The opening track Prelude I begins with strings enswathed in digital noise and drifting bells, before a haunting choral vocal is introduced into the mix. Bringing together the operatic with electronics in such a way has almost never been achieved successfully, yet Teague manages effortly to blend the genres and emerge with something beautiful and uncluttered. It at once becomes cinematic but never resorts to being over sentimental. As the strings crash and percussion drives our emotion, never once does it feel tiresome and it always keeps the imagination active. On the final track Prelude VI it is hard not to bring to mind the finer works of Cliff Martinez as bass bubbles underneath an echoing piano and electronic distortions: a stunning widescreen finale to this captivating story.
It would be right to compare Six Preludes to the work of Steve Reich or John Adams, as there are clearly similarities, yet Teague takes his sound to another place entirely. Sitting more closely with the more contemporary ECM catalogue and with artists such as Arve Henriksen or Marsen Jules, this is a marriage of classical and electronic rather than a mere experiment. Ryan Teague has begun a deep excavation into an exciting sound, and it is our hope that he continues to do so.