REVIEW: Peter Westheimer "Tranzworld Express"

 

If Peter Westheimer is not yet a household name, it’s not for lack of involvement or contribution on a broad scale.  On the contrary, perhaps it’s because the Melbourne, Australia-born artist’s work is so varied in scope.  Upon establishing a foundation in classical music as a child, Westheimer went on to play violin through his teen years, eventually leading the Victorian Junior Symphony Orchestra and playing as a member of the Australian Youth Orchestra.  From there, his spectrum of musical ability expanded to include improvisation and the use of many other instruments, ranging from keyboard to sitar, with much in between.  In addition, Westheimer also cultivated an interest in singing and songwriting, eventually working and shaping his craft with a number of bands during the 70′s and early 80′s.  His foray into recording began in 1982 with the release of Laminex Lovers, regarded today as a seminal Australian synth pop album.  During the ensuing years, Westheimer would release five more albums while also creating a plethora of music for soundtracks, documentaries and multimedia installations.  In 2002-2008, he would devote himself to pursuing his passions and convictions through a considerably different medium: politics.  Serving in local government from 2004-2008 in the roles of Independent Councilor and Deputy Mayor, Westheimer’s areas of focus included biodiversity, cultural development, rail transport and renewable energy.  Tranzworld Express is his first album since 2004′s Music Sculptures, a compilation of mainly earlier works, and his first release of all new material since 1994′s Balance.

The concept for Tranzworld Express, with its synthesis of world beat sounds and contemporary, often danceable rhythms and electronic music, is not altogether new.  In the early 90′s, projects like Deep Forest and B-Tribe successfully incorporated African and Latin music into modern dance structures, introducing music listeners to exotic timbres, colors and textures they may not have otherwise discovered.  As Westheimer’s earliest musical exploits and endeavors may suggest, perhaps he was on to something even before the aforementioned groups or maybe they’ve simply all reached similar creative conclusions at different times.  To be certain, for all its similarities to Deep Forest and B-Tribe, Tranzworld Express possesses distinct differences yet maintains comparable appeal.

A cursory glance at Tranzworld Express, with its indicative title and track listing, offers a strong hint at what is contained inside.  Knowing Westheimer’s background provides even further insight.  “Change Now” with its infectious dance pulse, spoken word injections, rhythmic string sweeps and Asian influences makes for a memorable and impressive opener.  Far from settling for incessant throbbing, Westheimer incorporates a brilliant knack for adding and taking away tension while never losing momentum.  As lovely female vocals deliver the lyrics, “Come on, come on, change now / Come on, change for the children, change for the children,” followed by cheering children, the effect is nothing less than delightful and inspiring.

On “Dancing Hearts Orchestra,” Westheimer uses funky guitars and rhythmic flute over a Black Box-styled wicked dance beat.  Again, Westheimer shows a good sense of when to back his foot off the accelerator by allowing the music to breathe with all of its retro piano, string flourishes and reverb-soaked guitar goodness.  As such, the song, and frankly the entire album, makes for a great chill-out listening experience.  The deep bass, percussion and synth washes of “Peacedance” lend themselves well to Asian string sounds and wordless vocals thoughtfully applied atop them.  Interestingly, “Chances of Life” establishes the rhythm of a heartbeat and then moves on to add futuristic vocal sounds and melodic riffs via the use of strings.  Echo-laden female vocals, some seemingly sung as words and others not, offer refreshing contrast as they drift and wash over the rhythms.

Westheimer applies his exotic sitar to the percussive “Virtually Enlightened” as numerous elements, including dubbed out guitar strums, keyboards, hand drums and strings float over a primal pulse.  Occasional jazzy trumpet or flugelhorn reverberations give an urban feel to the mix as spoken word samples are sprinkled in.  With lines such as, “I know everything about nothing”, “totally light”, “virtually enlightened” and “almost got it,” one might wonder whether Westheimer’s intent is humor, sarcasm or both.  Regardless, the combined effect is once again captivating and enjoyable.

As its double entendre title might indicate, “i-Ran” includes Middle Eastern touches through the use of sitar and other stringed instruments.  Processed vocals conveying the message, “I ran from Iran,” offer a subtle yet stirring thought about living under and escaping from the brutality of a totalitarian regime.  “i-Ran,” while having its merits, is neither as melodic nor memorable as the stronger pieces on Tranzworld Express.  With “Karma than Chaos,” Westheimer once again brings a Middle Eastern flavor to the fore.  Dreamy female vocals create a cool and refreshing effect as they wash over the soundscape and then dissipate.  The track is punctuated by stabbing synth sounds, punchy bass and well-placed breaks.  “China India” also captures the exotic charm and mystique of Asian culture, this time taking on a decidedly more ethnic musical complexion.

On the title track to Tranzworld Express, Westheimer effectively creates the atmosphere of a transportation terminal through echoed announcements of boarding calls spoken in an undetermined language.  Supported by a pleasing chord structure, the mood set forth by various synthesizers and programmed drums is edgy and exhilarating.  Reflective of Westheimer’s eco-sensitive views and championing of the same during his time in public service, ”Renewable Energy” refreshes with the sound of cool waves washing up on a beach in its intro.  What sounds like an African xylophone adds a complementary touch along with Asian strings as hand drums build into what becomes a plush groove.  Futuristic vocal injections, expounding simply upon the theme, make for a convincing result that is effective at provoking thought.  Brilliantly, Westheimer is not heavy-handed, allowing the beauty of the music and meaning of the words to enhance one another.

With its ominous strings, stuttering drum kit rhythms, tablas and ambient synth sounds, “Ghosts of the Future” carries an undeniable tension that Westheimer manages to balance with understated strings, vocals and quiet passages.  With numerous musical elements and rhythmic interplay at work, the track brings Tranzworld Express to the end of its fascinating and adventurous journey.  It is clear that Peter Westheimer’s time away from making music was not wasted; rather this project, with its varied textures, tones and references, effectively serves as a culmination of his musical, cultural and ideological passions.

Review by Mike Roots
Rating: 4 Stars (out of 5)