This CD marks a departure from the earlier solo releases of S P Gulliver, known better as Slava Petchnikov. The entire CD is instrumental and composed and performed all by Petchnikov. In some ways that narrows the opportunities and sound, but the music on Coasts of Endlessness is surprisingly fresh and creative. The lone musician at his Ensoniq SD-1 workstation put together some fabulous pieces of electronic and instrumental prog, with a dabble here of pop and a dabble there of fusion.

The lengthy suite "The Coasts of Endlessness" perhaps is not a "concept" as many people know it. It is a collection of instrumental works that happen to flow very well in synch together in this peculiar order. The style changes, as do the general theme and flavour. As the title suggest, this suite is much of a musical journey through the various styles and influences and sounds in the mind of the composer. The resulting piece is quite innovative and pleasing to the ear.

At the end of the CD is the three-part "Metamorphosis" which brings in the violin skills of Andrei Valigura. The classical sounds of Valigura complement the music composed by Petchnikov in a special way, bringing the classically-trained sound of his violin into the electronic world of the Ensoniq SD-1. The three parts are full of drama and intrigue, and is fascinating. Another great example of why the violin is a good progressive rock instrument, totally underused. Though one thinks after listening to "Metamorphosis" what would happen if the violin of Valigura graced "The Coasts of Endlessness" here and there...

Starting the "Coasts of Endlessness" suite is the "Prologue" which in turn is broken up into two pieces. "The Call" is as it suggests, a call to action, to attention, to music. Some of the sounds and chords are Jobson-esque in the short bit before it segues into the second part of the opening, "Twisted Time." This is an upbeat piece with a fusiony twist to it. The rhythm worked out by the former Ruja bass man is intriguing and challenging, though the programmed drums do not do it justice. By now one realise that this CD is very electronic in style, though this is one piece that can easily be converted to a full band piece.

"The Fountains of Hathir" is a catchy little piece, starting out very happy and cheery. The programmed hi-hat works quite well in this cheery song, which has a nice faded middle section with cool piano lines. This is one song that makes the listener wonder how much more depth would come for a full band -- with fretless bass, real hi-hat, etc. This is followed by "Lunar Holiday," a piece that immediately conjures up sci-fi sounds. In fact it sounds like it would work wonderfully as a theme song to some sci-fi television programme. The threatening organ sound gives this a nice perspective with the electronic sounds used by Petchnikov.

Then comes the atmospheric "Star Princess" which is a clinic on how to layer electronic music. The complex arrangement of the simple song programmed into the SD-1 shows the versatility of both the instrument and the composer/programmer. The snare programmed parts is especially nice to the otherwise ethereal keyboard layers. The short piece is followed by an extremely catchy fusion piece, "Robot-secretary." Immediately one thinks of something from Bruford, perhaps from "Gradually Going Tornado," which is a major influence of Petchnikov. Even the veteran drummer would grin if he heard this piece. Excellent fusion. One of the catchiest themes you would hear anywhere. Even the ending strikes at something from the fingers of Dave Stewart.

A mild change going into "Radioactive Flowers," which is a much quieter electronic piece with an interesting lead line. This then flows into "Crystal Mountains," which expectedly has some crystal sounds decorating the beginning. The sounds chosen are all quite appropriate to the song's theme. This piece is very electronic, though it rises to a loud organ crescendo at midway before reverting to the soft crystal sonic stream on the fade out.

"Nameless Asteroid" follows, revisiting a more fusiony sound from earlier in the suite. However, it is still in a more relaxing stream from the previous two songs -- using a fusiony progression and main theme with electronic backdrops and atmosphere. "Dancing Centaures" returns to a more upbeat sound, revisiting some of the sounds and styles used in the earlier "happy" tunes. This piece is enigmatic with strange changes, making it almost schizophrenic in ways. Excellent prog stuff. The programmed drums almost work in this piece, though one imagines how great this would sound with live drums. However, the ending the tempo of the snares just goes out of synch, sounding much too artificial.

This is followed by "Blue Atoll," a beautiful, almost new-age song. The flowing sounds used, including a fretless bass imitate, works well with the esoteric percussion. The latter parts of this song has an inspired solo by a brassy sound. The strangely titled "Rubber Men" follows with a return to a sound akin to stuff done by Estonian electronic prog kings Data. A catchy song, with a slight reprise to earlier parts to the suite. Interesting electronic stuff.

Then it goes into "Flight Through the Broken Stars" which reprises a fusiony sound. The song is aggressive, though the drums play a lower role than it ought to in a piece like this. Catchy parts all around and fascinating use of sounds and parts to get the song into proper focus. This leads into "Under Sail," a softer piece with a catchy lead line. The lead changes sounds and parts seemingly, but it is smooth and good on the ears.

Finally this leads into the "Epilogue" and its first part, "The Mystery." It has a borderline Genesis sound at times but it is nice keyboard work layered like the good electronic stuff throughout the CD. Then it dramatically moves into the organ-heavy "The Last Battle." Though it doesn't sound violent enough to be a battle of blood, it is a bag full of drama left and right. A great story piece that comes out with the sounds used and aggressiveness of some of it. Then it concludes with "Destroyer," which begins ominously with strange sounds. A reprise of the "Prologue" through the background before it fades out, destroyed...

Then almost immediately the three-part "Metamorphosis" begins. Again the music is very electronic with interesting percussions strewn all around the background. The sounds of "Conception" resemble many ways to the other pieces in "The Coasts of Endlessness" before the haunting violins of Andrei Valigura moves in to take the melody. The playing is absolutely superb, bringing out both fear and horror in his bowing. The style is much closer to classical in his playing than David Cross for example, which gives more vibrato -- thus a more fearful sound with the piece. Perfect.

"Motion" gives the right meaning, as the music moves upbeat a bit. At times it has a King Crimson flavour about it with the lead violin, though it would sound more like if Crimson had a violin player during the "Discipline" era. Chilling sounds created by the violin, presenting the perfect drama.

Finally, "Separation" has a feel not unlike the quiet atmospherics from "Caress of Steel" by Rush. The violin works well again with the programming of Petchnikov in this less aggressive piece. It moves into its own drama slowly, building up more tension as the song progresses.

Overall, this is an excellent CD of electronic music, showing off the composing and programming skills of Slava Petchnikov. Parts of this become a clinic on how to use the Ensoniq SD-1 to its full capacity. The use of violin on "Metamorphosis" gives the music a perfect balance. Some of the material though is too electronic for some tastes. But that just begs the question on how, or if, the music can be turned into material for a full band. The music is too good to remain a programme on the Ensoniq SD-1 without expanding. Some of the frustrating parts come with less-than-precise programmed drumming which takes away from the total experience. Live drums would bring this into top notch instrumental music. A great start for Slava Petchnikov!

Mel Huang
Tallinn, Estonia
11 August 1999

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