Recorded on August 24, 2001 at the Lost Dog Cafe, these seven
unnamed tracks document the ambient soundscapes performed live to accompany
video work by Alex Bailey and paradigm9.
"There are no bass, drums, or guitars on here. It is mainly synths/keyboards and flute, so the whole feel of this CD mixes atmospheres that are sort of a cross between the Ozric Tentacles and Tangerine Dream. The seven tracks flow very nicely through mellow hypnotic stuff. The atmospheres are eerie/electric in places and the eastern sounding flute only enhances that atmosphere, filling the soundscapes more. The building flute over track one sounds very similar in places to Nik Turnerís great pyramid recordings for Exitintoday with his Sphinx band. This is recurrent throughout the CD and as it moves on I like it more.
The mellowness of all the tracks produce pure journey music that is headphone stuff. The synths bubble away, the obscure sounds unfold with emotion as the Ozrics/Turner flute wisps hauntingly over the ambience. In places Afresco Mantis can be heard. Jorge Reyes too has a place here for mention as both their atmospheres and flute warblings muster similar feelings.
Paradigm 9 takes their synth creations into new places. They open endless doors, and each door leading to film score stuff. The sound quality and production are very good for live and on the whole it is a very interesting CD. If you like slow building weird shit thatís often repetitive then youíll like this band as I do. I would love to see them live to give me a better feel for it, with lights and LSD it would surely be an interesting experiment." -Aural Innovations
"It is always difficult to get a good handle on soundtrack music especially music composed or performed for art installations and harder still when the original exhibit is unavailable to the listener. Yet that is what I am faced with in the case of Paradigm 9s Live at the Lost Dog. These seven tracks were, as the name suggests, performed live by the band in 2001 at Lost Dog Coffee in Shepherdstown, WV to accompany an art installation created by the band and Alex Baily. With no record of the exhibit on which to judge the appropriateness of the music to the exhibit or how the quality of the sounds immersed the spectator in the subject of the piece, all the reviewer can do is hold the music up on its own and assess it as an isolated art form. Not that this is too unfortunate on a website specifically devoted to musical content, it is just not often fair to music that is originally designed to be but a part of a larger work. Fortunately the folks behind Paradigm 9, the same who make up Good Lord Giveth, are a talented lot, and they are competent enough within the one art form to put together a mostly ambient sound barrage that can stand on its own. For me, the star of Live at the Lost Dog is the flute. So much of the other layers that make up the disc are your standard ambient affairs, chirping lines, wide open synth sweeps, subdued spoken vocals, and ethnic drums, but the flute adds a very breathy eastern voice that really highlights the mysterious quality of the other sound sources. The whole soundtrack is given a feeling of sophistication and worldliness by the simple, but very well executed, inclusion of the slowly developing world-music flavored flute. Other highlights include some low bass trickery and some nice raw synth lines in the later tracks that rose out of the ambient background really well. All in all, considering the lack of any framing background to understand the musical selection, I am amazed at how well the music is able to stand on its own. A solid and smooth ambient construction." -Justin Rude/Left Off the Dial
"Live at the Lost Dog Cafe is a seven-song ambient soundscape that was performed as the accompaniment to a movie. With this kind of endeavor, you always have to wonder whether the music is worthwhile outside of the context for which it was intended, but in this case, as long as you enjoy ambient music, you'll probably find the experience worthwhile. Yes, it's sometimes repetitive and insistent, but often soothing and sometimes unsettling. The sustained string notes suggest the style that Angelo Badalamenti has made famous in his Twin Peaks and Lost Highway -- moody, unreal, even slightly treacly. The fact that Live at the Lost Dog was recorded live, with no overdubs or editing, speaks well of the group; their sound is just as tight as it would have been in a studio session." -Splendid