to draw attention to itself, rather than having the insistent stubborn old electronic fans focusing on all the stuff that brings to mind, a band that pioneered almost everything in regards to the genre. I'm not entirely sure, if this is because of the smooth guitar stylings of Rob Jenkins that add a touch of the symphonic and bombastic - especially during the latter part of the final live track, where you could swear you were listening to a distant brother of Shine on you Crazy Diamond, - or if it's the omnipresent crabbing myriad of synth patterns and hypnotic segments of sequencer that together conjures up images of a huge electronic symphony with a hundred different voices coming from all directions at once, whilst never yelping, yelling or screaming on top of each other. Everything seems democratically orchestrated, and this from a band that only counts 4 lads....

The middle studio tracks are also of high quality, and I especially adore Bombers In The Desert for it's menacing throbbing bass thumps that catapult the track forth - into the desert on the wings of warmongering planes. Very easy to imagine this music as the soundtrack for a future desert bloodshed.

Just like the previous review I did, there is no real distinctions between the live tracks and the studio ones. The band very elegantly move and weave within the same swirling hypnotising sound appearances, and apart from the inspiring applauds coming on now and again, you wouldn't know those two epic pieces of music were recorded in front of a live audience. The thing is, that while a huge portion of prog fans currently are digging the feel of the old time classics - hoping to revive the same sort of sound with the artists' on board usage of mellotrons, analogue synths and whatnot, - people seem to forget how colossal these things are. Not to mention how heavy and unhandy they are to carry around. It costs a small fortune catering these wonderful tools of sound, which is why you often get these 'mixed' albums from Redshift. These guys are not millionaires in any way, shape or form. Almost every time this band performs live, they publish an album.

Now one could very easily say this sort of dilemma has everything to do about finance, and while that maybe true in a minuscule and very uninteresting way, - it's still the output here that deserves all of your attention. Trust me. Can you imagine having to be in the moment - instantly - be inspired, imaginative - totally into what you have to do - that ever so rare live concert, freeform improv electronics with no real bearings other than what your fellow astronauts are giving off.... Can you imagine that? - And then time and again delivering music that is so awe inspiring and stunning.... To me personally, it's proof of the human spirit in one of its most beautiful forms. 4.5 stars.

 Redshift by REDSHIFT album cover Studio Album, 1996
3.25 | 9 ratings

Redshift Progressive Electronic

Review by colorofmoney91
Prog Reviewer

3 stars '90s take on classic Berlin school style electronic music with subtle touches that make the difference.

Redshift's debut, self-titled album has all of the electronic grandeur as Tangerine Dream's classic era and the epic progression of Klaus Schulze's classic era, but with slightly improved production quality. To be honest, Redshift does kind of sound like a long lost Tangerine Dream album that's been remastered, but that doesn't dampen the value of this album at all.

Much like Tangerine Dream and Schulze's music, all of Redshift follows their standard of epic track length Berlin school synth exploration put to a propelling beat that drives each track towards its finish line. What makes this album different are the breaks during some of the tracks that make way for very deep, empty, and galactic sounding voids that display a kind of malicious beauty. It may not sound like much, but it works well in contrast with the powerful kraut beats that break off right before. The progressions and developments in each track have a much more immediate or urgent than found in Redshift's earlier German inspirations, and some portions of these tracks take an imperial turn and become nearly symphonic. Beyond this, I'd say Redshift is very nocturnal, sounding rather dark but in a glimmering moonlight kind of way.

Fans of Tangerine Dream and Klaus Schulze's classic eras, and even fans of Kraftwerk's more progressive works, should find Redshift very enjoyable. Not essential, but could prove to be a refreshing quencher for people who already have all of Tangerine Dream's best albums.

 Redshift by REDSHIFT album cover Studio Album, 1996
3.25 | 9 ratings

Redshift Progressive Electronic

Review by Roj
Special Collaborator Neo Prog Team

4 stars I am a huge fan of electronic music, both of the type that one finds here on PA and also modern electronica/IDM, a genre which I also find to be truly progressive.

Redshift had escaped my attention but the reviews here took my eye and after sampling some tracks I took the plunge. I was not disappointed. Of the four albums I have thus far, this is probably my favourite.

As a big fan of the 1970s halcyon days of Tangerine Dream, I couldn't fail to be impressed by Redshift. Using the old 70s analogue technology, they have produced music very much in the vein of TD. It is clear they too are big fans. However, for my money some of the material on Redshift is superior to that of their predecessors. I am sure some will be horrified to read this, but it is true. Some may find them to be wholly derivative, and the influence is clear, but such is the quality of the music offered, I am totally enveloped. This is wonderful stuff, almost like a missing TD album from 1975. It really is that good. And the even better news is that whilst with TD we were lucky to get 35 minutes of music on an album, Redshift clocks in at well over an hour.

As for the structure of the album, we have two long pieces bookending the album with two shorter pieces in the middle. Redshift the opener is not far off 20 minutes in length, full of ethereal mellotron and classic pulsing sequencers. Fabulous stuff, and as Russellk has pointed out, not too far away from Phaedra. The closing Blue Shift is out of this world for the first quarter hour, truly wonderful stuff. However the last ten minutes or so consists of a heartbeat, and loses its impact for me.

The two shorter pieces, Spin and Shine are simply amazing. I would struggle to find anything within this entire genre to compete with the quality of these two tracks. The most stunning atmospherics you could ever hope to hear. The combination of mellotron and sequencer on Spin is simply awe inspiring. Listen to Shine with headphones on and sail away into the cosmos. If you are a fan of electronic prog, give these a listen and you will see what I mean. A TD fan's ultimate dream.

I am sorely tempted to go for 5 stars here. Wholly original or not, this is a work of the very highest calibre. The last ten minutes or so of Blueshift does detract a little from the overall though. 4.5 stars would be about right. Totally recommended.

This band is prodigious in output and I have another dozen or so albums from Redshift to get. I plan to enjoy the journey!

 Redshift II - Ether by REDSHIFT album cover Studio Album, 1997
3.76 | 9 ratings

Redshift II - Ether
Redshift Progressive Electronic

Review by stonebeard

4 stars It's way too late for a proper review, so I'll knock this out fast. It's not like I really have to go into much detail anyway.


Ether is a long-lost Tangerine Dream album from sometime between Phaedra and Rubycon, with the production values and clarity of Up the Downstair/The Sky Moves Sideways era Porcupine Tree. Essentially, this is a Tangerine Dream album, and you should be happy it exists. Of course, is it a compliment to say that this album is essentially 20 years absent from current times and happenings? Well, heheh, that's something prog fans grapple with a lot. How many times can you listen to the same album, tweaked here and there or put out by a fresh artist? (Hopefully I don't need to say Ether is a ripoff. No, perhaps a tribute album of original content and of the highest quality is a better way of putting it). It's hard to gauge the vlaue of an album like this. Does it add anything new? Mmm...nothing I can think of. Is it entertaining? To me, phenomenally. How many licks does it take to get to the center of it? Between 7 and God I really need to go to sleep....

As a die-hard Tangerine Dream fan of all eras and shifts in personnel, I love this album. Some may question what the point of getting it is if it doesn't add anything terribly new. Well, sometime you find yourself scrolling through your music library on your computer (don't tell me you still use CD racks and shelves? CNN just made a fake hologram for the election coverage. Get with the program!) and you think, Hmm. Rubycon or Ether? They're both equally good, but differing in movements and timbres and I happen to think Ether has more going on (it packs quite a punch), so *shrugs* why not give Ether a spin? Maybe you want something a little clearer, slightly less mystical. Go for it!

If you're a die-hard Tangerine Dream fan, buy it!

If you're a prog electronic fan, look into it!

If it's 3:30 AM, don't suddenly get inspiration for reviews!!!

 Redshift IX - Last by REDSHIFT album cover Live, 2007
4.00 | 3 ratings

Redshift IX - Last
Redshift Progressive Electronic

Review by russellk
Prog Reviewer

4 stars There's something ominous in this live album's title, sort of like PINK FLOYD's 'The Final Cut'. Their last album? On the evidence presented here, I hope not.

'Tormentor' is exactly as advertised, a house of horrors to chill the blood. Discordant synths and liquid percussion suggest dark corridors, and the faint shrieks reinforce the message. The sequencer introduces a hypnotic, repetitive motif after 5:30, drawing us into a splendidly powerful section at the 12 minute mark. Very convincing, this. Right up there with anything TANGERINE DREAM ever manufactured. Why not make 'soulless' electronic music as disturbing and unsettling as this? After a dark segue, the title track tinkles into life without quite the purpose one would hope. It does build gradually, its timbre generally more upbeat than the first two tracks, though still with some discordant elements. To my mind it's the weakest track on the album, but still an enjoyable listen.

A short segue and on to the album's premier track. 'Damage' is just superb, a multi-faceted beast deserving of a far wider audience than it will get. Oddly, there's a final track after the well-deserved audience applause. An encore, perhaps? Nice enough, but it detracts from the impact 'Damage' has as an album closer.

Fans of electronic music really ought to hunt this and its predecessor 'Toll' out and give them both a listen. They offer sophistication, drama and genuinely excellent musical moments. REDSHIFT's 'last' album? My fingers are crossed they make many more of this calibre.

 Redshift VII - Oblivion by REDSHIFT album cover Studio Album, 2004
2.21 | 5 ratings

Redshift VII - Oblivion
Redshift Progressive Electronic

Review by russellk
Prog Reviewer

2 stars 'Oblivion' is the last of REDSHIFT's attempts to establish their own brand of electronic music. More sophisticated than 'Halo' or 'Down Time', it nevertheless suffers from many of the same flaws, sacrificing breadth of concept and power for a static collage of sound.

This is not immediately obvious from the title track, an excellent opener that has at least some of the old Berlin School spirit and drive. From there it goes downhill: two other significant tracks are separated by purposeless ambience. Even the longer tracks are sparser than normal. It seems, from the evidence of their studio work between 1999 and 2004, that when REDSHIFT shift away from their Berlin School roots they lose in comparison to the wide array of electronic acts available.

There's a concept hidden here: the death of a star is my best guess, though there's little more than the track names and album cover to guide the listener. None of this compensates the listener for the lack of intensity in the compositions, however.

Fortunately the band rediscover their purpose in the live albums following this release.

 Redshift V - Halo by REDSHIFT album cover Studio Album, 2002
2.33 | 5 ratings

Redshift V - Halo
Redshift Progressive Electronic

Review by russellk
Prog Reviewer

2 stars If the twenty or thirty minute tracks common on REDSHIFT albums are likened to interstellar journeys, much of the material on this album is not much more than a trip to the shops.

'Halo' continues the band's move (in the studio, anyway) away from the enormous Berlin School canvases popularised by TANGERINE DREAM and KLAUSE SCHULZE in the 1970s, providing us instead with shorter vignettes, excerpts of sound that really don't progress anywhere. This really is a case of 'less is less': by limiting themselves largely to tracks with lengths under ten minutes, the atmosphere of blissful contemplation never builds. Yes, the tracks segue into each other, but a continuous sound is not the same as continuity of ideas.

So, what is this if it's not what we'd expect? The sounds are more melancholic and therefore less upbeat than either previous material or their more recent live album work. Irrelevant ambient tracks link larger pieces of interest, but the resulting picture is static. This lacks propulsion, it goes nowhere. Even the title track tinkles nicely but without intent, in the manner of a poor JEAN MICHEL JARRE number from the 1980s.

The band would give this direction one more try (Oblivion) and then abandon studio albums altogether, the remainder of their output (up until 2007 at least) reverting to long-form live tracks, and their music became all the better for it.

 Redshift IV - Siren by REDSHIFT album cover Live, 2000
2.17 | 4 ratings

Redshift IV - Siren
Redshift Progressive Electronic

Review by russellk
Prog Reviewer

2 stars A rumbling, pulsing beat emerges from a miasmic metallic synth wash, and the ethereal choirs start up in support. Thus begins another REDSHIFT odyssey.

This live album in no way reflects the contents of their previous studio album, 'Down Time'. Not only do none of the tracks come from that album (the only track previously recorded is from 'Ether', issued three years earlier), there is little of the sound that characterised 'Down Time'. Instead they return to once again mine the 70s Berlin School sound exemplified by TANGERINE DREAM. Further, they return to their previous habit of bookending two shorter tracks with two 20 minute plus tracks.

Unfortunately, the compositional quality of these tracks is nothing like as good as their previous similar effort, 'Ether'. The tracks chop and change too often, never surrendering themselves to the moment or exploiting it by letting tension build through the use of incremental changes. I can't overstate this enough: in my view the primary attraction of the Berlin School sound is the way in which incremental change keeps a repetitive sequence just interesting enough to compel your attention. TANGERINE DREAM's 'Phaedra' and 'Rubycon' exemplify this, as do REDSHIFT's own debut album, as well as 'Ether' and the brilliant 'Toll'. In this release, however, the musicians can't leave well enough alone, never allowing that hypnotic sequence its head.

That said, there are still some excellent moments here. The fabulous Gilmouresque blues guitar at the end of 'Bleed' is worth the 20 minute wait, and 'Bombers in the Desert' is as good live as in the studio (but isn't a compelling reason to buy this album). Part 2 of the title track is excellent, but ought to have been made into something rather than being spliced haphazardly into the track.

Overall, not up to the REDSHIFT standard.

Fade out into silence.

Thanks to Ricochet for the artist addition.

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