REVIEW: JOHN LYELL - Eternity II

JOHN LYELL
Eternity II (2024)

One of the newer (relatively speaking) classic spacemusic artists on the scene, John Lyell, hasn't been heard from since 2017 when he released Planetary Artifacts about which I wrote "Simply put, if you are a Spacemusic fan, this is an essential album to own." Lyell has returned to his roots just earlier this year (2024) with Eternity II (I would postulate a sequel to his 2012 Eternity) and he hasn't missed a beat (I know…a strange choice of words for a spacemusic album).

Before I give more details, an explanation of sorts. While Stephen Hill defines spacemusic less as something astronomical in nature (i.e., having a direct link to space exploration, the cosmos, etc.), I refer to some spacemusic as being "classic" in nature. Specifically, comprised of not just titular (or even cover art-wise) reference to outer space (e.g. the existence of life beyond our planet, space travel, etc.) but also certain sonic qualities of the music itself. First and foremost, a drifting quality, based typically on synth washes, ambient textures, and tones containing an element of, well, spaciness. Jonn Serrie, Geodesium (Mark Pedersen) and Meg Bowles come to mind as some of the stalwarts of classic spacemusic (not there aren't others, as well). Lyell's music fits into this category nicely. He blends assorted synths with the occasional rhythmic pulse or melodic tone to craft music which (given a listener's ability to visualize) could certainly inspire traveling through space watching the stars go by on a viewscreen. And, as stated above, Eternity II certainly evokes those images aplenty.

I've always admired that Lyell intermixes a little mystery or shading of semi-darkness now and then, such as on the title track, which also introduces some whirling sounds to further accentuate the SF element on the track, as well as percolating (at a midtempo pace) pulses and reverbed tones. This is in contrast to the first track, "When The World Was New" which opens with a myriad of tasteful nature sounds against a warm, inviting layer of synths and low-key but dramatic keyboard chords. "A Moment in Time" is another warm but even more spacey number albeit in a more minimalist vein with the main component being muted melodic tones over the sound of flowing water. Two tracks ("Gateway to the Stars" and the album closer, "Final Approach") introduce a new element for Lyell, that being a semi-glitchy background effect, which if I'm being honest, I'm not sure I like, but in each case it's not something that derails the overall effect of either the individual track or the album as a whole. In the case of "Final Approach," it does lend a certain element of dramatic effect which may suit the track's title (there's also a nice retro-EM whirly sound effect that I got a kick out of).

I am not as attuned to either spacemusic or, for that matter, the ambient genre, as a whole, like I used to be, so for all I know, there are still many artists crafting high quality drifting soundscapes like John Lyell does here (and has done throughout his previous recordings). What I do know is that Lyell once more has honored the tradition of the subgenre with Eternity II, which makes this a worthy addition to his discography and should delight the followers of his earlier works.

 

ALBUM DETAILS
Composed, Performed, Engineered & Produced by:  John Lyell
Tracks recorded in Minnesota and New Mexico between 2014 and 2024
Final mixing: Light Year Studio in Rio Rancho, NM.
Digitally Mastered by:  Robert Rich at Soundscape Productions, Carmel, CA
Graphic Design, Layout & Art Concept:  John Lyell