Vlad Dobrovolski’s first full-length album under his own name is built purely from modular and analogue synths and a combination of DAW and tape work, giving an overall flavour which blends both the crisp and the digital with something a little fuzzier and warmer. Long synth notes glide and shift slowly along like a melancholy synthetic symphony, while bleeps, whirrs and digital bubbles play around on top. At times, atmospheric sounds like waves crashing on a beach provide a gentle watery bed. Contrary to what the album title might make you assume, there are absolutely no drums in it (with the extremely minor exception of some soft cowbell-like hits in “A Blue And Oily” which eventually morph into xylophone tones).
The sonic range does feel somewhat narrow at times, which to give it a positive spin, means it’s a consistent listen. The glitched delay on “Million Wrinkles of the Sea Under the Moonlight” give it a dubbier tone, at times very reminiscent of some of The Orb’s most relaxed moments. “A Blue And Oily” hops slowly around with a bouncing, semi-random plucked bass sound (and, most annoyingly, a completely out of place siren at the eight minute mark which completely jolts you). Final track “Drifted Past The Bows” is the brightest, with energetic and higher-pitched arpeggios giving a slightly more euphoric and satisfied feeling.
This is a chillout album with a certain degree of timelessness, that, save for a few minor production details, could have been released as part of the chillout boom in the 1990’s. It’s smooth, it’s decidedly out there, and there’s just a hint of playfulness about it. So while it can’t contend that it is breaking much in the way of new ground, as a soporific sonic relaxation, it really works.