Dweller at the Threshold in its original incarnation, was a synthesizer trio. The members were Dave Fulton, Paul Ellis, and Jeff Vasey. No Boundary Condition is their debut CD, and it has a firm foothold in the Berlin school of electronic music. The trio surrounds micro-atmospheres with heavy sequences and waves of synthesizer riffs. While this CD has all the elements of early electronica, it has enough experimental textures to lift it a notch or two. Indeed, this disc could be the logical follow-up to The Forbidden Planet by Bebe and Louis Barron from 1956. (That album is often recognized as the first all electronic album. It won an Oscar for best soundtrack that year as well)…
This is the second CD by Dweller At The Threshold. It has been two years in the making but the results couldn’t be better. Eurock, the record label, call this "progressive electronica", a good definition for this work. The CD have three main themes (Generation, Transmission, and Illumination). Each one has several parts but the mood is very similar: powerful electronic sequences, sonic landscapes and dark passages. You can see the influences of the early Tangerine Dream, but DATT has its own sound palette and personality.
Fans of vintage electronic music might know the mature skills and music of the musicians involved in this recording. Well, they won’t be disappointed with this excellent bunch of sounds derived from vintage keys and sequencers. The CD nicely kicks off with "Pre-flight", composed by Dave Fulton and John Duval. Next is the strong "Arrival" from the trio Engels/vander Wel/Heij, which carries strong comparisons to the sequencer-stuff of ‘70 Tangerine Dream. Tracks 3 to 6 are the outcome of a session the SFP-guys had with Dave Fulton on December 7, 2002, of which "Passage" is a wonderful excursion with some great mellotron sounds. In all, the sparkling music on this album breathes the magic realm of TD’s "Ricochet" and "Encore".
This unusual CD features the great Betty Carter performing live with the great Carmen McRae, both having fun as they share the spotlight. Betty's voice is higher and sweeter than Carmen's lower, stronger, and more assertive voice, but together they sound like extensions of each other, almost alteregos, as they interact, engage in delightful patter, and joke and obviously mug with the audience. This is a CD for which one yearns for a video, since these two megastars of jazz are so in sync that it's sometimes difficult to tell which one is singing in these unusually long tracks. ~ Amazon Customer's Review