GOODING – Collection #1

Collection #1

One thing about GOODING’s music, there is such a switch of sound between every album, it can almost be disconcerting. Winter Returns showcased an almost ethereal, new-age guitar sound, Factory Blue showcased moody aural soundscapes, and 3X brings in the funk and rock to a greater degree. There just can’t be such a great diversion without something branching that gap, and Collection #1 does it well. This album manages to draw the perfect connection between Winter Returns and Factory Blue, and a second edition is in the works to do the same between Factory Blue and 3X.
GOODING plays instrumental music that likely belongs somewhere in the future. With an impressive mix of organic and synthetic beats, intricate guitar work, and a host of other sampled sounds, GOODING manages to craft songs that will stun and overwhelm you. This release is probably one of my favorites, as it maintains the fantastic guitar work of Winter Returns and brings in more beats and futuristic sampling from Factory Blue. It contains tracks written during the studio sessions for both albums.
“Grid Two” starts off with a fantastic introduction. Light drum beats, sampled futuristic vocals, and guitar that goes from acoustic and classical to thick and crunchy, this song is powerful and potent. And while “Gray Matter” showcases the quieter, more contemplative side that relies more on the beats and samples, “Steel” has some fantastic electric guitar over an intense beat and light bells. Ah, but it’s songs like “Technology’s Nature” that really showcase the beauty of this music. A building, rolling, intricately complex and powerful track, this one will blow you away. “Derailed (Sync, Pt. II)” is fantastic, with the most varied instrumentation, from synths, beats, guitars to even flute-sounding instrumentation, and this slower, moodier track is a big frightening. The guitar on “If the Empire Crumbles …” is haunting and almost classical in nature, entirely beautiful, and the almost new-agey guitar put to a fast-paced electronic beat in “Bathyal Zone” is quite impressive. And the lengthy “Ink Black World” closes off the album with a more moody, powerful guitar-focused track that doesn’t emphasize the beats.
GOODING is always amazing me. While one moment, he’s blaring away on guitarwork that rivals the masters, he’s perfectly content to let the guitar fill in the spaces on his well thought out electronic work. And he does everything on his releases, including all the drums and computerized instrumentation. Residing somewhere between rock, electronic, funk, and experimental instrumentation, GOODING has mastered every aspect of these works.