'Innersense' by Bekki Williams
Review by Dan Sheridan - Sonic Sense Magazine
"So many impressive instrumental albums have been released this month - and by some of the "big names" in the field too - that
you would think we would be hard-pressed to pick a favourite. Not so. It was surprisingly easy, and the "big names" didn't get a
look in. Finally, Bekki Williams' long-awaited third album "Innersense" has been released - and that is our clear winner.
The
first thing to hit me about this album was the incredible CD artwork. Depicting a young woman kneeling naked in a cathedral, holding her
own torn and bleeding heart aloft as her ultimate offering to some unseen lover, my attention was immediately grabbed. Disturbing? Possibly.
Shocking? Probably. Striking? Definitely. An inspired, beautiful and brave choice of imagery which really pays off in this case - especially
when you then read the sleeve notes. I haven't read such personal, honest or touching sleeve notes on an album in a long time - but then
again, as the EM genre is highly male-dominated, that's perhaps not too surprising. Everyone knows that we men don't express ourselves
as openly as we should for the most part (or so my wife keeps telling me. Hmph!)
Taking the above into consideration, it will come as no surprise then when I tell you that the music on "Innersense" is
full of emotion; in fact, to simply say that this album is full of emotion is doing it an injustice. "Innersense" is a study
in emotive orchestration and arrangement from beginning to end. I hate to say this, but if this music is the result of a painful and heartbreaking
time for Bekki (as it apparently is if the sleeve notes are anything to go by) there's a nasty and selfish part of me that wishes it would
happen to her more often. And if she happens to read this review, I hope she realises that I mean that in the nicest possible way. This
time there's real soul there. There is not one single weak track on this CD, and for that reason alone it has our April vote for the Sonic
Sense Instrumental Album of the Year.
Bekki's natural and seemingly endless talent for creating poignant melodies in the classical/orchestral vein is well-known;
however, with this album she excels herself in all respects. This is without doubt "music from the heart". It's also highly accessible
across different genres and packed with memorable themes which simply demand repeat playings. It's difficult for me to believe on some
tracks that she doesn't have a full orchestra at her command (she should have, by the way). If "Innersense" doesn't net Bekki
several commissions for film soundtrack work, I'll be utterly amazed - not to mention frustrated by the unfairness of it all.
"A Breath Away" is one of the most atmospheric album openers I've heard in ages. Lush, warm string and vocal
pads lead into a truly lovely flute solo - and if I'm not mistaken, that's a real flute I hear Bekki playing. Add a cello to the mix, sprinkle
delicate wind-chimes over the whole thing, and what you have is a hauntingly sad and beautiful piece which reminds me yet again why I have
always thought that Bekki should be writing scores for the big screen.
"Secret Recesses of the Heart" is one of those tracks I'm not going to be able to stop humming for weeks. Simple
orchestration (guitar, cello, piano and choir layered over a slow drum sample, emphasised by Bekki's trademark string glissandos at key
points) makes this one hugely effective - proof that in some cases, less really is more. Reliant solely on superbly structured melodics,
and romantic in the extreme, this track contains one particular chord change which is so lovely and so unexpected that it literally made
my breath catch in my throat.
"Crystal (Dreams of Sea-Beams)" begins with soft waves lapping against some imaginary shore, and builds from
a soft and hypnotic chime sequence into what is arguably one of the most orchestral pieces on the album. The dynamics here work exceptionally
well; from gentle piano refrains to full-on string and woodwind sections about halfway through. Bekki's strong and memorable melodic themes
throughout are as ever a major strength.
"Subliminal Sensuality" contains some seriously masterful synth sequencing and drum programming. There are also
a handful of real vocal samples scattered effectively here and there - Bekki herself perhaps? In this distinctly sultry track, layer upon
layer of intricate sequenced synth riffs float over a phased synth pad, and, acting as a backdrop to the aforementioned vocal samples,
they eventually morph into a great (if too short) analog lead-line which you just long to see her giving the live treatment to.
"Innersense" is the title track and if I had to choose a "least favourite" piece, this would be it
- not because it's bad, far from it - but because for me, the rest of the album simply outshines it. On any other album, this track would
probably be the strongest one of all; however this CD is so packed with strong tracks that this one appears a little flat to me by comparison.
Still very polished though, and there is a lead halfway through that actually had me playing air-guitar. (Sad I know, but true).
"Under the Same Sky" is a solo piano track, with only a few soft and sweeping strings included to accentuate
certain phrases. Question: How do you pack a whole barrel full of emotion, depth of feeling and unashamed romanticism into just two and
a half minutes of music? Answer: Get Bekki Williams to write it. Question: How do you write a track with a 3/4 time signature and get away
with putting it on a contemporary instrumental album? Answer: Get Bekki Williams to write it. Enough said. I love it.
"Torn" is the real show-stopper on this album in my opinion though. With this one I could literally feel how Bekki must have
felt when she wrote it, that's how descriptive this music was to me. A thunderstorm breaks, and, through the rain, a heart-wrenching flute
solo sets the scene for what I consider to be the best track on the album. The strength of this track lies in the hugely memorable and
soulful melodies that run effortlessly all the way through it. The whole thing just "flows". It's quite a long track at almost
seven minutes, but for me that was nowhere near long enough. This piece reminded me of everyone I'd ever loved and lost, everything I ever
cared about. If there's one track on this album which deserves huge amounts of radio airplay, it's this one.
"Tears are Eternal" is
an absolute gem. Highly classical in style, structure and orchestration, I can imagine bits of this being played on countless TV adverts.
I really hope that this will be the case, because it's high time that outstanding musicianship within this genre was recognised more within
the field of visual media - and I can think of no-one better to pioneer that recognition than Bekki, if this album (and this piece in particular)
is indicative of her current musical mind-set.
"From the Ashes" will delight fans of Bekki's earlier work, as it could have been lifted directly from "Elysian Fields" where
overall style and orchestration are concerned; however, what makes this track different is the obvious growth and maturity that her work
now shows. I liked this one a lot; it's quite uplifting and strident, with some great sax leads and good use of rhythm.
"Fading" is again largely piano-based. Like "Tears are Eternal", it is also very classical in execution, and is another
piece which would not be out of place on a TV or cinema screen somewhere. It's a beautiful and reflective way to end the album, and when
it finished it left me thinking about how quickly the album seemed to go by (you would never think that there are 50 minutes of music here,
but there are) and more importantly, how much I wanted to play it again. And that, folks, is the sign of good music.
In summary, if I had to choose five words to describe this album, I would have to select: Emotive, heartfelt, poignant, romantic, accomplished.
But I can actually sum it up in only three: Buy it now.
'Innersense' by Bekki Williams
The lastest work by Bekki Williams also is probably one of the best ones she has made. From the precise instant of the beginning of the album,
we witness a display of creativity of a high degree. The style of the release flows along different avantgarde aspects of New Instrumental
music, Synth-Pop and Melodic Ambient. The music is very emotional, with romantic and also majestic traits. Bekki uses the synthesizers in
an unusually warm way, showing us the best of herself as a composer. The album is highly reccommended for those who love the most melodic
side of electronic music.
Elysian Fields
Editors choice - Super Nova (UK) 1996
Bekki Williams is a keyboard genius. Elysian Fields will calm you, elate you, make you happy and sad. These powerful sounds will
send you soaring among the clouds then through myth, legend and the cosmos.
You will discover places in your inner being that you have never visited before. This is one of the best synth albums that I have
heard in a long time. Fifty eight minutes of pure audio enjoyment ensuring that one listen will never be enough.
Elysian Fields is a “must have” album for any collection.
Elysian Fields - Fan Comments
"This new AD Music release is like a breath of fresh air, not just another UK clone work. She brings a definite feminine sensibility
into her music, making it more emotive and ornate... the music is as magical as the title implies".
- Archie Patterson, Eurock, USA.
"This is warm, melodic EM at its most accomplished".
- Steve Roberts, Sequences Magazine, UK.
"If you want an example of quality music at the romantic, symphonic end of the scale then you will not find better than this".
Graham Getty, SMD Magazine, UK.
Shadow of the Wind
"Cartagra" gets Bekki’s 2nd album off to a solid start. It has romantic overtones which is perhaps no surprise because some of the tracks were
penned for accompaniment to a special showing of the Rudolf Valentino silent film classic ‘Desert Song’. The combination
of sequencing and infectious melody make for a very satisfying opener.
‘Mistral’ continues the romantic air, with eastern desert references that reinforce the musical themes. There are similarities
to Bekki’s first album, which will please the many admirers of Elysian Fields. In common with that release, the melodies here often have
infectious melodies that encourage repeat playing.
"Sirocco" continues the laid back air with gushing themes which swirl around a steady sequenced rhythm and "Silhouettes" presents
very much the same feel but in a more strident fashion. "Night Flier" changes the emphasis slightly with a funkier rhythmic feel
and busier melody; another successful outing! ‘River of Nights Dreaming’ brings the sequencing more to the fore and picks out
another well constructed melody.
"The Talisman" is a really superb mixture of up tempo sequencing and contemporary motifs while "Azmara" sounds just
like the main title theme of a 30’s romantic movie with more sweeping synth line and heart felt themes and piano adding to the poignant
air. ‘Hymn for Her’ combines an epic dune swept vista with novel detail and the result is again impressive. The album closes
with a cranked up remix of ‘Talisman’ with Dave Barker.
If you want an example of quality music at the romantic, symphonic end of the scale, then you will not find better than this.
Shadow of the Wind - Fan Comments
"Shadow of the Wind is a masterpiece of symphonic electronic music that will remind many of the best works by the Euro Superstars Jarre
and Vangelis... the level of sophistication both musically and instrumentally is stunning. It's rare that a relatively new artist comes
up with anything this impressive".
(Archie Patterson, Eurock Magazine,
USA.)
"Rich, melodious and soaringly soulful synth, with dare I say, a female touch ... just listen to tracks like Azmara and Hymn (for Her).
There's a warmth and sensitivity here that could only come from a woman. Hit me with your handbag if you like, but it's true".
Ashley
Franklin, BBC Radio Derby & Saga Radio.
"This is warm, melodic EM at its most accomplished. Bekki's style is a world away from the free-form analogue improvisations of some contemporary
acts, and yet she represents what is probably the most accessible genre of EM, concentrating on melody and wide-eyed romanticism. Its potential
appeal is great and she could turn out to be AD Music's first big breakthrough. Watch this space".
(Steve Roberts, Sequences Magazine, UK.)
'Innersense' by Bekki Williams
Fan Comments
"I
put Innersense on in the car and started playing it on the way to the gym. By the time I got there I was in pieces; never has an
album (and moreover, one single track - A Breath Away) had such an immediate affect on me. The breathtaking beauty and emotion
that was put into the record literally tore my heart out.
I had to compose myself before going into the gym and all I can say is
a huge thank you to Bekki for sharing such personal feelings with us through her music. To say I was waiting in anticipation of
this album is an understatement but it has truly exceeded even my high expectations. I simply can't praise it enough!"
Martin C
"I had to write and thank you for releasing Innersense by Bekki Williams. This stunning, emotive music moved me to tears within
the first 5 minutes, and from there it took me through every emotion I think it's possible for a person to feel. I'm finding it very
difficult indeed to express just how special and beautiful I think the music on this album is, but I hope that you will accept my
heartfelt thanks for publishing it. It's been a long wait for us fans, but boy has it been worth it." - Erik D.
"Thank you for your beautiful album 'Innersense'. I took delivery of it this morning and it's not been off my CD player for the best
part of the day!" 'A Breath Away' and 'Secret Recesses of the Heart' are incredibly poignant tracks, each evoked something very personal
within me, whilst the track 'From the Ashes' brought a promise of hope and new beginnings. I can appreciate that it has been a very
long and emotional journey for you in the creation of these works; it is evident throughout the whole album. It has guts, intensity
and most importantly for me - Soul. Thank you for sharing that. It's also great to see a woman giving those EM blokes a run for their
money again! - Chris R
"What a superb album! Obviously heartfelt but superb layers and textures and, dare I say it, 'catchy tunes!" (that's the Geodie in me) -
Anyway that's my first exposure to Bekki's material but not the last. Hopefully there'll be a chance of seeing Bekki perform live -
wish I'd caught her last year." - Ian B
"Innersense belongs in every collection regardless of personal preference. It is a beautifully crafted album born from a moving and sad personal
experience. Listening to the cd is like reading a wonderful novel. One that the author takes you by the hand through a remarkable journey of
emotion and experience. Note by note you are drawn into her story and you can visualize every moment of her experience. She is a rare and wonderful
talent." - Ken Onstad
'Innersense' by Bekki WIlliams
After
what appears to be a difficult gestation, 'Innersense' is finally with us and it does not disappoint. Having seen Bekki at the
Leicester Space Centre I had some idea of the quality of the album and in my view it is easily her best work to date. 'Innersense'
is also more varied than Bekki's previous work and this greater contrast makes for a very impressive album. Yet, Bekki's signature
melodicism and symphonic flourishes are still very much evident. 'A Breath Away' begins with a wonderful melancholic refrain which
gradually builds in intensity and emotion. On most albums this would be the stand out cut but such is the overall quality of the
set that there is even better to come.
'Secret Recesses of the Heart' is an outstanding piece, opening with an instantly memorable motif, vocal effects and orchestral
climaxes but this is carefully juxtaposed with more subdued piano interludes and sequencing. The use of light and shade and subtle
sense of dynamics are exceptional. 'Crystal (Dreams of Sea-Beams)' begins with yet another superbly crafted melody, gentle harp
effects and piano before the orchestral treatments, but the innate and fragile beauty of the music is maintained to the end.'Subliminal
Sensuality' is yet another gem beginning with sequencers travelling between channels and a more tranquil atmosphere before a
distinctly muscular rhythm kicks in and Bekki adds layers of sequencing and synth soloing. Possibly my favourite track but there
is some real competition. The title cut is another highly emotive piece, which reminded me a little of Jan Hammer at his best,
before Bekki's orchestral leads provide a perfect counterpoint to the sequencing.
'Under the Sky' changes the tempo with solo piano eventually joined by strings in perfect harmony. A thunder clap heralds 'Torn'
but instantly proceeds into subdued malancholia but with a strong rhythmic backbone to accompany the well crafted melodies, orchestration
and piano. 'Tears are Eternal' is an intensely romantic, quasi-classical piece consisting of piano and strings providing a prelude
to 'From the Ashes' which adds an air of defiance and optimism with an intensely emotional orchestral motif. The sequencing and
detail make this another highlight.
Finally, 'Fading' provides a gentle conclusion, the calm after the storm, piano and strings
combining to create a restful and satisfying end to a memorable album. Reading the sleevenotes only confirms which is obvious
upon listening to the music, that the recording of 'Innersense' was a deeply personal and purgative experience for the composer.
It has been a refreshing experience and a privelege to hear such inspired and emotionally charged electronic music.
It is easily Bekki's finest achievement so far and I hope that even you retroheads out there give this a listen too. Jackie Wu's
distinctive cover, entitled 'I Give You my Heart' is unusual for the genre and I can see that it may capture the essence of the
album but it doesn't quite butter my muffin. However, I am nit picking now ,like the cover or not, the music is terrific. 'Innersense'
is an instant classic.
Innersense
For those not already familiar with her talents, Bekki Williams is a UK electronic music composer with that rare gift for producing
wonderfully warm and rhythmic music with real melody - Expertly crafted electronic music with lots of heart and soul, plus a strong
classical element that gives it immense depth. This is music with considerable structure and style that remains very, very popular
to this day, and her eagerly awaited 3rd album: ‘Innersense’ is available at last. From the beautiful symphonic opening track ‘A Breath Away’, right to
the heartfelt closing moments of: ‘Fading’, this album will charm you all the way, and, if you're into lush, melodic works then
this new Bekki Williams album is sure going to fill a large gap in your “Synth Music” collection.
Bekki
Williams first two albums blended the aggressive and bombastic melodic approach of Shreeve’s ‘Legion’ & ‘Crash
Head’ albums
with the pure tune laden style and rhythmic structures of the first three Pickford’s releases, and she came out with her own mainstream
sound that was to prove popular with a large portion of the “Synth Music” fan-base. A lengthy period of time has passed since
the release of her first two albums: ‘Elysian Fields’ and ‘Shadow Of The Wind’, and what we now have is an amalgam
of symphonic styles that range from those of her label owner David Wright to that of the aforementioned. The emphasis is much more
firmly based with the symphonic side of things, but the classic melodic leanings are still well in evidence on ‘Innersense’.
The opening track: ‘A Breath Away’ starts off sounding very like that early symphonic romantic track: ‘I.FO.’ that
opens John Dyson’s ‘Evolution’ album, with its ethereal choral sounds and eerie strings, then it opens out into this huge
orchestral passage that closes in one of those string filled anthemic finales, that is again very reminiscent of early Dyson work. ‘Secret
Recesses Of The Heart’ is next up, and it’s also full of sweeping symphonic strings, pretty melodies and choral voices that come
from a variety of keyboards and electronic rhythms, but early on in the track, you will hear this short passage where this killer of a synth
melody line strikes up and takes the album up a few energy levels and on to a higher musical plain.
After that the track takes a course that
also brings that dreamy symphonic David Wright feel to the fore, with strong orchestral melodies, lush layers of string synths and soft rhythmic
backdrop. ‘Crystal {Dreams Of Sea Beams}’ arrives to the sounds of waves and seabirds, then a beautifully romantic oboe-like
synth melody backed by crystalline synth rhythms and strings takes the wheel, and steers the music on a gentle flowing path. As percussive
tinkings are heard, the cyclical lead melody line sails up and glides to and fro over the top of the calm string backdrop, and its all very
orchestral and relaxed sounding.
‘Subliminal Sensuality’ then injects some semblance of force and cohesion into things with a
good solid shuddering rhythm over some rather gorgeous heavenly choral voices, then the string synths emerge as the lead melody line rises
to the top and becomes the main focus of attention over the deep and spacious backdrop. After a brief break for some atmospherics and drifting
melodies, the thudding beats return and the whole thing erupts and that "feel" continues into the title track and makes further
appearances throughout the rest of the album, all of which follows a similar trail – tons of tunes, lashings of strings, bucketfuls
of romance and themes that sound like Movie soundtracks.
‘Innersense’ has more melodies and tunes than you can shake a stick at, and somehow manages to wrap them up in such a way that
they come out sounding like John Dyson meets Andy Pickford meets David Wright yet still sounds original and sounds like, well, Bekki Williams!.
This isn't “Berlin School”, but rhythmically you do get a fair bit of strong stuff from assorted sequenced electronics, electro-percussive
beats and programmed rhythms, albeit it swamped in more strings than the Halle Orchestra!
‘Innersense’ is the sort of album that (sadly!!) just doesn’t exist anymore, no one has dared to make one!!! But Bekki Williams
has, so hats off to her for producing music she feels passionately about, and it’s passion that comes flowing out the music from this
CD like a river.
If you like melody, tunes, direction, purpose, cohesion and beauty in your synth music, then look no further, because ‘Innersense’ will
be a godsend, possibly THE album to fill that large gap in your collection that Dyson and Pickford left when they stopped making music like
this.
Elysian Fields
After fighting off the dog, who has a penchant for shredding jiffy bags as they drop through the letterbox, this eagerly awaited
debut CD was straight onto the player. The opening two tracks were the reason for my eagerness, being both featured on the '1995AD'
CD. 'Megaera' is very upbeat and melodic and has shades of a more modern style Tangerine Dream.
'Elysian Fields Part 1' is a classically
based rich and powerful piece of music. Onto the previously unheard material, and immediately we are presented with style that a certain
other EM artist from Derby specializes in - Andy Pickford. 'Charon' could easily be taken from 'Terraformer' with its Pickford-style
sequencing overlaid with heavenly voices. 'Moon of Artemis' features more AP references with heavy drum patterns and sequencing and
again a slightly classical mood. 'Hera' slows things down with a piano solo which develops into a steady synth track, returning to
the piano to close.
'Secrets of the Labyrinth' is a track which needs playing many times to pick out everything. Starting with spacey
synth washes, the sequences then come in backed by guitar effects. Sequences then dominate before more synth takes over. 'Icarus' has
another Pickford-style intro before developing into a really attractive foot-tapper. 'In the Arms of Morpheus' slows things down again,
a powerful rhythmic outing with flutey synth and sax sections.
'A Glance from Medusa' needs the volume turned up to fully appreciate
it. A real "stormer" of a track with Pickford style sequencing bursting from the speakers. 'Elysian Fields Part 2' closes
the album, and actually reminds me more of Robert Fox from the 'Asfafa' / 'Fire and the Rose' days. It features rich orchestral sounds
with strong classical leanings, concluding with a return to the theme of 'Part 1' on piano.
This CD is a superb debut. Many of you
will wonder at times "could this be one Andy Pickford in disguise?" It is certainly as good as his work, and leaves you eagerly
waiting for her live appearances and future albums. It's great to hear true EM from a female in what has previously been a male dominated
area. If this is anything to go by, let's have more!
