Review of For Whom The Bell:
Graham Getty, Synth Music Direct.

"The much heralded collaboration CD between Robert Fox and David Wright, assisted by Vaughn Evans and Nik Smith, sees the light of day. 18 untitled tracks make up the album, most blending together seamlessly creating in effect one long piece. Track 1 is a short intro, the presence of sampled Gregorian chants and tolling bell giving a monastic feel. A steady and deliberate rhythm underpined by a simple piano sequence heralds track 2 which needs familiarity to fully appreciate its credentials. Excellent guitar work and sax (synth?) combine impressively with tabla type rhythms.

Track 4 presents some powerful synth riffs and more well judged electric guitar, but you do get the impression at this stage that the album is still gathering itself, seeking a positive direction. The simple piano sequence, which has undergone one or two changes since its introduction in track 2, slows into track 5 which airs a wonderful symphonic / choral theme - unmistakably Robert Fox. Track 6 is a short bridging piece which brings the piano sequence to a close, and also contains a thought provoking "two..one..zero" countdown perhaps to signal the next phase of the album.

Part 7 holds samples galore and should keep Bladerunner fans happy. Part 9 sees the welcome return of the symphonic theme aired in track 5, with staccato strings, Gregorian samples and panpipes fleshing out the piece. Atmospherics with a capital A on part 10 - Eastern feel with booming drums and more samples though the Gregorian chant is walking the tightrope between continuity and repetition. More lush themes combine with electric guitar on track 11 while track 13 is an ambient interlude containing plenty of effects, but at 8:23 this is the longest piece and it feels like it.

Part 14 sees that symphonic theme again presented in slightly more uptempo fashion, and the Robert Fox sound is supplemented with flutey synth and a typical rhythmic backing. But for the electric guitar and monastic embellishments we could be listening to 'Blue Mountain Suite' - and I'm not complaining. It's an epic combination! The piano sequence returns on track 15, as does the sax. A cocktail of vocal samples underpin the impressive part 16, while more lush symphonics feature on the short part 17 and the concluding (and powerful!) part 18.

I'm sure there's an underlying concept to all of this, but purely from a sonic and musical point of view there's more than enough here to keep the listener occupied. It's an impeccably produced album with enough variation from the Fox / Wright sound to keep you on your toes, yet enough of their familiar styles to ensure you are not completely alienated. In one or two places the album does drift a little, but overall this album delivers in style".