Thanks to the album Mosaic (1984), Richard Burmer revealed himself to be a "cosmic" sketch artist of the Klaus Schulze-esque school, popularizing that school's characteristic sequencer progressions.

From the beginning, however, his art stood out for the care in his arrangements, which could add evocative saxophone flights into nothingness to the monolithic electronics of the German master (Solarsex), flute whistles in eternal stasis (Winter On The Wind), Renaissance dance steps (Lamento di Tristan), voices, bagpipes, and percussion in exotic-ritual climates (Ave Pladaelio). A skillful purveyor of "Star Wars"-style sensationalism (Physics) and atmospheric themes (Ela-A), Burmer, however, did not possess a tenth of the ambition of a Steve Roach.

With a more modern and professional production, Bhakti Point broadened the horizons toward world music (the title track, A Book Upon The Crossroad), even though Burmer’s strength remained the purely electronic pieces of Nightland and Closer Than Love, set in vast cosmic spaces; except that Burmer now seems to use this genre to forge a new form of domestic instrumental ballad, part romantic sonata and part Zen meditation, with a new lyrical breath and a new timbral sensitivity that elevates space music to chamber music (Willow Song, Little Dreamer). The masterpiece of the album (and of his entire career) remains Reunion, which fuses a singable theme, a cadenced Renaissance accompaniment, bird calls, and a very romantic orchestral apotheosis into one of the most angelic hymns to Nature.

Exploiting his perfect mastery of electronic arrangements, Burmer recorded a much more commercial album, On The Third Extreme, dedicated to melodic themes reminiscent of Kitaro (Turning To You, The Forgotten Seasons) and exotic, violently electric impressionisms (the driving Magellano, the hammering The Art Of Spirit Bending). Burmer still manages to replicate the ecstatic atmosphere of Reunion in the poignant and grandiose symphonicism of Waking The Icons.

Invention is more refined, lyrical, celestial, especially Walking Summer To Sleep and Settle Near The Sunset, with Landing suggesting more distant horizons and the jazz experiments of Inventor proposing a bolder new age.

Undoubtedly very talented both in melodies and arrangements (or rather, in the cinematic direction of sound), Burmer, however, dispersed his electronic talent in different directions, still unable to define a clear artistic personality. Burmer is nevertheless a very nostalgic, romantic composer, who could very well have lived and composed music two hundred years earlier.

Shining By The River (Audio Alternatives, 1995) is an anthology.

Treasures Of The Saints (Miramar, 1996) is an odd collection that wastes a lot of time in half-baked exotic/exoteric ambience Only the sixth track (These Things Will Change The Sleep Of Angels) finally intones a decent melody. Leaders In Frenzy launches in a percussive gallop and sets in motion a bolero-like crescendo. That's as much action as the album provides. Melodic bombast a` la Vangelis is always hinted but never achieved.

Burmer died in 2006.