dimanche 2 août 2015

DIRK SERRIES: Disorientation Flow (2015)

“Immersive like the Immersion series, Disorientation Flow is the best way to plunge in your need of quietness”
1 The Imperative Edge 13:40
2 Metamorphosis 12:52
3 Disorientation Flow 15:47
4 Blistering 9:02
5 The Lament Broke 13:30

Projekt Records | PRO0316 (CD/DDL 64:51) ***½
(Ambient Drone)
With the years, and especially with the kind collaboration of Projekt Records and of Spotted Peccary, I became clearly more open to the form of ambient music. I have learnt when to listen to it and how to hear it in order to finally enjoyed it, especially when the sleep taunts my tiredness. I so discovered a universe of perceptions where every detail enriched the peace of mind with slow movements which tuck the silence with such a sensibility that we eventually end to get lost in time. And it's very exactly what happens with “Disorientation Flow”, a second opus about the forms of silence and meditation that Dirk Serries proposes via the American label Projekt Records. Nevertheless, Dirk Serries is not a newcomer. It's a sound project parallel to the career of Vidna Obmana, the famous Belgian composer of ambient music who is as much prolific than  Steve Roach. And it's not a coincidence if both seem capable of creating symphonies out from the solitudes of the winds. I had precisely heard the music of Dirk Serries for the first time with his collaboration album with Steve Roach on Low Volime Music in 2012. The fusion between the tears of guitar and the morphic, the enveloping and the rather vampiric synth waves had fairly seduced me. “Disorientation Flow” is built upon the same ambient mirages. A little less black and less amorphous than Steve Roach's Immersion Series, it's nevertheless a deep ambient work, an almost silent one, where every piece of sound is brood by a surprising sonic presence. Totally improvised and recorded in real time, “Disorientation Flow” is presented in 5 long morphic chapters where Vidna Obmana establishes a kind of meditative communion between a solitary author and his numerous fans who only dream about a solitude shared with the company of others.
Purple shadows, where the imagination dreams about groans of guitar which flatter the morphic delicacy of the synth lines of which the slow flights are haloed by the singings of astral nymphs, squeak over the brief serenity in the opening of "The Imperative Edge". The tones are lively and are sparkling. They shine of an aura dirtied by the deep scarlet moods of an introduction where the peace of mind bickers with the iridescence of a huge sound magma which threatens every second of pierce the walls of oblivion. A bassline a bit idle spreads slow eddies of which the larva draw the delicate movements of a passion full of restraint. Between the peace and the passive agitation, the ambiences raise themselves in an opaque monument which little by little unfolds a crescendo of emotionalism where the colors, rather lively at times, of the sounds tame the quiescence of a silence torn by an avalanche of strata in tints as rich as their forms. "Metamorphosis" gets loose from this purple envelope with a thick cloud of drones, of hoarse breezes which pierce the remaining shadows of "The Imperative Edge". The communion is intense because the shadows float like tears in suspension while Dirk Serries multiplies the effects of reverberations, forging a compact mass of ambient sounds which shows all of its sibylline nuances. This mixture of guitar tears, of synth sighs and of half-silent voices is the backdrop of an intensely meditative work where Dirk Serries takes good care to play with his shades. There are small pebbles of
Structures from Silence which float throughout this ode to a darker but also more harmonious silence. And it's even more convincing with the title-track which is the most seraphic of “Disorientation Flow”. "Blistering" brings us to another level of contemplativity with a very dark introduction. Little by little the colors of the silence, these sobs in the tears of a very intrusive six-strings, come to haunt the darkness of "Blistering" which renews with passive spectral melodies of “Disorientation Flow”. We reach a point where the time loses its dens and where our spirit confuses the silence and the sounds when "The Lament Broke" spreads a nice thin line of musicality, always very astral, on the silence of the shadows which little by little has tamed this soft rebellion against the calming of our inner senses.
Sylvain Lupari (August 2nd, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Projekt web shop here

jeudi 30 juillet 2015

SOLITAIRE: Altered States (1990/2015)

“With sonic essences extract from the musical roots of mid 80's, Altered States turns out to be quite an enchantment livened up by soft beats and by beautiful minimalist melodies”
1 Indian Garden 9:37
2 Heart of the Desert 10:25
3 Splendid Harmony 6:55
4 Indelibility 7:13
5 Altered States/Secret Illuminations 9:46
6 Raindance 8:00
7 Mescalito Exit 11:10
8 Altered States & Secret Illuminations 9:06
(Bonus Track performed in concert in Berlin on November 11th, 1989)

Projekt Records (CD/DDL 72:16) ****
(Ambient EM with a zest of psy-tribal)
I remember this time when I collected all that was sold, was shared and was traded on the Internet about EM. I was like a child in a candy store! Except that I was looking for a specific sweetie; the one with big juicy sequences and tasty synth solos. And one had also proposed me this “Altered States” from a band wearing a strange name SOLITAIRE. I had found the artwork too New Age to deign to throw a bit of my ear in it. Even not a breath! Nothing! Nada! It's a luck that this good old pal Sam Rosenthal has persuaded the Elmar Schulte/ Rüdiger Gleisberg tandem to dust the tapes in order to offer a very charming 25th year edition newly remastered in a much nicer artwork sealed in a digipack. Otherwise I would have missed something very good. For the story; SOLITAIRE was a duet made up of Elmar Schulte, a true fan of the Berlin School model a la Tangerine Dream, and Rüdiger Gleisberg who was, and still is, recognized for a more ethereal, a more cinematographic and a more ambient musical style. The duet was formed in 1989 and gave a first concert a few days after the fall of the Berlin Wall, a bonus track about this event can be found on this remaster. “Altered States” was their first album. A major album in the chessboard of EM that several criticisms of that era haven't hesitate to describe as being phenomenal, as being a masterpiece in the history of contemporary EM. SOLITAIRE will produce in the end only 5 albums, among which one with Steve Roach in 1991 (Ritual Ground) before looping the loop in 1997 with Nocturnes, an ambient and dark opus.
A very beautiful piano loosens its notes to offer a quite honeyed introduction to "Indian Garden". The music makes a very movie genre, one would believe to hear Florian Fricke's Nosferatu, with lines of mists which throw a perfume of melancholy over the first 2 minutes before a line of sequences untie its keys which bewitch our senses with a spherical approach. This sequence pattern pulls "Indian Garden" into a minimalist electronic structure knotted in the wavelets of oscillatory rhythms that some  tom-toms throw towards a more astral, a more tribal dimension. The rhythm rolls in loops and the tom-toms are drumming a peaceful rhythm whereas other elements such as a Mellotron, and its perfumes of flute, wiser percussions and dramatic electronic effects, which make sounding very 
TD of Le Parc years, are grafted and bring "Indian Garden" at the most electronic rhythmical level, with "Secret Illuminations", of “Altered States”. "Heart of the Desert" leads us in the more ambient lands of SOLITAIRE. It's a very quiet track, knotted in celestial synth pads which agglutinate in a compact mass and whose big dark cloud is scolding and swallowing the lonely riffs, which shows more intensity as the seconds fly by. Let's say that it's rather invasive as minimalist melody. But that's nothing compared to the approach of "Indelibility" which, after an intro molded in samplings of voices and percussions of the Middle East, plunges us in the devilish John Carpenter's universe and his famous Halloween music theme. Astonishing and mesmerizing. We understand a little more why the music of SOLITAIRE finds its place in movies such as Heat and Blade. As for me this art that possesses this duo to blend the genres and the ambient textures is the main strength of this album which is a real musical box full of nice surprises.
The dense pads of voices which open "Splendid Harmony" send me literally in the universe of French Skyline by the American duet Earthstar, released some 10 years earlier. The onset is very meditative and spiritual. It leads towards the breezes of a warm Mellotron among which the successive and minimalist breaths, marinated with pads of more celestial voices and those of a synth to the finely piercing harmonies, are falling in saccades and draw a kind of ascending procession. It's very like an ode for desert of dreams such as seen by
Steve Roach with a strong ancestry for the genre of French Skyline. "Mescalito Exit" is a very dark ambient piece of music based on a thick cloud of drones which gurgles in the secret and the ambient harmonies of a synth and of its scarlet shadows. Even there the influences of Roach are notable. The introduction of "Altered States/ Secret Illuminations" is very pompous, kind of music theme, where the angels are tearing the coat of the human race. The synth pads crowned of a Mephistophelian aura fall with fury, flooding the first minutes of a post-apocalyptic vision. A pulsation gets loose a little before the 3rd minute, pulling some heterogeneous noises and murmurs of Cyborg towards a more electronic structure. The structure is minimalist and soaked with these pads of Earthstar's seraphic voices. It shakes its passive keys around the 6th minute, introducing a quiet rhythm rocked by the harmonies scattered by a line of flutes and by a dense clouds to the colors of the emerald. "Raindance" also exploits this approach of minimalist melody as we heard on in "Indelibility" and "Heart of the Desert", but in a more oniric envelope, with some soft perfumes of flute, and slightly more livened up by nice tribal tom-tom. That reminds me enormously of the very beautiful main themes from the Cornucopia album by Matthias Thurow which was released in 1986. And this surprising album, a very beautiful surprise for me, ends with a fine live interpretation of "Altered States/Secret Illuminations" which finds a more ambient shape here.
I enjoyed a lot going at the discovery of “Altered States”. I discovered a very eclectic album which was strongly inspired by this very meditative movement of the 85-90 years with a vintage touch for the celestial voices synth layers. I won't go as far as saying that is a masterpiece, except that the parallels and the narrow links which unite it to the music of
Steve Roach, Earthstar, John Carpenter and Matthias Thurow are very exact and confer to this album a special place among the good ones of these years. If the meditative ambient genre livened up by soft beats and by beautiful minimalist melodies attracts you, “Altered States” is completely indicated to you!
Sylvain Lupari (July 30th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Projekt web shop here

mercredi 29 juillet 2015

RON BOOTS: Standing in the Rain (2014)

“This is another Ron Boots' strong album who got out from the complexities of Signs in the Sand in order to give us a strong and very inspired album of e-rock a la Dutch School”
1 A Good Day to Live 10:54
2 Chasing the Rabbit 6:39
3 Closed Eyes 4:20
4 Desolate Station 5:11
5 A Bright New Day 10:23
6 Lament for the Lonely 4:51
7 Of Wolves, Lannisters and Dragons 7:22
8 Longing For 4:37
9 Running from Walkers 7:30

Groove | GR-124 (CD/DDL 61:48) ****
(Dutch E-Rock)
Two years separate this last Ron Boots' album and the very Berliner a la Klaus Schulze Signs in the Sand. Nevertheless, Ron Boots wasn't inactive! Between a delicate surgery, an ambient album and his diverse appearances in festivals in Europe, the big boss of Groove Unlimited worked on a project which meant a lot to him for a long time. In spite of its 9 tracks scattered towards different essences, “Standing in the Rain” is an album concept. An album which is inspired by a multitudes of television series and movies which have left an imprint on Ron Boots' imagination. But it's especially a music tinted with melancholy, as shown very well by the artwork, which has seized the feelings of the spiritual guide of the Dutch School EM during the last two years. And it's flanked of Harold van der Heijden on drums and Frank Dorittke on guitars that Ron Boots has decided to express his feelings, as his passion for life and his world of fantasies on a music which embrace by moments some tints of funk, jazz and, most of all, dark romance. Above all it's a real jump in time, I think of Dreamscape or Acoustic Shadows, that Ron Boots invites us to. Him who has known so well how to get out of the complexities of Signs in the Sand in order to offer us another album which is still as high as our expectations.
A brief wave of melancholy invades our ears as soon as a synth perfumed of sadness and with a sigh which floats like a soul soaked by a saxophone is tipped over by an uncertain movement of bass pulsations. Another line of livelier and more palpitating sequences seizes the opening of "A Good Day to Live" which rolls now with quick orchestral saccades. While a line of bass is cooing in the background, a superb synth spreads its charms with a too beautiful whistled melody. Everything is in the details! And there are a lot those first 3 minutes of "A Good Day to Live". Lines of criss-crossed rhythms, electric mist, an elastic bass line, hidden percussions, dancing jingles, an Oboe tone perfumed of tenderness and wonderful synth solos. Such is the backdrop of this opening track and all those other structures of rhythms, because there are small jewels of tenderness here, which mark out “Standing in the Rain”. And this setting leads "A Good Day to Live" towards a solid e-rock with the drum of Harold van der Heijden and
Frank Dorittke's guitar which spits some very incisive solos, making of this track a classic to come in the repertoire of Ron Boots. "Chasing the Rabbit" is a more electronic track with a bit funky tendency. The rhythm is lively and catchy. That reminds me in some of the best Tangerine Dream in their Sonic Poem Series but with very good synth solos. "Lament for the Lonely" embraces a little the same kind. It's a nice ballad which nests on a good meshing of agitated and nervous sequences/percussions. The effect gives a slightly tremulous structure. A rather penetrating structure with tears of synth made up by tones of Oboe and beautiful arrangements. This is also some great music from Ron Boots. Moreover, everything in “Standing in the Rain” is very appealing. "A Bright New Day" flirta a little with the same moods. The approach is even a little more in the free jazz style with a zest of blues due to six-strings of  F.D. Project. Furthermore this guitar combined to the solid percussions of Harold van der Heijden add a clearly more musical dimension to the electronic approach of Ron Boots, so much that we would believe to hear MorPheuSz but in a shadowy dimension, a more romantic one. "Of Wolves, Lannisters and Dragons", which is very intense by the way, and "Running from Walkers" are feeding on the same essences but with a more moderated game plan where the slow intros are switching into rough and heavy finales centered on Frank Dorittke's six-strings. There are softer and more melancholic moments with "Closed Eyes" which is a very dark title with a shower of synth lines which draw an almost apocalyptic soundscape. It's rather melancholic with a lonesome Ron Boots on piano. "Longing For" is in the same vein, except that the piano cries downright there. It's a very moving track, just like "Desolate Station"; an intense ballad on a slow rhythm where the trumpet of Onder Nomaler spits superb very nostalgic harmonious solos. These are nice moments of relaxation in “Standing in the Rain” which aims to be another Ron Boots' strong album who excels at the art to enhance the standards of EM with an approach which mixes intensity, complexity, ambiguity and musicality. This is great EM we have here to which we listen to with images at full ears...
Sylvain Lupari (July 28th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You can order this album on the Groove store here

lundi 27 juillet 2015

MICHAEL BRÜCKNER & MATHIAS BRÜSSEL: Ondes Intergalactiques (2015)

“Here is a feast of deep ambiant music where our ears become the eyes which fix the night and its stars”
1 Ondes Intergalactiques Part I 17:38
2 Ondes Intergalactiques Part II 13:28
3 Ondes Intergalactiques Part III 15:11
4 Störtebecker (Encore) 7:15
5 Extension on an Early Sketch 20:00

Bruckner&Brüssel Music (CD-r/DVD-r/DDL) ****
(Ambient cosmic EM)
The Internet users and the fans of EM, especially the ambient form, discover more and more Michael Brückner's extreme versatility. The German musician/synthesist also forms a rather particular duet with Mathias Brüssel which is called La Mansarde Hermetique. And it's with the latter, who is a specialist of the diverse samplings with a strong propensity for those which are cosmic, that he was invited to participate at the Cosmic Nights Festival in 2015. Both accomplices annex their creativity quickly for this event while Michael Bruckner joins his cosmic and ambient textures of Mathias Brüssel's numerous intergalactic samplings in the frame of this festival which was held at the Belgium planetarium on May 29th, 2015. And as Michael Bruckner never makes anything half, the duet offers a CD/DVD box set which includes both a video presentation of the concert and all the music practiced and played during this event which is mainly for the lovers of ambient and cosmic music. And it's based on the improvised movements that the duet Brückner/Brüssel has penetrated the “Ondes Intergalactiques” of this festival which wins adepts more and more within the years.
Who says improvisation says sometimes long movement needed in order to establish a connection between 2 musicians who unite their cosmic visions for a first time in this concert. It's doubtless what explains the long introduction, I would have put aside the applauses, of "Ondes Intergalactiques Part I" where noises of frying, laconic pulsations and electronic clatters as heterogeneous as of sci-fi are flooding an intense opening embroidered in an ambient din. We hear hummings of gong, as well as other strikings on an intergalactic anvil, and cosmic voices describing a countdown. There is echoing hoops and sequences which unite their harmonies into an irregular stroboscopic thin line, whereas waves of synth, dreamy solos and cosmic choirs agglutinate on a background immensely soaked with a cosmic approach. We derive in the cosmos with an incredible precision for an improvised sonic banquet. A form of ambient rhythm emerges a little after the point of 7 minutes. We hear the echo of the sequences' shadows weaved a static rhythm which makes its organic aura pounding into dense, and the word is weak, tears of synth knotted by superb cosmic orchestrations. To say the least;
Michael Bruckner and Mathias Brüssel have knew how to adapt quickly their styles in a context of improvisation of an intergalactic music. Arpeggios skip in herds into a dense sound magma where are always flowing the tears of synth and spurt out their scarlet shadows with sharp lamentations. One would say singings of ghosts perfumed by the Martenot Waves. I liked it a lot! It's ambient but intense. We hear celestial bodies dominating the stars which parade like allegorical flames while the track soaks up its sweats in a very ambiospherical finale. "Ondes Intergalactiques Part II" proposes an introduction all in sounds where runs away a line of fluid and musical sequences which winds throughout a universe painted by dark voices. It's a movement which leads me back in the spirits of 
Tangerine Dream from their Phaedra and Rubycon years. Glass arpeggios are making their astral colors glittering, whereas a line of flute is charming a rhythm which little by little spreads its control with a livelier, and also heavier, movement. The movement is spherical and unties its minimalist loops which wave into some very nice and a subtle impulses of a bass line and whose shadows draw the lanes of intensity which haunt the singing made by the reflections of the celestial bodies. "Ondes Intergalactiques Part II" consumes its last sequences of rhythm which run away into the opening of "Ondes Intergalactiques Part III" where they pound furiously and make dance their organic shadows beneath the singings of a synth which always approaches “Ondes Intergalactiques” with a vision of sounds and tones experimentation. In the end, it turns out to be a solid e-rock, like in the vintage years, which concludes a solid 46 minutes of good improvised cosmic music.
From what I understand, "Störtebecker" is an encore that the Brückner/Brüssel duet had practiced four times before presenting it in its current shape for the needs of this festival. This is also a very intense and a very ambient music with a thick cloud of lines of synth which piles up in a very compact mass of galactic waves. And behind this curtain of sounds, a thin line of tones a bit nasal forms a movement of sequences of which the crystal clear keys remind me the universe of Software. The percussions fall and "Störtebecker" reveals the charms of a very good, and quite surprising, down-tempo. A cosmic down-tempo which will interrupt its mesmerizing cadence into atmospheres where the psychedelic approach is not really far from those attempts of Software to create a more experimental music. This is very good! I invite you to listen to it on the Bandcamp page of
Michael Bruckner and Mathias Brüssel. And when we speak about sound experiments, the 20 minutes of "Extension on an Early Sketch" is showing all its dimension in a rather intense ambient structure where stroll some lazy and brief structures of rhythms. It's more or less a track that we could considerer as a bonus one for the fans of the duet who will make a strong comeback in the skin of La Mansarde Hermetique.
Now, I know that “Ondes Intergalactiques” is an album from
Michael Bruckner and Mathias Brüssel, but I have to insist by underlining all the work of Michael Bruckner. No matter where he nests and what he is doing, there always emerges from his projects a solid and effictive EM. And it's exactly the case with this “Ondes Intergalactiques” and its cosmic ambient music, its slow celestial ambiospherical synth pads as well as its gradual and magnetizing structure of rhythms which are the beginnings of a sonic decoration where our ears become the eyes which fix the night and its stars.
Sylvain Lupari (July 26th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on Michael Bruckner and Mathias Brüssel Bandcamp here

samedi 25 juillet 2015

SYLVAIN CAREL: Heritage (2015)

“Again, this is another fantastic musical journey from Sylvain Carel who is a master of the Middle-East soundscapes”
1 Last Song for a Vestal 6:18
2 Gladiator's Arena 5:57
3 Conquest for the Golden Fields 8:22
4 The Gates of Petra 6:09
5 Old Stones Memories 4:31
6 In the Court of the King 6:56
7 Here was the Pilgrim 7:25
8 Solar Priest 7:48
9 Exile 7:14
10 Jasmina Flower 5:09
11 Tribal Dance 7:19

Sylvain Carel Music (CD 73:12) ****
(Cinematographic, orchestral EM)
It's true that I am beforehand won when I listen to a music which possesses as backdrop the mysticism of the old Arabic civilizations. I am a romantic and the soft poetic perfume of the Middle East gets me exhilarated. Thus, you guess that I fell under the numerous charms of this last Sylvain Carel's opus. Nevertheless it's rather surprising, because each time I undertake the discovering of the music of the French musician/synthesist my ears retract. They become reluctant. Too much soaked with the complexities of EM? Or still the Berlin School? How to explain! Nevertheless the music of Sylvain Carel is everything, except simple-minded. It's embroidered in the imagination of an author who has a very sophisticated vision of EM. An author who approaches it with a philharmonic approach reserved to names as prestigious as Vangelis and, more recently, Bernd Kistenmacher. “Heritage” is an epic musical adventure which draws its inspiration from the ancient histories where the fragrances of the Middle East, the East and the Mediterranean Sea melt themselves in splendid orchestrations. The work has Babylonian and very cinematographic essences. Each intro possesses an ambient cachet tinted with romance and with mysticism. Sylvain Carel lays here some evanescent and evasive melodies which are sculptured in the diverse charms of many flutes, in the astral colors from many breezes and in the notes of an acoustic six-strings as dreamy as solitary. The voices, that Carel has borrowed from the diverse singers who accompanied his music over the years, are omnipresent and add a very esoteric dimension to this opus built upon the visions of a poetic globe-trotter. And each introduction follows its crescendo. A curve of emotions which leads to a panoply of fluid rhythms like an e-rock a la Jerome Froese or good Electronica. Rhythms and romances which are grasped by enveloping orchestrations and which will eternally be tamed by the violins of Eden. And that begins smoothly.
"Last Song for a Vestal" sets the tone with a rather ambient opening. The synth weaves breezes to the colors of abandonment and the violins cry the resentment of these breezes. A delicate oniric voice is murmuring over the shadows of a very meditative piano. The melody wraps itself of a line of flute a little bit muddled. It's somewhat as if some spectres wanted to make us feel their presences. The rhythm wakes up quite slowly. It's skip lasciviously in astral mists before receiving the encircling caresses of the orchestrations. It's soft without being ambient, it's lively without being strongly rhythmic. "Gladiator's Arena" proposes a slow but lively tribal rhythm with good clanic percussions which shape a smooth and hypnotic dance. The arrangements are finely defined with caresses of violin and also with soft jerky knocks. The structure spreads a slow staccato with exhilarating spectral voices and superb percussions, a hidden treasure in “Heritage”, where the violins dance and burst out in the dawns of the mists of the flutes. The wealth and the musical envelope is simply stunning. As all around here, everything is linked with a surprising duality in the atmospheres, the ballads and the melodies. And we hear of everything; tribal percussions, Mediterranean guitars, Babylon orchestrations, snake charmers' flutes and a skillful mixture of seraphic voices and of Berber spectral voices. It's rich and very seductive. "Conquest for the Golden Fields" is my first real crush of “Heritage”. The intro is forged in silk with celestial breaths which espouse the ambient charms of a heathen flute. The violins which invite themselves to this ambient dance are spreading a thick cloud of sonic caresses which seems to fall from heavens. It's very intense. There are notes of a very discreet acoustic six-strings which unifies its solitude in a movement which tames its soft jerks in the tenderness of an ethereal voice and in the ringings of a bell that only the fairies of the deserts know how to make so melodious. The effect is very kind of a biblical movie. Very Babylonian with a wonderful orchestral wealth. From ambient, the intro becomes a ballad finely knotted in the orchestral jolts where are added treasures of percussions and trumpets that we hear in those victorious parades. After 3 minutes sculptured in the intensity, the track dives into an atmospheric phase where the synths draw some many threatening shadows as well as some fluty breezes and where the spectral voices and the acoustic guitar are exchanging their charms.
"The Gates of Petra" follows with a quiet approach which little by little is transformed into a delicate rhythm embroidered in the riffs of an acoustic six-strings, electronic elements and always these fanciful violins which are extirpate from the East West/Quantum Leap synth. "Old Stones Memories" follows the same rule. It's a beautiful soft and very ambient ballad which is arise from the breezes of the desert and from its rattle charms. A delicate piano spreads its melancholy that a flute implants even more in the country of nostalgia. It's soft and it's tender, even when the percussions and the orchestrations shake the ambiences with a soft rhythm and even when a voice, as well as an acoustic guitar, caress those moods with a shadow of a melody a little bit secret. "In the Court of the King" propose a of Electronica dance after a very ambient intro. This is doubtless the most electronic track of this album and the addition of a kind of Sitar brings a very oriental flavor. "Here was the Pilgrim" is a nice poignant piece of music. An ambient track rich in orchestrations where the tears of violins cry on a piano as melodious as pensive. A Chinese violin and an angelic choir come to amplify the dimension of sadness which surrounds the most moving track from “Heritage” although that "Solar Priest" is not outdone, even with its delicate rhythm perfumed of the charms from the East which shakes its last seconds. Still there, orchestrations are delicious. We are doubtless in the quietest phase of this last
Sylvain Carel's album. "Exile" follows with a first portion very ambiospherical before laying down a structure of rhythm which uses the fragrances of a very Electronica approach. After an intro charmed by the singings of an Oriental flute, "Jasmina Flower" offers a finale where the sweetness controls a very beautiful play of percussions. "Tribal Dance" ends in strength and in beauty with a furious structure where the electronic rock and the Electronica fills our ears in a mixture of Tangerine Dream, Jerome Froese years, and of Enigma. Intense, furious and very lively! And what a way to conclude another beautiful adventure all in music from Sylvain Carel.
Sylvain Lupari (July 24th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on Sylvain Carel's web shop here