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To see an artist’s progress and growth from one release to the next can be a truly inspiring event. Such is the case with Stephanie Sante’s 2001 Immaculate Conceptions release as compared to her earlier notable release. Sante’s newest creation is light years, infinite spaces, and billions of parsecs ahead of anything I have previously heard by her. The awesome sound-visions she has sculpted have propelled her, (in light of my well-trodden listening paths), upward to the hallowed ranks of the top synth artists on the planet. Sante can safely rest as accomplished and highly successful with the release of Immaculate Conceptions.
On “Radiance” and “Twilight” one can easily find themselves adrift, rapt in swoon, and transported into regions of deepest dream-moment. With “Rainmakers” things are more Native American-esque and percussive – lively. On the plateau of “Giza” yet another region and time’s peoples are brought alive again – the dawn illuminates the Great Pyramid – Ka rises – ghostly boats drift among ancient ruins – echoes of forgotten rites drift across the eons – I see god-kings and the shadows of Anubis. Only Sante’s music so paints such a vivid memory. You can feel a deep awe cast upon the sun-scorched desert lands so long ago Egypt’s mysteries reigned. It continues with the somber tones of “Iridescence” where Sante employs very unique synth voicings and midi-guitar strummings to evoke jeweled places regal – the courts of opulence and leisure seem near.
I shall cease here, to not “overdo” my praise for a must-have release. Nor will I reveal all the great joys one can discover in their own listen to Immaculate Conceptions. Discover Stephanie Sante’s vision – all over again! Recommended to roam inner worlds majestically.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...