dimanche 1 mai 2016

E-MUSIKGRUPPE LUX OHR: Live at Roadburn (2016)

“Live at Roadburn 2014 is the equivalent of a Greatest Hits of an EM suitable to go with the new Krautrock movement from Finland”
1 Die Suche nach dem Horizont 12:30
2 Durch den kosmischen Dunst 11:42
3 Hypnogenesis III 15:26
4 Traumraum 6:03
5 Spiralo IV 4:00
6 Spiralo V 7:11
7 Spiralo VI 4:50
8 Jenseits der Mauer des Schlafes 20:12

SVART Records (LP/DDL 81:54) ****
(Mix of Berlin School and Krautrock)

E-Musikgruppe Lux Ohr is rather prolific these days. One E.P., Jenseits der Mauer des Schlafes, went out at the end of 2015 and now the group of neo-Krautrock of Finland tosses us 2 albums in concert which are available in vinyl (2LP) and in digital format on the page Bandcamp of the group. “Live at Roadburn 2014” redraws a concert given in the Netherlands within the framework of the Roadburn Festival in Tilburg on April 2014. The double album proposes very good extracts of Kometenbahn, with the delicious "Durch den kosmischen Dunst", and Spiralo. For the rest, Pertti Grönholm, Kimi Kärki, Jaakko Penttinen and Ismo Virta offer us some solid original music where the perfumes of Pink Floyd go alongside Tangerine Dream's movements of sequences and layers of mystic Mellotron.
"
Die Suche nach dem Horizont" begins the charm operation with noises of constellations which are gobbled up by waves of cosmic sounds. Wooden jingles which sound like anaemic cowbells twinkle among two repetitive mumblings of the bass, while the guitar throws cosmic sighs which fade out on a keyboard and the color of its tones which resuscitates the period of Ray Manzarek. A line of sequences makes its keys waddle in a structure of vintage electronic rhythm which rises up and comes down in a minimalist pattern ideal for a duel between a very airy guitar, even if its riffs and its furious solos are delicately aggressive. And little by little, "Die Suche nach dem Horizont" gets out of breath in order to faint in the wonderful chant of the Mellotron which opens the seraphic march of the superb "Durch den kosmischen Dunst". The interpretation, here as on the Face C of the album which includes 3 titles from Spiralo, and on Face D, which includes a little longer version of "Jenseits der Mauer des Schlafes", is delicious with a light difference in tones and nuances at the level of the Mellotron and the synths. This is real live stuff here and we can hear it, but at no moment the nature of the music gets lost in illogical suites "Durch den kosmischen Dunst" concludes the Face A of this double vinyl.

The Face B presents totally unreleased music. Twists of wiish and woosh seize our ears as well as lines of reverberations which waltz heavily in this storm of synth winds. There is a kind mixture of musical poles which intertwine here. I'm thinking of Led Zeppelin (Friends), Tangerine Dream (the chthonian choirs) and Pink Floyd (for the line of bass simply catchy). They unite their disparities in an opening of which the outcome we guess as the bass gets more aggressive, a little as in One of these Days and Echoes from Pink Floyd's Meddle. "Hypnogenesis III", the 2 first parts belong to the album Live at Sibelius Museum in 2010, takes off with this bass and a line of oscillating sequences which sculpt the hypnotic beauties of the vintage electronic rhythms. The Mellotron spreads its mists and the guitar is tear in two by spitting solos and riffs in a furious envelope deserving of the 77 tour of the Dream, but with a psychedelic approach which precedes a little this era. The Mellotron moderates a little the fury of "Hypnogenesis III" with beautiful fluty airs, but the envelope persists in maintaining its heaviness until its finale which serves as bridge between "Hypnogenesis III" and the most esoteric "Traumraum" which is no more and no less like these slow floating waltzes of the hallucinogens years with tears of E-Bow, chirpings and electronic effects which float and bicker on a soft rhythm which is as much anesthetizing than a mass for those who hallucinate of an interstellar world.
I do not know the universe of Krautrock, but if there are groups for E-Musikgruppe Lux Ohr, I am willing to stuff my face of it. It seems to me that the music of the Floyd, the pre Dark Side of the Moon, and of Tangerine Dream, pre Exit, give themselves a rendezvous in this universe where the basic instruments of rock go marvelously with those of the EM of the analog period. And it's exactly the source of the music of this Finland band which amazes and soaks me with sound happiness from album to album. From track to track! And this “Live at Roadburn 2014” is the equivalent of a Best Of an EM which is simply worth to hear. A very beautiful album!
Sylvain Lupari (April 30th, 2016)
gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the E-Musikgruppe Lux Ohr Bandcamp page here

samedi 30 avril 2016

TANGERINE DREAM: L'Affaire Wallraff/The Man Inside (1992)

“I'm not a big fan of this TD era. So is L'Affaire Wallraff (The Man Inside) is worthy of its high price for object of rarities? I guees that only a true fan could answer to this question and I suspect that it will be a yes”
1 Wallraff's Theme 1:36
2 Tendency of Love 3:58
3 Addicted to the Truth 4:35
4 World of the Standard 4:10
5 Purposes Of Brevity 4:30
6 Tobel's Death by the River 4:22
7 Taboo Society 3:17
8 The Drive to Hanover 4:40
9 Correlation of Lies 3:45
10 Investigation 4:16
11 News and Morality 4:45

EMI France | 795 617-2 (CD 43:54) ***
(E-Rock)

I know that reviews about the works of Tangerine Dream arouse a great deal of debates. And it's not because it displeases that I won't have to write about it. On the contrary, if I was a neophyte of the Dream world I would appreciate a lot to read reviews and articles about the too numerous records of Edgar Froese group. I thus keep my momentum with another album very difficult to find; “L'Affaire Wallraff (The Man Inside)” which, unfortunately and in all objectivity, is far from being worth the price of its rarity. Composed in 1989, either at the time of Lily of the Beach, the music of this Bobby Roth's movie is boiling of these rhythms in boxes which furnish the tempos of the Dream music of its the so called Seattle years. “L'Affaire Wallraff (The Man Inside)” is consisted of 11 tracks of an average length of 4 minutes each. Thus if we look for marvels in evolutionary and a little bit complex structures, we have to look somewhere else! Four minutes with an intro and a finale, there not much time left to put some meat around the bone. With “L'Affaire Wallraff (The Man Inside)” we are on known territory where the percussions hammer and tumble down on structures which smell the warmed, as the dramatic "Addicted to the Truth" (a good title) which seems to have escaped from the Near Dark sessions, and other tracks which smell to the ears full of the sessions of Lily on the Beach, Miracle Mile and even Rockoon. So, a must for the fans of this period. The rhythms are heavy, the percussions are well worked  and there are even some patterns of sequences which radiate the vestiges of Chris Franke; "Wallraff's Theme", "World of the Standard" and "Taboo Society" although very cold and at times quite uniforms. The rest is rather insipid and without interest, except for lighter tracks such as "Tendancy for Love" and "New and Morality" where we manage to smell a kind of emotion. In brief; a  TD of the 90's where the emotionalism gives way to a cash register and where only the easy cash seems to be the principal source of motivation. If you have the means of your worship, it appears by moments on eBay, but you have to be careful and watch out because there are some pretty nice imitations out there which circulate from times to times. And there are at high prices too. Ah...this wonderful world of Tangerine Dream!
Sylvain Lupari (Firstly written on September 11th, 2010. Translated on April 30th, 2016
gutsofdarkness.com & synthsequences.blogspot.ca

jeudi 28 avril 2016

E-MUSIKGRUPPE LUX OHR: Jenseits der Mauer des Schlafes (2015)

“This is a solid track of psychedelic electronic rock which plays constantly on the borders of Krautrock and of Berlin School”
1 Jenseits der Mauer des Schlafes 18:57
Svart Records | SVR417 (DDL/E.P. 18:57) ****
(Krautrock and Berlin School)

Here is a thing which was lying about on my desk and which I almost ignored. Yet, since the excellent Kometenbahn, released in 2013, I had the sting for this band which lead us a few years behind with a psychedelic electronic rock which plays constantly on the borders of Krautrock and of Berlin School. Written in the stride of Spiralo, “Jenseits der Mauer des Schlafes” is part of a common project with the néokraut group Hisko Detria which aims to expose both bands in a wider audience. If the Finnish label Svart Records has launched this new adventure in vinyl,  it is however possible to get “Jenseits der Mauer des Schlafes” in digital format on the Bandcamp page of E-Musikgruppe Lux Ohr.
Carillons evaporate their ringings in droplets of stagnant water, whereas a line of riffs (tchoo-tchoo) chops boorishly the introductory atmospheres of "Jenseits der Mauer des Schlafes", a title which is inspired by a short story of H.P. Lovecraft entitled Beyond the Wall of Sleep. Nothing gets lost in the universe of E-Musikgruppe Lux Ohr! If the carillons are running away towards the limbo, their imprints remain always present and ring cheerfully on the handle of a bass of which the spheroidal notes roam and crawl upright,  bringing heaviness and swiftness to a charmingly jerky and deliciously hypnotic figure of rhythm. An E-Bow is painting the whole thing with plaintive sighs and weeping solos whereas the synth calls some solos which roll in loops while crumbling some psychedelic electronic effects. We are in the pure cosmic rock of the Ashra years with this mixture of guitar and synth which make duel, as much in solos and harmonies as in the effects, on a repetitive rhythmic slightly spasmodic where always waltz these ringings which are now join by clinking of percussions a bit metallic. The rhythm loses its escalation at around 9 minutes to dive into the dark atmospheres which are inspired by the novel of H.P. Lovecraft. The bass and the percussions roam always in the background. With the effects of the synth, they weave a cabalistic envelope where the voice of Kimi Kärki recites a devilish incantation. The voice becomes voices and the envelope of ambiences becomes more chthonian whereas that little by little the structure of rhythm finds its vigour in a kind of jerky clanic trance where the psychedelic effects dominate the electronic ambiences. A very good track which wins all its flavor with a good headphone set and which proves that the Finland band of underground EM is far from being a flash in the pan.
Sylvain Lupari (April 28th, 2016)
gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the E-Musikgruppe Lux Ohr Bandcamp page here

mercredi 27 avril 2016

ERIK WOLLO: Star's End 2015 (Silent Currents 4) (2016)

“This is the most quiet and meditative moments of this series and they will lead you to the door of your inner mind”
1 Silent Currents 4 60:13
Projekt ARC00100 (DDL 60:13) ***½
(Ambient)
Between the borders of a land of ice and the most white petit point in the horizons of the cosmos, a big humming roams while being flogged by the bites of sound stars. Heavy, this ambiospherical introduction opens Erik Wollo's the last performance at the famous Star's End radio show of 2015. This time, the Scandinavian electronic bard makes counterweight to Silent Currents 3 by spreading an immense mosaic of soundscapes where the breezes of the North and their haloes of hoarfrost infiltrate the whispers of the caves of ice. “Star's End 2015 (Silent Currents 4)” is doubtless the most quiet show of the series with linear and minimalist synth lines which intertwine their slow ambient arcs with some fine astral modulations in their caresses. We can hear the cosmos buzzing peacefully here as well as a thick cloud of seraphic voices, sometimes even a choir, which get lost in the hollow winds whistled by the high ice-cold tops. The whole thing forges immense sound waves which always leave cosmic residues before returning in cosmos. Layers of more seraphic voices swallow their rollings at around the 20th minute, freeing a more bright corridor where cavort crystal clear keys which wait only for a shadow of rhythm in order to take life. These small sequenced pearls gambol around and seem to shiver in the cold underground rivers of the Scandinavian caves, except that their brightness is too weak to make take out the rhythm of its den of serenity. It's as peaceable than soothing. The movement remains black and crumbles its minutes to the meter while that quite slowly is spreading the night over the shadows of Wollo in the studios of Star's End on WXPN-FM in Philadelphia. We arrive at the point of 30 minutes and the hollow breezes put on their wings another tone. That of a guitar that Erik Wollo caresses slowly with an Ebow, forging tears which get lost in our sense of hearing as were the ones of a synth. A suspended river makes its bed of sequences glittering which is singing with the sighs of the Ebow and this fusion of voice and of breezes which decorate the ambiences of "Silent Currents 4". A structure of minimalist rhythm makes skip the waterfall of sequences, structuring so an ambient rhythm which rings and resounds in layers of distant voices and in the shadows of the six-strings. This brief phase of aerial rhythm is swallowed by the anger of the winds which scold such as a distant machine of the cosmos, preparing the rather tribal rhythm which brings us to 50th minute. It's another short phase which fades out in rustles and in these immense layers of winds which accompany this quiet travel of our subconscious fed on serenity in the valley of Erik Wollo's silent currents.
Sylvain Lupari (April 26th, 2016)
gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Projekt Bandcamp page here

lundi 25 avril 2016

LOOM: 300 003 (2016)

“A very nice E.P., 300 003 shows that Loom is maybe the only and really one alternative to the sudden departure of our dear and regretted Edgar Froese”

1 Below the Playfield 6:54
2 Bit Byter 4:23
3 Time Scanner 4:44

Moonpop ‎| MOON LTDCD-005 (E.P. 16:01) ****
(E-Rock)
After an absence of 2 years, Loom makes a return both on stage, March 5th for a concert in the UFA Fabrik in Berlin, and in music. For the occasion of this concert, the Loom machine puts on sale a 3rd E.P. soberly entitled “300 003”. And like 200 002', “300 003” was only available in limited edition of 500 copies which were almost all sold at this concert. I was fortunate, my friend Vic had a copy for me! Fortunate because I was so capable of noticing the progress of Loom whose Johannes Schmoelling's imprint transcends the ardor of our dear Jerome. And we hear this as soon as the first measures of "Below the Playfield", a very good title with an almost electronic tribal mood, starts
Tiny chords stroll on the shadows of a heavy woosh before that a carousel of sequenced keys swirl with the delicacies of the harmonies which remind us as much
Flashpoint than Le Parc. A synth throws whistled harmonies which roll in loops on this bed of jumpy sequences. Percussions join in a background of bass, bringing "Below the Playfield" in a phase of electronic rock whereas the synth charms us just as much with its harmonies which are now distant. From Flashpoint to Mars Polaris, "Below the Playfield" makes working our sense of hearing with a package of references on Tangerine Dream, from the Schmoelling years to those of Jerome Froese, which follow the evolutionary curves of a track which exploits at the most its 7 minutes. In particular when a line of sequences skips on a conveyor, structuring a slightly spasmodic rhythmic phase along with the fiery percussions pattern which remind the TD with Iris Camaa. The synths spit as many harmonies weavers of earworms as twisted solos and long sighs of distress which make duel with the fragmented guitar solos of Jerome. Very good track! As much heavy than "Below the Playfield", "Bit Byter" begins with sequenced waves which lose their undulations in tablecloths of synths which spatter like astral choirs. The sound envelope is very dense with very good arrangements and a very catchy electronic tune which fits the rather jerky structure of percussions and sequences. It's OK! The curt rhythm and the melody remain stuck to our eardrums for a while. "Time Scanner" change so many forms as "Below the Playfield". If the beginning is sculpted in an approach of gloomy ballad which swivels on a boiling bed of percussions, the music goes for a good symphonic rock after a small ambient passage. Johannes Schmoelling's claw is glued on this track which spits harmonies of the Logos era on a structure of rhythm which is not so far from it.
In brief, “
300 003” has all the ingredients to satisfy the fans of Tangerine Dream,. This is some good and well elaborated electronic rock full of sonic flashes which give us to smile and make us say that Loom is maybe the only and really one alternative to the sudden departure of our dear and regretted Edgar Froese.

Sylvain Lupari (April 25th, 2016)
gutsofdarkness.com & synthsequences.blogspot.ca