Pentatonik has been described as “bridging the gap between dance culture and classical music”, but Bowring has always existed away from the mainstream of electronica and techno, preferring to inhabit the same musical outposts as Brian Eno, Ryuichi Sakamoto, Philip Glass, Klaus Schulze and Vangelis. In this latest Album R. Simeon Bowring’s compositions only help emphasise Pentatonik’s development in sound, orchestration and music into a world that conjures up strong emotions, sweeping images and soundtrack adventures. His latest album, ‘A Thousand Paper Cranes’ puts Bowring firmly into a place where he has always spiritually belonged, a world that could be thought of as electro-symphonic. Bowring has taken much inspiration from the events and the music of the first half of the 20th century. Emotionally involving, his melodies conjure up a time of fear and war but also of great courage and human endeavour. Musically he has been heavily influenced by the ‘romantic’ classical composers of the pre-war period, especially the works of Rachmaninoff to create his own musical film noir. Pentatonik’s debut album ‘Anthology’ was released in 1994 and forged a brand new, and much mimicked, path for intelligent and emotive electronic music. Over ten years later he made ‘The Five Angels’, a beautiful album full of melodic compositions, vocal hooks and intricate self-portraits. Bowring then returned several years later with his third Pentatonik album ‘A Thousand Paper Cranes’. This time he built upon his own musical legacy on an enormous scale using organic and electronic sounds with incredible effect, resulting in his most ambitious album to date, both artistically and technically.
R. Simeon Bowring