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Salvaging the past - reviews



Dean De Benedictis - Salvaging the Past (Spotted Peccary)

    De Benedictis is better known to the world-at-large as Surface 10, under which he has released many a fine recording, most recently on Ian Boddy’s stalwart DiN label. Operating under his christian name, his music is no less fascinating. In fact, the differences between Salvaging the Past and S10 material are negligible—De Benedictis’ talent runs rampant, regardless. Treading less abstract waters than S10, a bit more attention paid to the melodic capabilities of his tools separates the personas somewhat; still, this man got’s some synths and he knows how to use them.
    The outcome ultimately belies this recording’s title, De Benedictis, like some savior of electronica, on a grand mission to rescue lonesome studio wizards from their self-imposed categorical purgatory. Thus the sequencer dance underpinning “Grid Holy 4” exeunts from machineries of joy, alive with carpet crawler shimmers and sonic aurora boreali, buoyant and lustrous. “Sweltering Gazes of Sonora” bounces along on giddy waves of zero-g, Tangerine Dream music for those who don’t like Tangerine Dream music. It’s all in the fingers, y’see, and by any measure, De Benedictis has the agility of a ballet dancer; adroit, light on his “feet,” deft of digit and lobe. Ideas don’t hurt, either—and this fella’s got ‘em in spades.

--DARREN BERGSTEIN, e/i Magazine (www.ei-mag.com)


Dean De Benedictis - Salvaging The Past.

    STYLE: Rhythmic instrumental electronica blending synthetic and acoustic sounds to produce an exotic ambient edge. This is a varied album with beats and rhythmic passages, flutes, cello, voices, guitars and plenty of dense, bright atmospheres and sequences. Salvaging The Past has a powerful sound for environmental music, beautifully melodic and poignant at times - in places with beats clear and solid, although too ambient in nature to be beat-driven music. Dean De Benedictis has certainly produced a staggeringly professional sound, musically very mature and moving.
    The mix is generally lush and rich, the odd voice swimming in the mix, delicate piano chords in places, keening cello - but primarily delivering all manner of synth sounds - choral effects, crystal arpeggios, smooth drones, aural cloudscapes. Where Is The Northern Sorrow brings a female voice to the fore - heavenly, ethereal and warm - courtesy of Cathryn Deering. Ê MOOD Ê Dramatic and expansive through light and serene - from deep piano stabs with a Middle-Eastern slant to clay drums and reverberating flutes - from floational weightlessness to percussive restfulness - from electronic sound synthesis to organic acoustic performance - this is an album of artful contrasts. Nevertheless, everything ties up effectively into a coherent whole.
    Colourful patches twinkle and bubble, ambient atmospheres drifting like oil on water - little is still for long. A compelling listen. Ê ARTWORK Ê The artwork for Salvaging The Past is sharp and atmospheric - water and cloud dominating the series of landscapes spread across the package. A dead tree, black against storm clouds fill the rear jewel-case panel alongside track titles and times. Grey water floods the inner booklet, a widening ripple pattern of elongated ovals spread out before half-submerged rocks - here we have notes to the listener explaining the project, credits, thanks and a list of inspirational artists. Ê OVERALLÊ Ê Salvaging The Past is released by Spotted Peccary Records as the latest of Dean De Benedictis' offerings - having produced previous compositions in a variety of styles including IDM, tribal ambient and space music.
    Here he employs a variety of electronic tonalities, samples, and acoustic instruments such as mayahachi flute, bamboo flutes, cello, piano, voice, guitars, hand drums, and percussion. Promotional notes explain - "Our physical realm is comprised of drastically separate entities mix-matching and ambiguously aligning into one harmonious collage. Such is the underlying principal behind "Salvaging The Past.Ó The album brings together pieces written between the years 1992 and 2005. Ê WHO WILL LIKE THIS ALBUM Ê This CD will appeal to electronic fans at the ambient end of the spectrum - but contains sufficient melodic/harmonic content to appeal to electronic fans that like to have a clear tune to hold on to, an occasional beat to carry the mix and plenty of variety to hold the attention.

--MORPHEUS MUSIC REVIEWS, www.morpheusmusic.co.uk/html/reviews27.htm


Dean De Benedictis - Salvaging the Past (Spotted Peccary - 2005).

    This record label has never released a CD that I didnÕt like. Spotted Peccary could be the most consistent record company out there, at least for me anyway. Dean De Benedictis has put together an album that fuses qualities from the older days of ambience (Tangerine Dream) to the most modern ambient soundscape. He uses a variety of instrumentation to express his inner musical creativity. "The Tech Atonement of Bilagana" teeter tooters between flutes leading the way to dramatic piano and deep ambience. "Chasm Enchanted" is more melancholy and reflective. De Benedictis uses a swooshing electronic sound to sweep us under dark gray skies.
    Drums strike like thunder in "Occur." De Benedictis surrounds the drums with tapping percussion, swirling synth lines and sparkling melodic trimming. Heavenly voices open the doors to "Grid Holy 4." The electronic notes that echo throughout the track remind me of Charles BernsteinÕs score for APRIL FOOLS DAY. Though this tune is upbeat and certainly not scary. I felt at hypnotic peace while listening to "Where Is The Northern Sorrow?" De Benedictis creates raindrops of electronic ambience in "Sweltering Gazes of Sonora." Notes drop down from above splashing onto the composition.
    There is an emotional stillness, an emptiness captured in "Then Bled A Tear." "Death for Music" drips liquid notes on top of dreamy melodic foundation. The whip crack like percussion that hits every twenty seconds or so is nice. I truly believe that this track represents what it must sound like inside the head of Dean De Benedictis. "Memories Echo Far Ablaze in The Valleys" is constructed with a large wall of ambient sound that stands up around the emotional center of the arrangement. The longest track on the album "Same Drone, Different Story" wraps up the CD.
    It runs over sixteen minutes long and features the feel of the atmosphere of a faraway land. Flutes return to blend with the exotic percussion. Acoustic guitar breathes life into the audio space, taking the track to a state of elation.

--MantaRay Pictures - Terry Wickham - director, writer, journalist...
www.mantaraypictures.com/deanmusic.htm


Dean De Benedictis - Salvaging the Past Spotted Peccary (2005)

    The title of Dean De Benedictis's latest release, Salvaging the Past, is indicative of the album's intent, which per his own liner notes, is to present an homage to artists who have inspired him through the years. It's an illustrious and varied list, including (among others) Steve Roach, Robert Rich, Klaus Schulze, R Carlos Nakai, Michael Hedges, Mark Isham and the EM/spacemusic duo Enterphase. If one has more than a passing familiarity with DeBenedictis' music, you realize that he is no one-trick pony, so the inclusion of such an assortment of genres, as represented by the names above, is less a surprise and more to be expected.
    The ten tracks on Salvaging the Past line up with the same emphasis on variety, as the music veers from Berlin-esque sequencer thumpfests; e.g. the opening "The Tech Atonement of Bilagan" to vast cinematic tone-poems (evoking comparisons to Isham), such as on the next cut, "Chasm Enchanted" (on which the artist is joined by Peter Ludwig playing somber haunting cello), to retro EM numbers, twinkling with analogue synths galore ("Sweltering Gazes of Sonora"), which might bring to mind Enterphase or others artists detailed in the liner notes but not recounted by me in this review.
    The obvious pitfall of an album with such a wide scope is that fans of any one genre must be broad-minded enough to embrace the myriad of styles which are encompassed on this ambitious recording. Hopefully, the mixture of dramatic pulsing electronic music with quieter pieces (some of which feature acoustic instruments, such as the aforementioned cello, acoustic guitar and hand percussion) will not cause people to overlook this flawlessly engineered (Spotted Peccary, so this is de rigeur for them) and fascinatingly complex release. De Benedictis doesn't just swerve from one genre to another from track merges to track, but he even smashes genres together within individual selections, with retro EM meeting dramatic rhythmic soundscapes, (a la Patrick O'Hearn) on "Occur."
    Coincidentally, this is probably the aim of the album, since in the liner notes, De Benedictis writes "Our physical realm is comprised of drastically separate entities mix-matching and ambiguously aligning into one harmonious collage. Such is the underlying principle behind "Salvaging the Past."*With some songs containing an intense electronic base and others a pure acoustic base, creating the mood for "Salvaging the Past" was tricky, but I do feel that we brought the music together as best as possible. As always, it is all from the same soul."
    So, whether you groove on the juxtaposition of chorales merged with percolating cascades of sequencers and twinkling synthesizers on "Grid Holy 4," float away on the washes of somber Braheny-like spacemusic, sometimes accompanied by cello, which cushion the serene "Memories Echo Far Ablaze in The Valleys," or explore the sensual mysterious ethno-tribal flavored landscape, drizzled with flute and acoustic guitar, of "Same Drone, Different Story," the many diverse wonders of Salvaging the Past await the adventurous ambient music fan. This is a special album and deserves deep introspective listening to reap all the benefits and rewards which lay within its digital grooves.

--Andy Garibaldi (CD Services)
Binkelman's Corner, Reviewer - New Age Reporter


Dean de Benedictus - Salvaging the Past.

    Spotted Peccary Music recently sent us a care package with a variety of their releases, and we've been impressed with the consistent quality of their artists and recordings. The latest recording by Dean De Benedictus, Salvaging the Past , is no exception. On this release, Benedictus deftly mixes a wide variety of sounds, ranging from the clearly synthetic to the acoustic sounds of cello, drums and voice. He also mixes a wide variety of genres and influences, creating a complex synth music/ambient/new age style of his own.
    Benedictus comments on the album: Our physical realm is comprised of drastically separate entities mix-matching and ambiguously aligning into one harmonious collage. Such is the underlying principal behind Salvaging The Past . It is not the first time I've based a project on this philosophy. So much of my unreleased work had been inspired by this principle, and specifically by a variety of traditional ambient music genres, that eventually I felt compelled to tie this particular work together... how could I not? With some songs containing an intense electronic base and others a pure acoustic base, creating the mood for Salvaging The Past was tricky, but I do feel that we brought the music together as best as possible. As always, it is all from the same soul.
    One of the highlights of the CD is Chasm Enchanted , a track featuring the cello work of Peter Ludwig. Benedictis creates an interesting drone environment that envelops the cello, while leaving Ludwig plenty of room to explore. Another very interesting track is Sweltering Gazes of Sonora . It showcase's Benedictus ear for interesting textures and sounds, blending phased strings, percussive sequences, vocoder effects and some classic electronic keyboard sounds. Then Bled a Tear is an ambient piano piece that shows Benedictus' subtle side. The track is built around a droning background over which Benedictus layers piano chords processed with a reverse echo effect, making the piano notes appear to slowly emerge from the droning backdrop.
    The final track, Same Drone, Different Story seems to tip its hat to guitarist Steve Tibbetts, featuring hand percussion, electric and acoustic guitar, and a variety of flutes and drones. The track seems like it is about to end about nine and a half minutes into the piece, and then it transitions to a slow droning section that focuses on the reflective electric guitar work of Nels Cline. Salvaging the Past is an attractive collection of ambient/new age compositions that showcases Dean De Benedictus' skillful blend of acoustic and electronic orchestration and some expressive playing, especially by collaborator Peter Ludwig on cello. Audio samples are available at the Spotted Peccary Music site.

Tracks:
The Tech Atonement Of Bilagana
Chasm Enchanted
Occur
Grid Holy 4
Where Is The Northern Sorrow?
Sweltering Gazes of Sonora
Then Bled A Tear
Death For Music
Memories Echo Far Ablaze In The Valleys
Same Drone, Different Story
Synthtopia.com


    Dean De Benedictis makes an introspective brand of electronica full of literary and mystical references. He records under his own name and as Surface 10 and has also started an electronic community in Los Angeles called the Fateless Flow Collective. His latest CD, SALVAGING THE PAST (Spotted Peccary), is a recording of emotional resonance as De Benedictis looks back at his music, fusing elements of German space music, glitch electronica, operatic vocals and his Native flutes.

John Delaberto - Echoes.
Echoes.org




A lone reply reviews



    Every once in awhile, a CD comes seemingly out of nowhere and just blows me away. De Benedictis has done solid music before, generally in modern ambient and experimental electronic styles. But nothing prepared me for my reaction to A Lone Reply. The musicianship on this very tribal work is simply stunning. He rightly credits Steve Roach and Robert Rich for inspiration, and thanks Loren Nerell for his assistance, so that should give an idea of the musical direction. This is one of the most consistent, captivating 80-minute sets of music I've heard in some time. It is haunting and dramatic throughout, full of grace and power.
    Synthesizers meld with a vast array of primitive instruments from around the globe. Dedicated to the American Indian, it actually calls up images of several ethnic backgrounds, though the Indian roots remain throughout. Sometimes, the music is haunting and slightly dissonant, as on "What The Wind May Not Tell You." At other moments, like "Embraced," the mood is brighter and prettier. Though the music generally leans toward the dark side, it is all beautiful, all brilliant. If you like ambient with a healthy dose of tribal beats and flutes, this is among the very best. A Lone Reply is a masterwork that deserves a wide audience.

2001 (c) Phil Derby
Exposé Magazine


    Dedicated to the spirit of Native Americans and mastered by Robert Rich, these ten terrific tunes are captivating ambient tone poems that harken back to the heyday of spacemusic maestros like Steve Roach, Jonn Serrie, Kevin Braheny and Rich himself. Haunting, mesmerizing, unsettling at times but also poignant, optimistic and beautiful, De Benedictis makes music for the subconscious, music that awakens cross-cultural cellular memories in an orgy of rebirthed engrams. The bone-on-stone patter that underlies the catchy rhythms of "Avenging Illfated Visions" is followed in delicious and deliberate counterpoint by the crystalline emptiness of "What the Wind May Not Tell You;" together they represent the earth-ether duality of De Benedictis' inspiration.
    But the masterwork here must be "As the Ocean Emptied," an epic aural adventure that grabs the imagination from first note to last. It's a tale of naked new land claimed, of ego and achievement, and of gods deprived. And we all know that old saying, "whom the gods want to punish, they first grant a heart's desire..." Hence, the intimate, almost suffocating closeness of "Bilagaana Weaps, In Quiet Memory," a tune that inverses the grand proportions of typical soundscapes yet still manages to create a vast interior space in which deep emotion rises. This is not easy music to hear, but it is profound.

-PJB
-New Age Voice Magazine-


    After way too long a period of time, we finally have the next great ethno-tribal-ambient recording. A Lone Reply earns its place alongside such essential works as Undercurrents in Dark Water (o yuki conjugate), All Our Ancestors (Tuu), Soma (Robert Rich and Steve Roach) and Lillin Dewa (Loren Nerell). Dean De Benedictis has recorded a true masterpiece of the genre. Deeply spiritual, sensual in an earthy vein, incredibly evocative, and sonically transportative, A Lone Reply is so good that it may be beyond my abilities as a reviewer to accurately describe. The masterful blending of ancient instruments (assorted> percussion and flutes) with the modern (synths, piano, bass) yields a primal recording almost dripping with raw emotion; even my most effusive hyperbole may not do it justice.

    You NEED to listen to this with headphones. The mix on the first cut ("avenging illfated visions") alone will realign your consciousness and send your mind reeling. Those hand drums, those drones, those flutes and ocarinas - yikes! And, the good news is that it just gets better and better. I didn''t think I'd ever hear an album that would re-awaken my love affair with ethno-tribal music - but this one is it. Listening to this on headphones or in a quiet room is positively revelatory -it's a total immersion into the wonders of recorded music.

    Mixing deep ambient drifting pieces with snaky-sensuous tribal textures, erotic and primal rhythmic beats, and spiritually fluid musical excursions (courtesy of the flutes, percussion, and gamelan touches), DeBenedictis' awesome talent to paint cave-wall images of subtle power and mournful beauty is superbly evident and totally on display. Track titles are appropriately indicative of what lies in the virtual grooves: "what the wind may not tell you," "a sense of home the sky remembers," "places I will never see," et all. The album itself, per liner notes, is "dedicated wholeheartedly to the American Indian" And the haunting, mystical, and somber music (even when the rhythms are frenetic and uptempo) hammer home the sorrow and pain implicit in the plight of the oppressed native peoples of North America.

    Detailing the ten cuts on this CD is superfluous. You have a good reference point with albums like those mentioned above, as well as other well-regarded works like Rich's Rainforest, Roach's/Obmana's Cavern of Sirens, Parson's Dorje Ling, and Stearn's soundtrack to Baraka. A Lone Reply incorporates elements of all those fine albums, while also adding unique musical textures that DeBenedictis on his own brings to the event. And that?s what this album is - an event.

    Whether you prefer the more tribal sounds of o yuki conjugate or the more cerebral sides of works like Soma (with its mixture of synths and flutes), A Lone Reply will astound you with how completely immersive an experience it is. Turn out the lights (all of them), put on your headphones, and settle back. This is Altered States territory, folks! Give this album your undivided attention and you may find the journey takes you for a walk along ancient pathways that are both frightening and illuminating. This is a VERY special recording and earns (with remarkable ease) my highest recommendation. A Lone Reply is the epitome of a landmark release. Buy the damn thing already, okay? Trust me, you won't regret it.

Bill Binkelman
WIND and WIRE
http://www.windandwire.com


DEAN DE BENEDICTIS: A Lone Reply (CD)
Also available from Amazon.com, Condor
Records, and Backroads Music.

    With this CD from 2001, Dean De Benedictis (who has gained quite a reputation in trance and contemporary electronic circles with his Surface 10 identity) delivers a sensitive 79 minutes of delicate and spiritual electronic music. With this release, De Benedictis' agile electronics appear in accompaniment with many ethnic instruments, such as American Indian flutes (Mayan style), ocarina, Balinese flutes, piano, hand drums, slit drums, and voice.
    Accumulated by him during his travels through the American West, these instruments motivated De Denedictis to apply his considerable talent to creating a selection of music that would capture the grandeur of the American Indian heritage. Languid tribal drums swim in the distance amid spiraling flute strains. Electronic riffs become saturated by environmental soundscapes spreading like aerial mesas among the purpled clouds. These haunting passages drift through vistas of wistful flutes that convey the serenity of hundreds of years of successful dreamquests.
    Rather than standing in contrast, this coefficient presence of sedate electronics and eerie woodwinds blends to create a union of technology and tradition that is an evocative portrait of fertile spirituality dedicated to unraveling the mysteries of existence. A substantial portion of all proceeds from "A Lone Reply" will be donated to various American Indian charities.

Matt Howarth
SONIC CURIOSITY




Review: DiN8 - Surface 10 - In Vitro Tide



Igloo magazine

"It won't be long until Surface 10 gains international recognition in the closely knit fabric of experimental music."
This text refers to an out of print or unavailable edition of this title. Review by Phil Derby in Sequences magazine.

    More dense, textural, experimental stuff from Ian Boddy's DiN label. This time, it's Dean De Benedictus at the helm, taking us through dark and noisy twists and turns of the strange and ambient type. Mixed sound collages predominate, with lots of raw edges and rhythms. "This Will Sting" is appropriately titled. Starting with low gurgles and noises, in then assaults you with cutting, sharp beats unlike any drum you've ever heard. It's more like highly magnified sounds of paper being crinkled and rubbed together, clipped into a one- or two-second sound bite and then looped.
    This is a very active track, alternating between thick atmospheres and an excited, frenetic pace. "Epheral" lets you come down and catch your breath a bit. Though still firmly rooted in modern techno trance, it is more in the chill-out vein, with almost a jazz feel in terms of the rhythm, but still with cutting-edge sounds. This is laid back and very cool. "SERVICE 10 Rendered" goes back into dub, very rhythmic with occasional voice samplings. It threatens to spin out of control midway through, with a wild assortment of sounds, but draws itself back in, going briefly through a more traditional Berlin school mode and then building nicely from there. Another rapid-fire number, there is energy aplenty. Again sensing the need to bring us back down to earth, "Farewell Microscapes" provides.
    A really cool bass line forms the foundation of "Of My Efforts." Here, De Benedictus is able to pull together seemingly random elements into a cohesive track with its own sense of melody and rhythm. Cute French lesson at the end. "Littt" is much more abstract, intentionally dissonant and semi-abrasive. Keeping things off-balance, this is followed by the most serene floating piece by far, "Perahn," which is strikingly beautiful, especially by contrast to most of the material. The impression you are left with largely depends on your mood. Experimental and almost disjointed, it is also quite fascinating and cleverly constructed.

Phil Derby


Review in Issue No. 7 of Grooves - experimental electronic music magazine.

    The work of one Dean DeBenedictus, the music on this CD was compiled from compositions done between 1995 and 1999, and so it was fairly in step, if not much ahead, of the times. There's a Rephlex / Planet Mu level of complexity in the programming, which is swift, beat oriented IDM with plenty of sputtering, thrumming beats, pings and doings as well as a spooky, atmospheric outer-space feel and a high density of procesed samples, including liberal snippets from science-fiction films.
    For those who like basslines and beats with a bit of fusiony synth burbling and some sense of foreboding apocalyptic doom, "Service 10 Rendered" sounds like something the Art of Noise might do if they downloaded their Fairlights onto a laptop. Some sounds here really hearken back to the era of jazz-fusion and '70s electronic music, and maybe that's a bit of Squarepusher influence popping through.
    "Perahn" and "It Utters in Stealth" are surprisingly ethereal, with only very understated beats that don't break the smoothly immersive mood. The final track, with it's Tangerine Dream-esque synth arpeggiations, is definitely something that could have appeared on one of the Warp Artificial Intelligence comps. DeBenedictus certainly plays the game as well as any of the bigger names in ambient-leaning electronica.

Manny Theiner




Surface 10 - Surface Tensions



Reviews.
    OK - let me tell you that, in terms of electronic music categories and pigeon-holes, there simply isn't one that exists into which you could place the music on this CD. Too complex for techno, too busy for space music, too easily accessible for avant-garde, too adventurous for synth - you get the picture? - in fact it is one gloriously over-the-top melting pot that has resulted in a unique musical form that no-one's even gotten close to identifying. Across its 11 tracks and sixty-six minutes of music, it destroys every musical convention known to man, while at the same time embracing them too - a contradiction?
    You'd better listen to this album and see what I mean. There are passages that are truly sublime, positively eloquent, mingling with passages that will get on your nerves and make you want to hurl the CD player out of the nearest exit. To say this CD's inventive is like saying the Pope's Catholic, but in its adventurous travels, such as on the gorgeous track 6, it positively sings to you as the stuttering rhythms, bouncing bass and almost ambient dub qualities are overlaid with seas of serene space synths, the only nod towards avant-garde coming from subtle drones down below.
    But don't be fooled - track 7 starts like some ethno-ambient piece that's been recorded too fast, mixed with a downtempo slice of ambient jazz that's been infused with the wrong lead synth as this somewhat "old skool" moog-like melody wales away on top. This, my friends, is one bizarre world of electronic music; it's challenging but, mostly, it's not unlistenable and, in many places, it actually becomes extremely hypnotic. It does, however, remain unique, both a plus and a minus, depending on your musical taste and standpoint. Myself, I think Boddy's (for 'tis on his Din label - you might have guessed!!!) doing this just to test my reviewing skills - so it's 4-3 to Boddy right now!!

--UK Distributor


Review by
J. Jury "Morpheusmusic.co.uk"

STYLE
Dynamic electronica ranging from amorphous ambient to rhythmic IDM. Surface Tensions delivers eleven varied pieces of synthetic experimentation where melody is often prominent; brimming with evocative atmospheres and augmented by the presence of unique organic elements. A violin, a piano, vocal snatches, operatic performance, effected voice samples and other assorted less readily identifiable sounds. Beats are lively throughout much of the album - crisp digital affairs for the most part driving the compositions into brisk movement - at times more chilled patterns lulling the music into restful serenity, there is even some jazz influenced drumming on the rolling X Tension. Surface 10 lays out rippling sequences against textured drones, delicately harmonious lines draped across spacey programming, swimming effected wavs cut into repeating loops, human peculiarities sunk into artificial fluidity.

MOOD
The mood varies across the CD - there are upbeat sections with lively structures approaching dance beats, moody passages where peculiar noises create mysterious depths, techno-ambiences and night club smokiness. At times mechanical or jerking through twisted glitches, at others smooth and drifting, occasionally dark and brooding. Moments of graceful beauty merge into uncomfortable sonic terrain without warning - gradually relenting and softening once more into restfulness. Truly Surface Tensions is difficult to pigeon hole and difficult to pin down - passing as it does through so many stylistic phases.

ARTWORK
A glossy, sharp macro photograph fills three panels of this package - glassy beads of water clinging to a metallic blue green surface their diverse domes dark with shadow on one side, touched with light on the other. Amid the larger droplets are myriad tiny liquid hemispheres - wandering the spaces. The impression is one of natural organisation, irregular repetition, unintentional artifice. The familiar DiN arrangment is employed with white panels holding titles and info. Within we find a large monochrome portrait of the artist and a second tracklist in addition to the back cover. Also thanks, credits and contact information and relevant website addresses.

OVERALL
Surface 10 is one of Dean De Benedictis' projects - here released via the highly respected U.K. DiN label. This is the second album from this partnership DiN 8 being Surface 10's In Vitro Tide back in 2000. The album is again limited to 1,000 copies. Dean has released a number of other albums under the Surface 10 title through various labels. He has also produced music under his own name and other aliases such as Cathexis, along with collaborative works as The Strato Ensemble and putting together compilations as The Fateless Flows Collective. This album fits well with DiN's growing catalogue of high quality, unusual electronica - individual, unpredictable and alternately beautiful and sombre.

WHO WILL LIKE THIS ALBUM
DiN fans will find this another worthy release from the label and Dean's supporters will not be disappointed. If you are unfamiliar with either - try this one if you enjoy ambient electronica with plenty of detail, clear beats and ample melodic content.