jeudi 8 décembre 2016

BINAR: Tales of the Uninformed Part I (2016)

“Tales of the Uninformed Part I establishes this unbreakable link that Binar has stitched between the Berlin School, the England School and the Psybient styles”
1 Bose-Einstein Condensation| 12:16
2 Reflected Glory| 6:22
3 A Finger, The Moon| 9:01
4 The Lost Decades| 12:19
5 Skyway| 9:01
6 B-boner E-bola| 12:07

Binar Music (DDL 61:06) ****
(Mix of Berlin and England School tied to Psybient roots)
Ah … The universe of Binar! Performed and recorded during the Lea Hall Summer Bawl, in Staffordshire on August 2016, Tales of the Uninformed puts onto relief the very particular character of two exterminators of ethereal ambiences who refute all protocols while being as much delicious as original. Andy Pickford and Paul Nagle are shining in an always satiric context with 2 downloadable albums and 3 videos available on You Tube. Binar returns to us in very good shape with a music always so unique which makes an irrefutable link between the Berlin School, the England School and the Psybient styles in this duology that we listen to the senses as well awake than drowsy by a doubtful substance such as a golden superficial grass.
Effects of twisted sounds which configure the roarings of machines gather themselves on a disturbing bass line where are nesting some voices and effects deserving of sowing the psychosis to those who are not still sure to have the gene. These effects of voices similar to those which obsess us through the fogs of our nightmares, these chthonian choruses which mumble the incoherence and these sound effects always very unique to the
Binar signature will be the bed of increasing rhythms and of mislaid melodies which will flabbergast our senses for these 2 parts of this event where the Psybient was king of the evening. Jingles of cymbals fly like butterflies all around the introduction of "Bose-Einstein Condensation" where the cosmos and the darkness connect their frontiers. A line of sequences scatters some keys which wind up and then disappear to reappear under another shape in a structure of rhythm which takes a little more its shape with deaf knockings. This techno for Zombies marinated to LSD remains suspended to its effects while the synth lines float and release a morphic perfume. But nothing goes easy in the universe of Binar. Whereas these synth lines, perfumed now of the apocalypse according to Vangelis, try to tame our phase of falling asleep, the rhythmic embryo wakes up to force a more fluid and steady approach where the harmonious layers of synths drink of the Tangerine Dream universe  Lively, this phase of 6 minutes of "Bose-Einstein Condensation" fades out in the secret of keyboard chords which will awaken in some of us a taste to listen to some good old Pink Floyd. Psybient, Berlin School and essences of the England progressive music "Bose-Einstein Condensation" is a wonderful prelude to the Binardesque universe of “Tales of the Uninformed Part I”. Each title is linked in a psychedelic mosaic of 60 minutes. The structure of "Reflected Glory" wakes up to the sounds of manual percussions effects. The rhythm, as indomitable as a mustang, gives its kicks in parallel with effects of harmonies which cannot resist to the severe bludgeoning of the percussions. This ambient and noisy rhythm is naturally coated by effects of Gothic voices and by a swarm of tones which would be too long to describe. One moves then to the other track.

Detaching itself from cosmic effects which decorate its intro, "A Finger, The Moon" throws at us a solid and contagious rhythm with synth solos which wind like centipedes comfortably stoned on a bed of sequences in continual movement. Infectious, this structure amplifies its extravagance by challenging its minutes to the counter before going out in the arms of an unrecognizable Morpheus. The play of sequences and percussions is as much contagious here than those superb synth solos. Binar at its best! Like it or not, the influences of Tangerine Dream is always in the front-scene of an EM carried by rhythms sculptured in the undulations of dark and sneaky sequences. This is the way that takes place "The Lost Decades" and its soft rhythm which oscillates in a context of a Psybient discreet as the skeleton of its rhythm. The synth layers and their effects inhale the Green Desert era with good aerial soloes which overfly a rhythmic region shaken by another adjacent line of rhythm towards the 6th minute. Delicious, these sequences skip with a wooden tone in a seraphic atmosphere of the 70’s. There’s another solid title which lays a soothing dose to the Binardesque madness. A clam that "Skyway" tears to shred with a rhythm as lively as "A Finger, The Moon" but where the electronic rock phase gets lost in splendid and unexpected Electronica and even in a fiery movement of Trance and Dance always identified with the Binar effects. Outstanding! "B-boner E-bola" ends this first part of Tales of the Uninformed with a long ambient, but not at all meditative, passage with snores and mooing of machinery possessed by a hideous and cataplectic substance which eventually cuts down the pleasure of the listening. A little bit long title which doesn’t cut in half at all this delicious album of Binar. Let’s dive in “Tales of the Uninformed Part II” now!
Sylvain Lupari (08/12/2016) &
You will find this album on Andy Pickford Bandcamp page here

mardi 6 décembre 2016

WELLENVORM: Petrified Forest (2016)

“Observe the tones, hear the noises and welcome to the third sound dimension of Petrified Forest, of WellenVorm”
1 Perm 6:21
2 Twilight 5:11
3 Thunder 10:00
4 Blust Wave :55
5 Nu,e Ardente 7:35
6 Crystal Wood 8:10
7 Petrified Logs 9:21
8 Endless Silence 10:02

MellowJet Records | CD WV 1601 (CD/DDL 57:35) ****¼
(Theatrical EM and neo post e-rock)
Oh...that I loved the very first album of WellenVorm, Toene des Nebels in 2014, where the structures of rhythms were totally dominated by the mortuary atmospheres. This immersion of sounds which broke rhythms and evanescent melodies led us to outstanding sound territories. Uwe Rottluff does it again with “Petrified Forest” and his music as gloomy than intrusive which is inspired by the genesis of his home town Chemnitz in Germany (Sachsen) and of the petrified forest which attracts a very large number of tourists. And believe me, that does not take a lot of imagination to be part of these tourists well at warm in our salon with earphones (very important) well screwed on our ears.
Perm" puts us straight in the atmospheres with a thick cloud of iridescent lines from where escape ringings and howlings. The noise of the synth lines weaves a blower of machinery which suffers from its shouts. A movement of sequences extricates itself from this metallic halo in order to wag like an elf who spreads his rhythmic crumbs to find his way back. Always so creative as theatrical, Uwe Rottluff has the art to forge two lines of rhythm which overlap without ever spreading a pace of fire. Here, everything is frozen. The mooing of the sirens comes from everywhere whereas the rhythms and the melodies interlace their stationary charms in a tetanized ambience. The first real skeleton of melody appears in the wonderful and powerful "Twilight". The rhythm is slow but present. It bangs with scattered beatings which let drop the lappings of the hoofs on a hardened surface. The delight comes from a dark synth line which seems to wake up between the torpor of the lavas crystallized in their carbonized membranes. A celestial voice rises over this sleepy fury, adding a horrifying dramatic approach which remains anchored in our ears beyond the borders of "Thunder" and its apocalyptic beatings which disturb a calcified fauna. That does not prevent a very beautiful melodious approach from hatching after the point of 3 minutes. Drinking on the effects of "Twilight", it floats in this universe of perdition where all the noises enchant as much as disturb in an atmosphere which stupefies our senses always on the lookout for a rhythm of which the disrupted approach enriches even more the feeling of suspense which puts ablaze the universe of “Petrified Forest”.
After "
Blust Wave" which mislaid its scarlet mooings and its irascible thunders in the oblivion, "Nu,e Ardente" propose an approach of post neo e-rock with a structure of atmospheres pierced by slivers of rhythms and of fragments of melodies tried by a fluty synth. These mooing which decorate the eschatological landscape part of “Petrified Forest” stigmatize a vision of disaster which seems to stay this invisible witness of this tragedy arisen some thousands of years earlier. We always stay in these divided rhythms which kick under the gilt of fluty harmonies with the rebel and indomitable, and nevertheless very beautiful, "Crystal Wood" and its crystallized arpeggios which slightly dance in a chthonian atmosphere and in a mid-tempo which looks constantly to join each tip of its phases. This is a strong title where the sound effects, there is plethora here as all over “Petrified Forest”, dominate the ambiences as well as the phases of rhythms and melodies. In a more Berliner style electronic approach, the sequencing does very Christopher Franke here, "Petrified Logs" is also torn between its phases of rhythm which try constantly to connect their ends in atmospheres which are clearly more taciturn, more horrifying. The intensity of the writing style of Uwe Rottluff is always galvanized by summits as touching as the distress of a tribe in front of the inescapable disaster of the blazing fire from the lavas. "Endless Silence" is not as silent as its title indicates it. It’s another compact mass of sounds and of petrified rhythms which try to knot the incoherence and the absences between these phases which feed the dimension of delight and of fright which crystallizes the some 58 minutes of another brilliant album of WellenVorm. An inescapable one for the fans of parallel universes!

Sylvain Lupari (December 6th, 2016) &
You will find this album on the MellowJet Records shop here

samedi 3 décembre 2016

FRYDERYK JONA: Warm Sequencing (2016)

“Minimalist evolving beats in a wall of layers and solos unique to the touch of Fryderyk Jona, Warm Sequencing is yet another seductive album filled of memories of the great Schulze”

1 Warm Sequencing I 17:12
2 Warm Sequencing II 12:44
3 Warm Sequencing III 18:06
SynthMusik (CD Digipack 48:02) ****
(Vintage Berlin School)
Three long minimalist structures of which the sweet evolutions are filled with the perfumes of the In Blue album from Klaus Schulze, “Warm Sequencing” continues where Init Mind had escorted the very beautiful Electronic Ballad. Cosmic rustles and astral moods open "Warm Sequencing I". Layers of voices soaked of celestial poetry and an intergalactic fog float on sizzling and tremulous chords. The effect of jerks of these chords sounds like worn out vuvuzelas. Quietly, Fryderyk Jona sets the tone in his last work with a very vintage atmosphere at the level of the effects and of the suspense. The chords skip, after the point of 3 minutes, in a timeless corridor sculptured by a hollow breeze. Some ringings dance in the background at the same time as sequences sparkle like bubbles of which the short-lived existence brushes the incomprehension. Hypnotic, this structure of ambient rhythm reinforces the tone around the 6 minutes with the appearance of fine percussions and the beatings of a good line of bass. The 1st transformation is smoothly made while a beautiful brook of arpeggios weaves a harmony where there is no place left to put another chord. The Tabla and Bongo percussions as well as these soft pulsations lead the rhythm of "Warm Sequencing I" towards a very good cosmic Groove where the percussions always play a divinatory role in the music of Fryderyk Jona. Always accelerating subtly the pace, "Warm Sequencing I" sniffs its end with very nice synths solos, reminding us that Jona masters marvellously the sequencer, the beatbox and the synthesizer.The trouble with “Warm Sequencing” is that it follows monuments such as Init Mind and Electronic Ballad. The effect of surprise is thus amputated by many, because the music evolves on the same minimalist patterns of Fryderyk Jona’s last 2 albums. The difference is in the nuances. The oscillatory movements of the sequencer always weave hypnotic rhythms which wave as the hips of a Baladi dancer in an intersidereal universe that Jona decorates of these delicious oriental percussions and sound effects borrowed in the galaxy of the 70’s. And always, the evolution of 3 phases goes on in subtlety. "Warm Sequencing II" adopts the same introductory tangent as the opening track before offering a more fluid and sensual movement. The synth layers are abundant, here as in the other 2 tracks, with very aerial solos while the percussions and the pulsatory bass line take care of barding the undulatory motion of the sequencer. Movement which also takes care of the opening of "Warm Sequencing III", by far the most addicting title of “Warm Sequencing”. Here, everything is more lively and rich in effects of rhythm and of meditation. In fact, it’s an attractive fight between both poles. The bass line eats our ears with an approach where the rhythm and the melody run out to copulate and incite our senses to float at the same diapason as the line of rhythm and its percussions oblige our feet to flood the ground of scattered banging noises. Magnetized, our senses collide the reality at around the 13th minute when Fryderyk Jona fills our ears of these soloes as unique as the tone of its synth. Magical! I know, I have already said … But the music of “Warm Sequencing”, of Fryderyk Jona, is as much intrusive and delicious as these first memories of the perfumes of our first teachers, as those first loves of our youth. Even if they are usual, they always have the same seducing effect on us. Inescapable for the fans of Fryderyk Jona and for the main part for those who regret this majestic period of Klaus Schulze! Ah these perfumes of tones …
Sylvain Lupari (December 3rd, 2016) &

You will find this album on the Fryderyk Jona web site here or via Bandcamp here

jeudi 1 décembre 2016

FRYDERYK JONA: Init Mind (2015)

“What we have here is a sublime album which mixes both poles of the Berlin School style”

1 Init Mind I 23:05
2 Init Mind II 23:18

SynthMusik (CD 46:23) ****½
(Mix of vintage and New Berlin School)
I received this “Init Mind” at the same time as Electronic Ballad at the end of 2015. And if I remember well, I had been seduced as much at the listening of this 3rd solo album of Fryderyk Jona as with Electronic Ballad. At that time, and it’s always like that anyway, my desk was full, and my PC even more, of albums to be chronicled. Months have spent and one day I listened to “Init Mind”. I was blown again! I had to talk about it. But when? And then I receive Warm Sequencing last month. The occasion is thus quite dreamed to speak to you about an album that I would have had to speak to you in 2015. And here is why …
After some seconds of dark ambiences, a sequencer movement launches a lively and fluid line of rhythm with a delicately jerky flow. A wave of bass warms the atmospheres while jingles as well as charming effects of percussions give a little more relief to these crystalline sequences and to a rhythm which shines of beautiful electronic effects. On these hybrid oscillations, the chants of the synth borrow a style of cosmic Funk, a little as
Klaus Schulze in his Dreams era. Conjugating the art of the minimalism marvellously, Fryderyk Jona shows talent and control by adding to "Init Mind I" all the fineries of the EM of the 90’s on a structure which also frees perfumes of the analog era. Pulsations of bass drum, a light permutation in the minimalist approach, short more aerial and especially very good percussive effects are supporting the subtle variances of this first part of “Init Mind”. At times, Fryderyk Jona strips his structure by keeping elements which feed a crescendo that we feel bursting all the time, adding as much depth as suspense to "Init Mind I". The awaited explosion won’t come here. It’s rather a rhythm always relatively soft which is rocked by beautiful glittering effects like an astral water and good more pronounced bass pulsations that the Polish synthesist offers to our ears. The synth takes the fineries of a forsaken saxophonist with beautiful solos while quietly the anticipated swiftness takes finally the top, just a little before the finale of "Init Mind I" where we simply just can't stop to make a link with the The Dark Side of the Moog series. If "Init Mind I" sways between seduction and indecision, its older brother will leave us no chance!
The onset of "
Init Mind 2" is also dark, although that some more translucent synth layers sweep its landscape. It’s the beat a bit Groove that gets out of these vapes a little before the 120 seconds which decides between both minimalist figures of “Init Mind”. Here, the percussions are also seductive as in the colossal Miditerranean Pads from Klaus Schulze. Electronic bongo drums resound in the 4 corners of our hi-fi room while the bass line shapes a rhythm as slow as a moonwalk with a wavelike motion of which the repeated pulsations lead towards a more accentuated level. In symbiosis with this very hypnotic tempo, the synth lays a wave which vacillates like a flame while delighting our ears of solos which sing as those of a quite shy guitar. This wonderful movement switches off its magic at around the 8 minutes, diving into some meditative moods and hesitations between a revival or the total abandonment to soporific ambiences. At this point the synth layers caress us like the hand of a restless mom. And 3 minutes farther, the rhythm refuses the resignation by making burst percussions on a delicate movement of sequences which is waving like the flame of before. We always float on the wings of those synth solos which are melancholic and melodious. These solos bring us towards a guitar endowed with an acoustic texture and a rhythmic pattern as heavy as sensual where Fryderyk Jona spreads the perfumes of his fantasies. Magical that I tell you! Magic in an album which plunges us into a universe that we have never wanted to leave.

Sylvain Lupari (December 1st, 2016) &
You will find this album on the Fryderyk Jona web site here or via Bandcamp here

mardi 29 novembre 2016

OWANN: Eternal Return (2016)

“Between rhythms and ambiences, the music of Eternal Return travels with the elegance of the most beautiful sonic poems”
1 Return to Sils-Maria 9:40
2 Frozen 5:56
3 White Forest 6:48
4 Silvaplana 15:40
5 Muottas Muragl 5:25
6 Eternal Return 8:00
7 Walking in Surlei 20:12
8 Memories 4:24

Wool-E Discs | WED006 (Digipak 76:05) ****½
(Mix of ambient moods and Berlin School)
Like winds coming from icy summits, a distant humming sweeps the horizons of "Return to Sils-Maria". We hear waves there to roll in the air, as these snowbanks which tumble down from the mountains. And then, the noise of the void which widens its veil of the sadness. And behind these 90 seconds, a superb movement of crystal clear sequences pierces the mystery and draws spheroidal circles of which the graceful movements of the fairy ballerinas swirl on the slow amplitudes of a completely delicious bass line. We dance and dance in our head with these fairies, like we waltz on the theatrical ice where are tipping over the fogs and the frosts of the cold. We are not alone. No! Layers of synth with perfumes as much heavy as black wrap these embraces of an unreal touch, so giving more tonus to the circular rhythm of "Return to Sils-Maria" which is a splendid opening to this 2nd long-awaited album from Owann. Inspired by the several stays of the German philosopher Friedrich Nietzsche in Sils-Maria between 1881 and 1883, Johan De Paepe undertook a kind of musical pilgrimage in the winter of 2016. Blown by the beauty of the landscapes, his trip inspired him the title of “Eternal Return” following a concept, a contents of thoughts, wrote by Friedrich Nietzsche during a stay in the enchanting décor of this small village of Switzerland. This sound collection of Owann is so traced on the model of his very beautiful Particles; an album intensely poetic. And between rhythms and ambiences, his music travels with the elegance of the most beautiful sonic poems. After this small jewel which is "Return to Sils-Maria", "Frozen" throws us in a state of hibernation with slow synth layers filled of sizzling and grave tones which infuse a delicate sibylline perfume. The undulation of the layers makes sing the cold in a universe of deep ambient moods as penetrating as that of the Steve Roach. The opening of "White Forest" is like a fine drizzle which crystallizes its embrace. If the movement is slow, it's still melodious with a piano which tosses its notes as thousands of branches which burst under the torture of the cold. We even hear the ghosts of the forest here to snivel of solitude. We can even imagine their breaths get congeal in the cold while the echo of the keyboard chords gets lost among these heavy effects of reverberations which hide the lunar decoration of “Eternal Return”. After an introduction of ambiences where our ears get beatified in front of a concert of drones which accumulate its iridescent lamentations in a symphony for cold hummings, "Silvaplana" glitters between our ears as these Michael Stearns' mirages in M'Ocean! Fluid but relatively quiet, the sequenced waves stack static loops of rhythm which let fall some repetitive harmonious filets where hide murmurs and humming of an astral choir. This is a splendid title which little by little takes the shape a very good morphic slow dance.
"Muottas Muragl" is a crossing between the ambient moods of "
Frozen" and "White Forest" with pinched keyboard chords which reveal a perfume of Steve Howe. Intense and dramatic, like the title-track which also proposes a wall of breaths and hummings in a warmer and also more sibylline envelope. The same recipe is kept for the opening of the sublime "Walking in Surlei" which will climb all the roads of the Berlin School EM style with its delicately jerky structure of rhythm where the sequences possess this breath of glass flute while keeping a percussive approach. A wide carpet of mist unties some strands which roam like starving spectres. Simply joyous. The music dives into an ambiosonic void after the point of 8:30 minutes. Then a sweet movement of sequences so close to those of Klaus Schulze’s contemporary years emerges. The beat gets on its feet again some 90 seconds farther. As much beautiful and magnetic as its first phase, it adopts an approach closer to Electronica with a nice morphic down-tempo. The bangings, the mute choir and the effects of resounding drones lead this wonderful title in a completely unexpected territory. Brilliant! Hat to Owann for it. "Memories" concludes this superb album of Johan De Paepe with a piano which throws its notes as we filter our souvenirs. The melody which results from it is like a shower of tears over the most beautiful moments of a life passage already too far. Yes, a very beautiful album my friends.Sylvain Lupari (November 29th, 2016) &

You will find this album on the Owann Bandcamp page here