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The Stereo Effect Project: self-titled
format: album, released: 2002
genre: electronic instrumental

review by Karl Mohr


Officially a computer systems architect, Keith Robert Murray, owner of
Toronto's Electron Music store and analogue synth technician, has designed
and built his own custom, three-channel, eight-step analogue sequencer.
Contrary to the mass worship of digital audio sequencers and soft-synth
plug-ins, he composes his particular brand of electronic mood music without
the crutch of MIDI or computers. His only digital gestures are practical -
transfer of his analogue recordings to compact disc for appreciation by a
digital public.

A relatively lo-fi record, in the analogue tradition of minimalist gestures and
simple sequences, Murray weaves interesting, engaging and entrancing midrange
musical kaleidoscopes. With percussion in the background or completely absent,
this is clearly music for the space-age living room or isolation tank and
is not for dancing (unless you happen to be one of the pixies dancing in the
lands of Dick Hymen and Isao Tomita).

Form is function; music made from homemade machines always sounds different
than music made from prefab machines - with Murray's hand-soldered boxes, this
statement is proved. Those who appreciate homemade bread will understand the
spirit behind this recording. The astounding thing is that Murray is making
homemade bread and homemade honey to go on it: a few chunky grains and
bee-parts, but it tastes oh so good.

Standout tracks: "Frequency F", featuring the analogue sequencer, is an
808 State-inspired funky shuffle with sexy synthesizer leads and a very retro-
lovely flute cameo. The real bliss-out comes in the multi-harmonic "Sequencer
D.I.Y." which reveals the poly-fluidity and scrumptious analogue pitch issues of
his sequencer. In a genre not without a sense of humour, the loungey robo-bliss
of "Mellow Moog" may amuse and delight; it also features live flute extemporizing.