Limited edition black chrome cassette, few copies available. A super sweet tape of original material and remixes by the Milanese avant-trancemaster, Lorenzo Senni, slipped out by EVOL's outta-sight Alku imprint. Using the same Roland JP-8000 synth explored on the blinding 'Superimpositions' on Boomkat Editions, Lorenzo explores the potential of a single, modulated arpeggio across the mesmerising A-side 'EVOLVER' until we're floating a foot off the 'floor. B-side he offers two remixes of influential trance classics with his Quantum Jelly re-mould of German pop trance act, Kaycee's 'Escape', and a hyper-strobing QJ take on Ferry Corsten and Vincent De Moor's Veracocha anthem, 'Carte Blanche'.

"Lorenzo Senni dives deeper into the cosmos of beatless rave synthesis- started with „Quantum Jelly“ on eMego in 2012 this is the second layout of minimal arpeggio-driven rave melancholia, all centered around the idea of track peaktime highlights. With the concept that the peak/melodic „drop“ never fades, alku offers another example of neverending trance meditation. Using a computer controlled Roland synth, „Evolver“ starts off spiraling and winding, extracted from the very early motifs of european techno. Over the lenght of 13 minutes the changes are rather subtile, incorporating psychoacoustic reverbs and filter movements (around the 10 minute mark the track unfolds its full potential) making place for a modern Reichian swirlwind of midi notes and parametric slide variations drenched in resonance.

The flip contains two remixes by Lorenzo Senni and his synth, based on two very famous rave themes (KayCee’s „Escape“ and Veracocha’s „Carte Blanche“). KayCee got my interest as the original is a perfect example of german trance euphorya in the mid-90ties. Senni dissects the original composition, leaves out traces of the melody and concentrates on the bassline/harmonic scale only. Repetition is a form of change, so here are only few changes over the 7 minute duration. The digitally delayed midi notes make up a rather fuzzy feeling with small hints of audio hallucinogenic effects, especially on headphones.
The last rework, clocking in about five minutes, is a different affair. Rapidly fired arpeggios are forming their own rhythms, giving a tasteful machine-gun like cloud of sound. With the same skeletal approach toward changes, the rework resembles the original without pomp and ends a great serie of experiments for now. (4/5)" T. Solthau