The Irresistible Force
Global Chillage

Morris Gould was a precursor, as well as one of the most significant names—especially for its origins—of the early nineties ambient-techno phenomenon. His main project "The Irresistible Force," despite the grandiose and militant alias, beautifully paints the psychedelic-dreamlike landscapes typical of the genre which, like many other British colleagues of the time, lean more towards the ambient side than the techno side.

"Global Chillage," released in 1994 (a seminal year that handed down to history masterpieces like "Lifeforms" by FSOL, "Amber" by Autechre, and "76.14" by Global Communication) is composed of seven long tracks that fully reflect what is the classic style of that period, specifically the more chill/ambient side (Global Communication in the case of those mentioned) rather than the mental/experimental one: thus dense atmospheric layers, languid sequencer arpeggios in the style of Tangerine Dream, moderate rhythms, spatial textures, echoes, and reverbs in abundance, leading to a slow and progressive departure from earthly surfaces. All in full respect of a genuine simplicity, which does distance it from the more daring and anarchic third works of the genre, but never falls into methodicalness, nor does it allow any room for the adjective 'banal' to emerge.

All these stylistic features are already present in the opening track "Natural Frequency", a monumental fourteen-minute immersion, driven by a 'Schulz-like' cosmic motif, which unlike third-wave ambient music (the pure kind and thus of Eno origin) presents itself as anything but static and features many variations (even an effected vocal appears here and there in the organic confusion) while retaining its 'discreet' chromatisms. "Downstream" avoids these, not sparing subsonic frequencies, full-bodied drones (but not threatening at all), and barely hinted keyboards on which minimal sound events gracefully land, ranging from the most classic "fluid" resonance filter (underwater effect on sounds) to cold synthetic percussion; the same happens on "Moonrise" (multi-layered feedback and brainy analogy in search of ecstatic trance) and on the ethereal magma of "Sunstroke", where the sounds become almost industrial and the riffs otherworldly.

The second part is in quotes more rhythmic; dumbek and percussive accents à-la Orbital appear on the masterpiece "Snowstorm", (with a floating melody that once again brings to light the sacred monsters of the Berlin school), while on the profane psychedelia of "Waveform" (twelve minutes), among improbable tabla at minimum decibel, sitar, pseudo didgeridoo, and Eastern phrases, the early experiments of "aboriginal" ambient-house by friend Space Continuum are referenced. "Manifesto" is an outro entrusted to a vocoderized vocal sample, which is processed until it itself functions as a "drone" (we are not far from the idea that inspired Alvin Lucier's masterpiece "I'm Sitting in a Room"). 

Like most techno-ambient records of the time, it is very difficult to discuss tracks that, if removed from the whole work, have no reason to exist. The work in question is a trip of considerable proportions, as well as one of the most significant moments of that magical sound of the most visionary electronic England. 

"This record is dedicated to the global ambient underground. It's time to lie down and be counted"
Mixmaster Morris 1994