DSR Lines is a Belgian electronic project headed by David Edren (Beligium never seem to have much in the way of progressive electronic). The many releases tend to vary in approach as well as types of synths being used. Some of them are more rhythmic, others more calm, with synths used include the Buchla 200, Serge, ARP 2500, and others. III-II is recorded live in 2014, but released a year later. I presume these are simply live in the studio given the complete lack of audience cheers. This particular one uses almost exclusively the ARP 2500, although I suspect organ is used on a couple pieces. The best way to describe the music on this particular release is what if Chris Franke (Tangerine Dream) embarked on a solo career in the mid 1970s, and instead of having access to a Moog, he had access to an ARP 2500. Like Franke using the sequencer built into the modular Moog he used in Tangerine Dream, Mr. Edren used the built-in sequencer included on the ARP 2500. While TD (at least in the mid '70s) would start off slow and calm before eventually switching to sequencers, all the material here very much emphasizes the sequencers, with synth leads. You'd never know III-II was recorded in 2014 if you heard this and no one told you, it could easily pass for something recorded in the 1970s. For so many years I've been curious about the lesser known big brother of the ARP 2600, the 2500. Sure many of us know of Pete Townshend's use of one, as well as David Hentchel's use on Elton John's "Rocket Man" and "Funeral for a Friend" (and probably Peter Hammill's In Camera, I own the album, it just states Hammill plays ARP, with Hentschel programming it, so it could very well be the same ARP 2500 heard on "Funeral for a Friend"), Roger Powell's Cosmic Furnace, appearance on the movie Close Encounters of the Third Kind (where the control panels were modified to look like an elaborate organ console), the hour long ARP 2500 drones of Eliane Rodigue, and the easily listening pop and classical ARP 2500 of Dutch artist Joop Stokkermans, DSR Lines certainly helped me more figure what the ARP 2500 was capable of (OK, so there are plenty of YouTube videos of people toying with the 2500, usually the sequencers), particularly because III-II consists almost entirely of the 2500. To me, it's really worth hearing and a treat for old school electronic fans, and for people, like me fascinated with the ARP 2500 (a synth I'll never likely own or even see in the flesh).