lundi 30 avril 2012

BRENDAN POLLARD: Live in Concert 2006 Part II (2012)

"There is music on Live in Concert which shows that Brendan Pollard has still his place in the chessboard of EM"

1 Radiant Transmission 33:49
2 Ode to... 8:50 (May 2006)
3 Detox 15:09 (September 2010)

ACOUSTIC WEAVE RECORDS: AW012 (57:48)

In 2007 Brendan Pollard amazed the wonderful world of EM with Flux Echoes. A magnificent album which lit among fans of analog Berlin School the beautiful recollections of the Phaedra and Stratosfear years from Tangerine Dream. Presented in 2 volumes (Part 1 and Part 2), Live in Concert goes back in time where Brendan Pollard laid the foundations for Flux Echoeswhich was going to be release some 6 months later. Live in Concert 2006 Part 2 also includes a title lost in the archives of Flux Echoes (Ode to...) and a last track (Detox) that Brendan Pollard wrote before he retired and that he sold all of his studio.
Hoops of limpid electronic tones spin of an evanescent movement to introduce the very atmospheric intro of "Radiant Transmission". Steve Palmer's guitar chords seem misled in this shambles of heterogeneous tones while that quietly a pulsatory line aligns its frenzied keys, moulding the first sequenced breakthrough of "Radiant Transmission". This line of sequence divides its strengths, drawing another movement of which the oscillations forge a crisscrossed cadence which crosses the metallic whispers and spectral choirs humming under the piercing shouts of starving young birds. Another sequence with resonant keys crosses this line of rhythm; while choirs hail of a jerky movement and that the synths spit their harmonies à la Ricochet under the weakened notes of which sounds quite like a discreet and retiring Manuel Gottsching. This first portion of "Radiant Transmission" is terrific with these breaths of symphonic synth which float on cymbals of which the jingles encircle a rhythm galloping on wave-like and crisscrossed sequences over a long period of 18 minutes. Afterward "Radiant Transmission" sinks into an atmospheric sphere stuffed by eccentric electronic tones and knockings which resound in a universe split between the abstract horror and the magnetism of the syncretic tones. A line of bass appears some 4 minutes later, drawing a strange movement of groove that the guitar of Steve Palmer decorates of discreet wandering chords. A fine sequenced line gambols in the background. Its chaotic trajectory depicts the lines of a furtive movement, moulding a strange indecisive rumba which sways hips under fine and brief solos of a guitar always so reserved. The rhythm embraces a little more incisive tangent, freeing sequenced keys which whistle when they bite this hesitating rhythmic that a beautiful Mellotron wraps with its melancholic aura. But the sequences lose appetite. They decrease gradually their swiftness, losing even their fragile balances while the rhythm of "Radiant Transmission" tries to maintain a pace which gets out of breath as the sequences keys become less frequent and as the tempo eventually misses energy.
"Ode to..." brings us back straight into the ambiences of Flux Echoes with a title livened up by sequences which skip fervently in the vocalizes of some foggy choruses and synths with philharmonic breaths. Between Ricochet and Stratosfear the rhythm, as furious as melodic, stumbles on an opaque atmospheric passage where some dense layers of Mellotron float among the airs of a flute forgotten on the banks of perdition. Written in 2010, "Detox" presents us a more contemporary face of Pollard's works. The intro is intriguing to the bones with the glaucous breaths which hum on a threatening pulsating line whose every blow sounds like a stifling breath. A nasal synth draws clouds to vocalized tints while a metallic flute spreads its waves that absent choirs bear on this atmospheric intro filled with a strong smell of night-mistrust. The movement livens up delicately with a rosary of sequences which shell its ions so that they take opposite directions on a somber pulsatory bass line from which every blow bites our ears, shaping a splendid staggering rhythmic approach. We are in the cave of Ramp and Redshift with a superb passage where the melody of the sequences is absorbed by the heavy resonances of a strong bass line. The synth throws spectral waves which float on these wide cyclic circles where dance other sequenced ions when the pulsating rhythm takes refuge in a brief abstract passage. It’s a pretext for Brendan Pollard, so that he sharpens the orientations of "Detox" to bring it towards darker territories. There where the rhythm beats of it blacks glaucous pulsations on the wings of metallic cymbals that synth spectral blades cover of a Machiavellian aura. Notes of electric piano scatter the fogs drawn by the Mellotron, giving to "Detox" a finale deserving of its magnificence. It’s a great track which shows that Brendan Pollard has still his place in the chessboard of EM.
Like an architect, the English synthesist displays his tenebrous unstable protean structures, allying dark, psychedelic and morphic atmospheres to sequential movements livened up by free and sometimes undisciplined ions. Live in Concert 2006 Part 2 confirms the talent of this great English synth man who got retired too soon. It is to wish that Brendan Pollard reconsiders his decision, so that he shares with us works such as "Detox" and the impressive "Radiant Transmission" of which the studio version is even more powerful. All in all, Live in Concert 2006 is a very good live album which proves that the atmospheres and black rhythms of the analog years are always of current events. That just depends of the hands and of the creativity of those who want to tame them in order to share them with us.

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15187

samedi 28 avril 2012

BRENDAN POLLARD: Live in Concert 2006 Part I (2012)

"Live in Concert 2006 is a great pre-sequel to his classic album Flux Echoes"

1 Aquatic Caplet 26:25
2 Fluxy, Flangey, Phasey Bollox 25:17

ACOUSTIC WEAVE RECORDS: AW011 (51:42)

Each time I listen to an album molded in the nostalgic ashes of the somber sequenced movements of the analog years, like Tangerine Dream's Phaedra and Stratosfear, I have certain apprehensions. Was the vein be exploited enough to get out of it other interesting music? Brendan Pollard's Live in Concert 2006 is not made of original material. It’s an album of live improvised EM which had preceded the creative main lines of Brendan Pollard 's master work; Flux Echoes released in 2007. Recorded within the framework of the E-Live festival of Eindhoven, Holland, in October 2006, Live in Concert is a journey in the heart of the musical memories which subjected so much the lovers of electronic progressive music of the 70’s. It’s also a journey in the rhythms and atmospheres of the key album which was going to become the pass of Brendan Pollard in the circle of the immortal of contemporary EM.
Divided between its psychedelic phases and its evolutionary sequenced rhythms "Aquatic Caplet" evolves as an architectural project in which bustles a Brendan Pollard at the top of his creativity. The intro is bothered by knocks of rows which shatter with brightness the stigmatized water and by big metallic knockings which ring in an echoing mist, stimulating the piercing shouts of a young bird molded in the tones of a synth freeing multiple hybrid tones. This sound envelope stuffed with ill-assorted and metallic tones will furnish the psychedelico-noisy phases of this long title with multi-form structures. Our ears, still under the shock of a din without music, discern a crystal clear sequenced movement which subdivides its twinkling keys. The sequences crisscross into a fine linear ballet that a resonant bass line bears of its soft hummings, drawing a fluid rhythmic approach which turns on itself and of which the harmonies weaved by synths swim in the harmonious souvenirs of Stratosfear and its chthonian choruses which roam beneath superb layers of enchantress flutes. The melodic approach is attractive and flows as a fine harmonious lasso which rolls in loops on a structure more and more livened up by a nervous and more accentuated sequential current. The rhythm put up by these subdivided sequences is fading little by little while "Aquatic Caplet" plunges into a 1st psychedelic and atmospheric phase where an outfit of tinkling sound effects are ringing in a nothingness filled by metallic breaths, paranoiac whispers and knocks of echoing bludgeons, calling back the experimental sonic phases of the Dream. And the rhythm resumes at around the 11 minutes with this line of resonant bass and these sequenced arpeggios which cavort and shine of an incoherent rhythmic approach that a delicate foggy flute caresses of its lethal veils. And so goes "Aquatic Caplet". Crossing 3 psychedelco-atmospheric phases, the rhythms are always flexible and delicate, drawn by sequences with keys which alternate and crisscross in tones of glass. They switch shapes, both in their forms and their tones, dragging "Aquatic Caplet" into delicious morphic dances that wandering choirs and dreamy flutes hug and support of a harmonious envelope pulled out of Stratosfear and Phaedra vestiges.
"Fluxy, Flangey, Phasey Bollox" is a title that was in the special edition of Flux Echoes . Based on the same pattern of "Aquatic Caplet", with atmospheric phases which boost rhythms moult by fine sequences modulations, it also starts with unreal atmospheres of an abstract sound world. The intro is stuffed by tones as much complex as ill-assorted that a bass line scatters of its resounding notes. A sequential movement takes shape and mold a hypnotic imperfect movement of spiral, while the other sequences escape and spread their echoing keys which dance in their echoes sieved by metallic tones. And it’s a dance of sequences which begin. More complex than "Aquatic Caplet", the rhythmic structure of "Fluxy, Flangey, Phasey Bollox" is assailed by good sequences which gambol excessively under very nice fluty layers. Here, the synth frees very good solos which spread a beautiful musicality into the fogs ethereal as intriguing. The rhythm switches shapes radically after the 1st atmospheric phase with a wild sequenced line which squanders its keys in a furious wave-like linear movement. The synth may aired soft solos that the oscillatory rhythm of this phase remains printed by a charming liveliness, like roller coasters in a Milky Ways. This wild rhythm continuous its race, beyond the 2nd psycho-sonic passage, before stumbling in a finale filled with tones so much abstract as the universe of EM can weave, for the biggest pleasure of our earphones.
This Brendan Pollard's album is mainly for fans of Flux Echoes as well as Tangerine Dream from the Baumann/Franke/Froese era. Without inventing anything new, the English synthesist follows the evolutionary tangent that brought him to his key album. In spite of some minors problems at the level of the limitations of the recording source, Live in Concert 2006 Part 1 offers a good sound quality as well as an EM which is at the height of the waits that we can have towards an artist who specializes to embroider his music in the ashes the best moments of an experimental Berlin School.
Sylvain Lupari (2012)

Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15186

jeudi 26 avril 2012

STEVE ROACH: Back to Life (2012)

“There is only Steve Roach for insufflate a musicality to musical forms printed by a rhythmic stillness”

Disc One (73:39)
1  Where Rasa Lives 14:54
2 Cloud Cover 9:58
3 Tranquility Base 16:41
4 The Wonder of It All 6:59
5 Touchstones 4:07
6 Everything Inside 9:39
7 Back to Life 11:17

Disc Two (70:00)
1 Mist of Perception 70:00
PROJEKT: PRO267 (143:39)

Year after year the American label Projekt continues to support Steve Roach's crazy creative prolificacy with beautiful albums which follow the intuitive curves of the synthesist hermit of the Californian deserts. Ambiences stigmatized within iridescent breaths and delicate rhythms which pulsate with the fear of evaporating these breezes as much lyric as clanic, Back to Life is a beautiful album which presents the best of both atmospheric universes from Steve Roach.
It’s with a mixture of earthly and lunar breaths that opens "Where Rasa Lives". Like a resounding noise of an engine propelling an intergalactic vessel floating at low speed, the synth layers get agglutinate to form a dense and intense sound veil from where are escaping more crystal clear veins which shine in a thick magma of synth larva. The signature of Roach is perceptible with his synth layers which float and blend with this strange subjugation that the synthesist gives to his long movements of lyrical stillness while bright musical effects strew the slow and tortuous procession up until some muffled rhythms, initiated by fine clanic rattles at about the 10th minute. Rhythms which shake discreetly the morphic waltz of the stratified layers and which go out some 4 minutes later, leading "Where Rasa Lives" towards its hearth of contemplativity. The breezes of "Cloud Cover" are even more overwhelming. They build up like big black clouds and smother an eclectic musical fauna stuffed with droning elements. Unstable the movement dies down to embrace a phase of metallic humming, shifting the cold tranquility of "Cloud Cover" towards the warm spiritual rhythms of the soft poetic drums from "Tranquility Base". This title is pure Roach with a rhythmic structure finely livened up by aboriginal tom-toms which structure a soporific and hallucinogenic trance that superb spectral stratas cover by mesmerizing wandering hoots. "The Wonder of It All" and "Touchstones" bring us back into the tetanized universe of the introduction with layers filled by a fine taste of bluish metal which fly over a sluggish structure while the iridescent breaths of "Everything Inside" are warmer. Breaths which overflow towards the title-track and metamorphose into an immense pond of opaline waves whose silvery singings glide over the same rhythmic spasms which shook "Where Rasa Lives", but over a longer period, looping the loop of Back to Life first CD. It’s in an absolute peace of mind that "Mist of Perception" takes place. This long title fed by stratas of synth which float as a mass of warm air is discreetly guided by muffled knockings of which the slightly arrhythmic pulsations are smothered by the discreet hummings of subterranean machinery. It’s a long linear movement where the synth layers to silvery tones and the galvanized hoops intertwine to form an opaque iron curtain. A veil of iron moving on a static rhythm which dies out with the patience of its long procession in the immersive fogs of the synths to tones as warm as dreamlike.
There is only Steve Roach for insufflate a musicality to musical forms printed by a rhythmic stillness. Back to Life follows the long dark and ambient corridors of Dynamic Stillness and Sigh of Ages  It’s an extremely meditative album where some fragments of rhythms which decorate the profound dreamlike atmospheres add a new dimension to the musical approaches dedicated to meditation. Tribal, atmospheric, ambient and cosmic; Back to Life is another milestone in Steve Roach's career which not only sculptures but also controls rhythms as much morphic and hypnotic which are superb complements to his dances of winds.

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15173

* If you want to know more and discover the musical world of Steve Roach and hear some MP3 snippets, here is his website link: http://www.steveroach.com/

mardi 24 avril 2012

ERIC Van Der HEIJDEN: Dal Segno (2011)

"I adored the harmonious and emotional depth which goes out of this splendid album!"
1 Signature of Signs 1:36
2 The Inner Self 8:59
3 Feel 5:40
4 Sign of Life 8:11
5 Joy of Being 8:27
6 Beyond the Dream Lies Universal Love 13:01
7 Dal Sagno 8:28
8 The Journey 18:26

GROOVE: GR-182 (70:43)
The first time that my ears crossed the melodious electronic world of Eric van der Heijden it was with Da Capo, from the album of the same name released in 1998, that the band MorpheuSz (group for which Eric van der Heijden is part of) reworked on the album From the Forgotten Rooms of aLonely House. I had found that very beautiful and hyper melodic, with a net influence for the orchestral structures of Vangelis. Dal Segno is made in the same mould. It’s an album as intense as poetic with dreamy and melodic structures which abound and form some very beautiful ear worms around superb electronic ballads.
Dal Segno means The Sign. The sign is the universal language. And the universal language could be the one of music. To say the least it’s the nature of the text recited by Caren Weisleder over the floating mists of "Signature of Signs". This ethereal intro leads us to "The Inner Self" and its dramatic and symphonic breaths of synth which sing on beautiful modulations from a misty synth. Mists which float adrift on violin clouds, bringing down a rain crackling under the thunders of cymbals. The movement is of an angelic tenderness. Cradled and propelled by iridescent breezes, it glides towards the melancholies of an electric piano of which the notes fall as tears in the middle of a fine whirlwind of a dreamlike rain, drawing a nostalgic melody which charms the choruses singing on heavy orchestral modulations. This evasive melody continues up to the bells of a cosmic angelus, introducing "Feel" from which the morphic sweetness ends the delicate poetic trilogy induced by the first breezes of "Signature of Signs"."Sign of Life" offers the first rhythmic movements of Dal Segno with a line of bass loosening its fine pulsations which beat a delicate measure around a series of three keys to tones of felted wood that some sober percussions frame with delicate strikings. Everything is of sweetness. The synth layers divide their harmonies between tears of violins and wandering choirs, whereas those arpeggios with felted ringing draw a smooth melody impregnated of a mysterious veil. Always delicate, the rhythm increases a bit its cadence under the soloing breaths of an extremely harmonious synth which borrows the skin of a solitary saxophone. The piano notes which penetrate the introductory mist of "Joy of Being" draw a beautiful melodic line that a fine synth switches into a soft whistling to mold a more ethereal mood, giving an air which sounds so much like Mike Oldfield's melodious Foreign Affair. Percussions which click silently, a fine slightly hopping bass line and cymbals with a soft samba tempo assure the rhythmic portion which remains always delicate, while the synths and piano forge a contemplative melody which gets into tune with a more livened up and even more melodious 2nd part.
"Beyond the Dream Lies Universal Love" shows all the melodic influence of Vangelis over Eric van der Heijden. The intro is dark and frees a solitary piano which lays a wonderful meditative melody. Progressive riffs and felted echoing percussions add a balladesque depth to this track which evolves in a soft boleric crescendo à la Chariots of Fire. The harmonic line is soaked of a dramatic as well as romantic approach with a 2nd very musical part where the notes of a dreamy piano are flowing on a rivulet of prismatic sequences, while the synth is tearing the lyrical ambience with breaths which cry on the strikings of more increasing percussions. By far it’s one of the most melodious titles on Dal Segno with the title track which is to tear any armor of indifference and of which the superb strummed melody roams on an absent rhythm. The intro of "Dal Segno" soaks in a cinematographic approach with its soft pulsations which buzz with delicacy around crystalline arpeggios which drag with the solitude in the heart, depicting quite well the meaning of the expression of a lost soul. And the rhythm espouses another crescendo form with percussions to resonant strikings and sequenced riffs which bind themselves to the hatched violin strata, exploiting marvellously a philharmonic approach for a title which dresses constantly its tenderness of poignant musical elements and of which the finale is to cut the emotionalism with its glass arpeggios which ring on a sequential movement which dies out in the forsaken echoes of the dreamlike ringing. The metallic synth breezes which jostle the intro of "The Journey" throw us in the futuristic spheres of Blade Runner. A piano with solemn notes pops out and weave a melodic procession that other piano notes chisel of a high-spirited approach, drawing a fine whirlwind of notes with piercing ringing. This ritornello goes astray into intriguing pulsations while "The Journey" borrows a musical corridor more mysterious than harmonious with a synth which throws aphrodisiac sighs. Groans which roam between two moods and which are accosted by Frank Dorittke's guitar to be then harpooned by the percussions of Harold van der Heijden, propelling the soft melodic approach of the intro in a heavier rhythm where the solos of synth and guitars are trading the evasive lines of a spiral melody.
I adored the harmonious and emotional depth which goes out of this splendid album from Eric van der Heijden. Dal Segno is not a complex album, nor of Berlin School one. Far from there! But it’s an album of a surprising musical wealth where melodies weave beautiful ear worms which sing and charm on much diversified structures. From ambient to melodic, while passing by a long title with strong influences of the Dutch electronic movement, Dal Segno is the total antidote for those who miss Vangelis. It’s very beautiful and magnificently poetics. Eric van der Heijden cradles our dreams with superb strummed melodies of which the sweetnesses are devoured by beautiful orchestral arrangements and delicious crescendo as dramatic as harmonious. We cannot allow passing a so beautiful album. For those who love Vangelis, of course, and also Mike Oldfield and as well as Bernd Kistenmacher.

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15167

dimanche 22 avril 2012

ALIO DIE: Deconsecrated and Pure (2012)

"More than a musical adventure without borders nor musical beacons, Deconsecrated and Pure is to contemplative EM what Baudelaire is to loving poetry"

1 Layers of Faith 15:42    
2 Obliterated Alcove 12:08   
3 Peel Away This Mortal Coil 9:21   
4 Cerulean Facade 10:08   
5 De-Altared 18:10

PROJEKT: PRO270 (65:47)

An anchorite craftsman of a monastic and dreamlike musical world, Alio Die (Stefano Musso) unfolds its abstracted musical paintings on dark and ecclesiastical works since the beginning of the 90’s. This Italian musician, who is much more a sculptor of musical forms than a keyboardist/ synthesist fond of long and complex sequenced structures, has built himself an enviable reputation in the circle of dark ambient EM, as prove it his about forty albums realized in collaborations with various artists in search of musical paintings to nature ecclesiastical meditative. If the musical signature of Alio Die is stamped of a dark approach, it’s doesn’t perspire on Deconsecrated and Pure. His 20th solo album, and his very first on the American label Projekt, is a mix of coldness and poetry in a stifling ambiance tetanized by layers with tones molded in a mixture of metal and angels' sighs which glide in oblivion.
Very poetic and musical breaths, sounding as plaintive oboes, open "Layers of Faith". Serene and meditative, the mood is divested of rhythms and leans on subtle modulations which walk "Layers of Faith" in some mesmerizing ecclesiastical corridors. It’s a long contemplative canvas where layers of synth, or other instruments sculptors of sounds, crisscross and float among fine ringing, immersing the listener in a strange monasterial tranquility. More bright than somber, "Layers of Faith" is intubated by fine nets of flutes which chant seraphic tunes on a long musical sculpture where discreet choruses roam beyond strange rustles which rob the serenity of a secret bass line’s oscillations. I quite liked it, especially since the pattern plunges me into Michael Stearns's ambient works. "Cerulean Facade" embraces the same meditative outline with iridescent layers and rippling waves which propel the delicate ringing of prismatic carillons. More immured with its angelic choruses which hum a sanctified litany, "Obliterated Alcove" plunges us into a somber monastic atmosphere. The first half is quite occult, black to the limit, with celestine layers which spatter the calmness of the devout choir while the second part is sharply more celestial with sanctified singings which flow as voices without purposes on the waves of a prismatic brook. "Peel Away This Mortal Coil "and" De-Altared" are two titles molded in the same alloy of metal in decomposition. Everything is of a fetid scent of metal which crumbles in an oblong unchanging din. The layers are nasal and scratch a structure soaked with a thick cloud of tones as metallic as ill-assorted. If we hear fluty breaths to moan, we also hear silvered blades complain such as some bagpipes on decline among carillons, tinkling, rustles and lapping of water which become entangled in astral hollows where moan the modulations of bass hidden in twilights abstruse. On the other hand the finale of "De-Altared" is more musical, brushing the leaded sweetnesses of the introductory track.
More than a musical adventure without borders nor musical beacons, Deconsecrated and Pure is to contemplative EM what Baudelaire is to loving poetry. It is a dark work. Not because of its musicality, but rather because of its contents which is extremely lumbering and atonal. If certain nuances illuminate our loudspeakers and dandle our ears of a certain iconoclastic magnetism, the fusion of tones, which sometimes embrace breaths of a silvered coldness, is scratching any attempt to tame a work which finds its entire dimension close to a circle of initiated and lovers of an EM without auditory images. Circle of which I’m visibly not in it!

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15150

* If you want to know more about the musical world of Alio Die , here is his website link: http://www.aliodie.com/english/english.htm

vendredi 20 avril 2012

GREENOSOPHY Collected by Mizoo (2012)

"Here is another fine psybient work from Ultimae Records"
1 Initial (Mnnsk & Mizoo) 4:32
2 Tear-Blind Eyes (Rildrim) 8:38
3 Minimum (Liquid Stranger) 5:16
4 Emerge (Sesen) 7:30
5 Idea Spiral (Cell at Ozora Festival 2011) 11:46
6 Nubian Sandstone (Ajja) 5:58
7 Subzero (Tripswitch) 8:07
8 Cobalt 2.0 (Solar Fields) 8:53
9 Flying Dots (Miktek) 6:35
10 Folding Pattern (James Murray) 4:54
11 Broken Dream of A Little Snail (Cygna) 6:44

ULTIMAE RECORDS: INRE050 (78:53)
Compiled and mixed by the Swiss DJ Cyril Miserez, Greenosophy is another bewitching journey musical between psychedelic ambient and its emerging rhythms offered by the Lyon label Ultimae Records. Mizoo (Cyril Miserez) bonds 11 titles coming from a bunch of artists with much diversified styles. Eleven titles which interlace and encroach on their sci-fi atmospheres to mold an album where the cosmic ambiences, eclectic and electronic tones wrap and slow down rhythms and melodies constantly mislaid in aborted melodic and rhythmic coitus. Visibly inspired by Jean Michel Jarre and Vangelis, Mizoo overlays his creations of a rich sound fauna, weaving futuristic atmospheres à la Blade Runner of the 22nd century on a rhythmic pattern in perpetual recommencement. Rhythms which emerge to disappear and reappear into deep wrapping morphic layers, following a latent crescendo before reaching the nirvana of techno and trance which vibrate and swirl in stupefying stroboscopic spirals.
And that begins with "Initial" and its breezes of Orion which blow with an apocalyptic threat. They uncork a pleiad of tones as earthly as industrialized which groan through smooth floating waves and a delicate Elfic French voice which recite an ode to the unknown. The mood is tetanized and the piercing breaths of synths remind me the very poetic universe of the so much beautiful Straylight from Dominic Wossey. "Tear-Blind Eyes" sticks to this oniric atmosphere with beeps and crystal keys which sparkle and float as tears in a cosmos stigmatized by of shrill synth blades. The tempo which wakes up is hesitating. It drops reverberating pulsations which buzz and swirl in incomplete circles, dancing awkwardly around other drummed pulsations and these crystalline keys which shape a strange melodic aura. "Minimum" pushes its iridescent strata which are dandling under a rain of sparkling chords which shine under the crackling of metallic jingles. A delicate melody roams on a discreet floating down-tempo of which the muffled pulsations caress the beatings under the waves of fine melodic hoops. The more we move forward in Greenosophy and the more the rhythmic tapestry widens its alloy of pulsations, percussions and jingles of all sort which ring and\or pulse of an intermittent but more and more accentuated way. "Emerge" follows with some cerebral waves which float on a bed of crystalline stars, while a fine rhythmic gallop resounds all over it. The sound setting gets amplified as the rhythm grows with threatening strata which smother the chords weakened in an oblivion iodized by lunar breezes. The tempo buzzes on an indecisive structure where the harmonious envelope sighs dark synth layers to occupy a rhythm which gradually hatch to shut again and reopen with a good pulsatory bass line which beats the measure of a finely jumpy rotary movement fed by echoing percussions and electronic castanets. "Idea Spiral" moves on with lukewarm chords which are dragging around a galactic melody. Fine percussions to tones of wood and jingles of metal fall and resound, giving a morphic depth to a celestial melody of which the vaporous hoops amass fragments of voice while the tempo is gradually embedded to mold a delicious cosmic down-tempo which swirls lasciviously. The layers of synth weave a beautiful floating melody which hems in space while the languishing rhythm of "Idea Spiral" continues its stunning cerebral ascension to spin with more certainty, hunting down the morphic ambiences to make room to a strong techno bombarded of pulsations which grow and resound among hatched riffs.
Tergiversating between its futuristic harmonious envelope and interrupted pulsations, the rhythm of "Nubian Sandstone" is divided between two phases before exploring the suave metalized pulsations which echo around a heavy bass line of which the resonant pulsations pound a muffled and heavy rhythm assisted by echoing percussions and crystal clear keys which are seeking for themselves in this other broken structure. But the bass line leaves its rhythmic imprints which are taken back on the bubbling "Subzero" which explodes literally around a striking heavy pulsation, lacerated by streaks coming out of a ghostly synth. And the rhythm tumbles with power. Loud and proud it swirls of a zootropic approach with furious bouncy chords which hiccup in a dense cloud of iridescent mists and around percussions of which the metallic strikings resound everywhere around this rhythmic power which buzzes among dreamlike synth layers. This duality between the tranquility of waves and the rhythmic apotheosis reaches its peak with "Cobalt 2.0" and its evolutionary rhythm where synth layers à la Jarre and Vangelis crisscrosses in a superb pattern of percussions, pulsations and stroboscopic hoops which feed an always divided rhythmic structure but which is pulsating heavily and swirling deeply in a furious intersidereal dance. "Flying Dots" calms things down with a superb electronic ballad where slamming percussions resound among the melodic and dark chords of an acoustic guitar. This is very beautiful and it brings a bigger melodic depth to Greenosophy which sinks into lifelessness with very the atmospheric "Folding Pattern"."Broken Dream of A Little Snail" is a superb track where the strikings of a xylophone made of glass roam on an amazing structure as much harmonious as mysterious. This time it’s the melodious envelope which is split and divided between atmospheres and airs torn between delirium and poetry. It’s of a strange beauty and it concludes an album which enchants at every new listening, an artistic signature which surrounds the great majority of the works from the Lyon label.
Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15130


mardi 17 avril 2012

STEVE ROACH: Groove Immersion (2012)

"Groove Immersion is an album of concentration of rhythms and retention of emotions..."

1 Part One 14:54
2 Part Two 22:07
3 Part Three 12:28
4 Part Four 24:25

TIMEROOMEDITIONS: TM26 (73:59)

Groove Immersion is a musical experience as fascinating as puzzling. It’s a confusion of captive rhythms which pound under a sky laminated of synth layers and waves floating in a post apocalyptic chaos. It's like going down a long river troubled by thousands of lapping that we cease to sense so much we are bewitched by the breaths, winds and hoots of the synths. Groove Immersion took root in the earthly and clanic rhythms of Immersion Five-Circadian Rhythms. In fact, it’s a continuation of the Immersion series, except that instead of captivating the listener with lot of morphic and mind-numbing synth layers and waves, Steve Roach weaves an impressive rhythmic pattern where sequences, pulsations and percussions intertwine into an intense immersive movement.
Stratas and waves of synth darken a sky sieved by resonant breaths while the rhythm finely drummed of "Part One" begins its long throbbing odyssey. Meticulous, Steve Roach lays the foundations of a stunning rhythmic fauna where the Mandala percussions resound and vibrate thanks to an ingenious system of microphones placed inside their skins. Although shaken, the rhythm remains peaceful like a long linear movement with multiple soft vibrations. True to form, the Californian synthesist embroiders quite a whole universe of parallelism in its percussions by adding tones of an insectivorous fauna, like these gigantic centipedes with rubbery castanets which roam throughout this rhythmic immersion. Layers of synth to tones of ethereal mists float with a soporific slowness on this movement filled with related electronic tones, weaving a morphic envelope as disparate as intriguing. Snippets of harmonies pierce this envelope, dropping mislaid chords which roam throughout the movement and entering in our ears such as silky earworms which wind between oniric layers and threatening strata. And these synth layers accumulate in a crescendo which espouses the stillness rhythm of "Part One" to slide into the more smooth rhythms of "Part Two" which, in spite of a slowdown in the tempo, respect the rhythmic and harmonious premices of "Part One". And so goes Groove Immersion. The more we move within and the more we go deep into a somber heaviness where the latent rhythm is immersed by layers and streaks which mould unreal and sinister ambiences. "Part Three" is dark and encircled by ghostly hoots, hiding a rhythmic as active as in "Part One". And if we pay an attention on this entire sound fauna, we perceive this fine piece of melody which always tries to pierce this heavy veil of rhythm and darkness. A little as sunbeams lost in the depths of Roach’s caves. This segment is the most intense of Groove Immersion which ends in indecision with "Part Four" and its divided rhythm which collapses under the enormous weight of the somber silvered and iridescent strata.
While we believed that the Immersion series fainted, Steve Roach gives to it a second breath with an album as much mesmerizing as Immersion Five-Circadian Rhythms. Groove Immersion is an album of concentration of rhythms and retention of emotions which can charm as much as it can disconcerted. The ambiences are rich, creative and unique to the quirky signatures of the synthesist from the deserts to thousand cerebral forms. There is a lot of intensity in this work where everything seems disproportionate so much Steve Roach enjoys amplifying all his sound experiences. And the experience is even more striking with earphones. It’s Roach! And we cannot deny the bewitchment which gets free of this long river bubbling of implosives rhythms. Rhythms that we lose all senses so much the sky is sieved by copper-colored tones.

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15123
* If you want to know more and discover the musical world of Steve Roach and hear some MP3 snippets, here is his website link: http://www.steveroach.com/

samedi 14 avril 2012

TANGERINE DREAM: Finnegans Wake (2011)

"In spite of some weaknesses and wrong turns Finnegans Wake proves to be another very beautiful album"
1 The Sensational Fall of the Master Builder 9:03
2 Finnegans Excessive Wake 8:13
3 Resurrection by the Spirit 5:39
4 Mother of all Sources 8:53
5 The Warring Forces of the Twins 4:34
6 Three Quarks for Muster Mark 6:17
7 Everling's Mythical Letter 8:01
8 Hermaphrodite 8:23

EASTGATE: CD054 (59:03)

Finnegans Wake is strange literary work from James Joyce which mixes several languages, in a point that some certain observers and critics gave it no language of origin. It’s also the 3rd work of the Sonic Poem Series; an ambitious musical project that the duet Froese/Quaeschning undertook at the beginning of 2011 with the wonderful The Island of the Fay. And this closer collaboration of Thorsten Quaeschning, in the writing and the production of this series, brings an unmeasured immense to the works of Tangerine Dream. It instills a revival, with a degree of intensity and emotionalism that Edgar Froese seemed to have lost on the benches of his experiments of life, which benefits the artistic depth of such a project. Titles like "The Warring Forces of the Twins" and "Three Quarks for Muster Mark" shows the nuances in the approaches of these two companions of writing who still surprise with another very beautiful album.
A note of bass drops its echo, paving the way to a weaving of echoing percussions and sequences which decorate intriguing intro of "The Sensational Fall of the Master Builder" whose ambience transports me in the universe of Flashpoint. Nervous and pulsating with anxiety, this sequential movement is stuffed with jumping and fluttering chords, moulding a stationary rhythm where drag sober synth chords among pulsations with glaucous breaths. In spite of the symmetric strikings of the linear percussions, the rhythm remains stigmatized in a harmonious envelope filled by dull and devoid choirs which take the place of synth layers which would have been able to be more creative. Regardless of this bastion of sequences which crisscross in a good rhythmic structure, the harmonious portion is cold and weaved by some waves and layers of synths which float and flow with fluidity, while "The Sensational Fall of the Master Builder" stagnates in its sedentary rhythmic circle, droning out its remaining 5 minutes with fine nuances in rhythm, choirs and harmonies. "Finnegans Excessive Wake" offers a very beautiful evolutionary rhythmic structure with sequences strummed in a nervous serial shape. Sequences which modify their axes of strikings as well as their tones, making spirals of glasses which ring in a rich musical pattern where heavy riffs draw a breathtaking ambience as well as highly charged. Plaintive choruses with breaths of clay prowl all along "Finnegans Excessive Wake" which follows a crescendo imprinted by dramatism with great caresses of a violin lost in the layers of a synth filled of distress before exploding in furious solos of guitar from this good old Edgar. "Resurrection by the Spirit" is built within the ashes of Ricochet. We hear in it, this ghostly line which drawn the melody of this cult title roam all the way on explosive rhythms. Black and pulsatory rhythms, like it flows everywhere around Finnegans Wake, which run and swirl, encircling and escaping this spiral melody which rolls with nice nuances in its approach. I have to admit that it’s quite a good remix."Mother of all Sources" is my favorite track on Finnegans Wake. After an intro fed by sequences which swirl in fast hypnotic circle and collide on blows of curt percussions, the rhythm dies out slowly. A little as if we have closed the switch of the turning table. Another rhythmic structure re-appears. Totally the opposite of its dramatic rhythmic envelope, this rhythm is bustling on sequences and percussions with keys as nervous as unbridled. Both extremes weave a splendid and intense movement of which the harmonious paradox is exhilarating and where the layers draw tears of violin on a pattern of sequences and percussions prisoner of these dark and gloomy morphic ambiences. Simply wonderful!
"The Warring Forces of the Twins" kicks out this film approach with a huge electronic rock worthy of the Rockoon era. Nervous and twisted sequences as well as unbridled percussions, but not hyper powerful, bear keyboards riffs which draw a melody à la Tangerine Dream more rock than electronics. It’s a track as much coldly than EM could be without souls per moments. Not really my kind and very noisy. And nevertheless "Three Quarks for Muster Mark" is also heavy and rock. Except that the heavy rhythm is wrapped with nuances and enriched by good crisscrossed sequences, adding a lot of depth to a title which seems to be taking out of the Vernal Rapture's sessions (Gate of Saturn). It’s heavy, powerful and scalable with a good very furious passage where piercing guitar solos chisel wild sequences. I also like these synth lamentations which swarm here and there, supporting these strange electronic dialogues which run in loops on a loud, powerful and very effective rhythm. "Everling’s Mythical Letter" is a long and very beautiful electronic ballad where the guitar of Froese speaks to us and touches us with beautiful introspective solos which mourn on a rhythm slowly forged by sober sequences. It’s dark and melancholic, like some good old Edgar Froese. "Hermaphrodite" closes with a rich intro where crystal clear sequences swirl around muffled metallic pulsations. Guitar chords scratch this stunning harmonious rhythmic union while the tempo accelerates its pace, taking a skipping shape to gallop under iridescent synth waves. And the guitar of Froese comes to cover this rhythm bubbling with other beautiful solos which caress and wrap another dynamics rhythm, heavy, dark and harmonious as which teem throughout this other very beautiful album from the Sonic Poem Series.
In spite of some weaknesses and wrong turns where certain reminiscences of the Miramar and TDI years awaken some painful souvenirs of a lack of creativity, Finnegans Wake proves to be another very beautiful album. And it’s necessary to give to Edgar Froese what returns to him. Because if Thorsten Quaeschning signs very good compositions, the old polar fox is not outdone with superb compositions where his melancholy and sadness of the memories buried in the pain of the soul equals easily the dark romanticism of his new music companion. And this artistic partnership gives to the works of this series an incredible artistic depth which, I hope for it, should last as long as the passion which devours them.
Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15113

vendredi 13 avril 2012

F.D. PROJECT:The Other Side of FD Project...Nocturna (2011)

"Frank Dorittke shapes a beautiful melodious universe which walks in the furrows of Mike Oldfield..."
1 Nocturna 71:15
SYNGATE: CD-R FDX3

You remember the last album of F.D. Project; Water and Earth? As a bonus track, the German guitarist/synthesist had inserted an extract of a long improvised title that he had played during a concert at Satzvey Castle on May 7th, 2011. The concert was presented as "The Other Side of... FD Project". Well this other side of Frank Dorittke is now known as Nocturna. And it’s this long composition, redone in studio, which furnishes Frank Dorittke's last opus on the Syngate label. Nocturna is a long minimalist carousel of more than 71 minutes divided into 5 parts that lot of twinkling arpeggios, choirs and breaths of astral synth torment throughout of a hypnotic spiral procession which feed of fine sequential movements. Strongly filled by influences of Mike Oldfield and Tangerine Dream, Nocturna goes down softly such as a pact with sweetness.
As a door which opens on its peevish hinges, the long polyrhythmic tunnel of "Nocturna" opens with tones of caustic and reverberating waves. The synth layers which roam in suspension are squeaking among the howlings of twisted metal, hiding some harmonious chords which make contrast to a heavy intro where metal engenders coldness. But far away we hear a delicate carousel makes swirl its chords of glasses, embracing a splendid ritornello which is not without recalling the strong influence of Mike Oldfield and his Tubular Bells on Frank Dorittke. Some dark and meditative synth layers complain, such as violins’ sighs, and caress this delicate floating spiral that a bass line with upward jolts comes to cover. From note to note, the intro of "Nocturna" prepares its first mutation. This bass line opens the ball to crystalline arpeggios which are only passing by, while the percussions shake a little this innocent waddle. This new rhythm in permutation accelerates the weakened flow of this soft oniric intro which swirls with more heaviness under good synth solos. The 2nd phase of "Nocturna" begins nearby the 22nd minute with a warmer approach. Morphic waves and choirs push a fine sequential movement to skip stealthily on an always circular structure. The rhythmic output is more fluid and melodic. Standing on neutral percussions it revolves under soloing synth breezes, which are not without reminding to me some nice melodious approaches of Tangerine Dream from the Schmoelling era, and some beautiful shimmering arpeggios in which the sparkling gets mixed harmoniously within angelic breaths. This delicate and somehow oniric tempo brings us up until the 31st minute point, moment where Frank Dorittke grabs his guitar. This 3rd segment is a beautiful unexpected passage which cuts the spiral magnetism of "Nocturna". It offers a strange structure of abstracted Western with chords of solitary cowboy which drag among limping sequences such as clogs badly adjusted under a sky pummeled by solos of a guitar as incisive as poetic which competes with a synth with aromas more and more influenced by Tangerine Dream.
We are at the 40 minutes spot and "Nocturna" starts changing skin like a snake on fire. A sequenced bass line emerges from the astral crystalline breaths. Its ascending movement takes back whirling structure which imposes the quiet rhythm of "Nocturna". More fluid, the twisted ritornello rolls its sequenced chords under ethereal breaths and prismatic keys. After a short black passage, crystal clear sequences dance below the paradisiacal breaths of a smooth synth. A synth which hears the sequences subdivided their keys and gets cling to this upward bass line which had evaporated earlier, while percussions beat down to draw a short rhythmic turbulence. And little by little the silence of celestial bodies is returning. The poetry settles down with waters which flow from nowhere and breaths forgotten in a musical labyrinth where shine floodlit keys. And the frank rhythm gets back. Hammered of sober percussions, it kowtows beneath iridescent winds and arpeggios which shine constantly around the permutations of "Nocturna". We reach the 58 minutes and the spiralling crystal notes draw arcs more fluid while the sequential movement opens wide its musical tangent, leaving its sequenced ions multiplied and crisscrossed, to bind itself to another bass line as much hesitating than as softly throbbing. From fluid to bouncy, the rhythm of "Nocturna" continues its accelerated permutations over a short period of time, ending its procession polyrhythmic in the airs of a slow morphic techno where the knocks of sequences and percussions are coated by a synth with perfumes of Vangelis.
Writing a long suite of 71 minutes without losing anything of its vital lead is an ambitious project that FD Project fulfills very well. Forgetting his guitars and concentrating more on sequences and musical effects of the synths, Frank Dorittke shapes a beautiful melodious universe which walks in the furrows of Mike Oldfield and his series of virginal chords which draws the main lines of his cult opus Tubular Bells. I liked it very much. This is nice Berlin School. Poetic and dreamlike, without clashes nor complexities, which flows like a beautiful soporific tale, keeping us well awake; eyes closed to daydream on the winds of the chimed spirals.

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15111
* If you want to know more and discover the musical world of F.D. Project and hear some MP3 snippets, here is his website link: http://www.space-music.de/


mercredi 11 avril 2012

KELLER & SCHONWALDER: The Hampshire Jam (2012)

"The Hampshire Jam is a great concert with great sequenced base minimalist music, as only Broekhuis, Keller and Schonwalder knows how to create."

1 The Road to Liphook 26:35
2 Do You Remember the King? 26:18
3 Flow and Beat 16:59


Syngate: CD-R MRX2 (69:52)

Firstly released in 2005, as a111 CD-R edition, the 2004 Hampshire Jam concert became of the most appreciated bootlegs of the famous trio master of long minimalist structures. It was a very beautiful audience recording captured by Tony Sawford. These tapes were worked again and remasterised by Gerd Wienekamp (Rainbow Serpent) for the German label Syngate Records. And the final product is very good. In spite of some small distortions problems, when played high volume (and it’s really petite), The Hampshire Jam offers a better sound brightness of a superb concert where the improvisation served marvellously the long minimalist explorations of Broekhuis, Keller & Schonwalder with 3 long titles to structures rhythmic as captivating as lively. In fact this is some very good Broekhuis, Keller & Schonwalder. Poetic and energetic, the trio displays its longs sequential movements to foreseeable and fluid torrents which swirl constantly beneath layers, mist and solos of synth at both ethereal and spectral.
Some fine breezes and galactic tones in fusion introduce the first stammering of "The Road to Liphook". Warm and inviting, the synth breaths lull the stars of Orion while fine drops stigmatize this ocean of astral winds. Tablas percussions drum delicately. They patiently wait for a sequential line to spits its frenzied chords. They hop nervously, oscillating in wide hypnotic loops and drawing the main rhythmic axis that which will flow throughout the evolutionary phase of "The Road to Liphook". Mesmerizing, this rhythm in priori circular, caresses our senses. Covered which it is by short soloing laments and warm synth breaths, imprinted by sighs of nostalgias and mists of melancholies, it progresses of an attractive slowness on percussions and sequences which become more and more insistent. And slowly, at around the10th minute point, this rhythm hops. Always coated of breaths of tranquility, the sequences rebel against and take a latent impulse. Subdividing their strikings, they drum of a brisk rotary movement under the tsitt-tsitt of cymbals and the muffled pulsations of bass-drums, while dark choirs wrap this rhythm which swirls of its technoïd jolts. But these swirling sequences isolate themselves and sparkle as untied ions on an abandoned structure. A structure caressed by soloing breezes and which exudes the liberty of its intro when the rhythm takes back a last cadenced sprint to preserve jealously its sequences. Sequences which spin in a musical carousel beneath movements of percussions along with chiselled and twisted synth solos, leading "The Road to Liphook" to the borders of a morphic techno adorned of a suave electronic envelope that has never given up its original rhythmic structure.
According to the same precepts, "Do You Remember the King?" is wiggling on subtle manual percussions which pierce the veils of an intro bathed in an iridescent mist and enchantress flutes. The percussions multiply their strikings, becoming allied with sequences to wooden tones which quiver on a rhythm gleaming of technoïd effervescence, a little as a segment escaped from "The Road to Liphook". And as in "The Road to Liphook" the rhythm of "Do You Remember the King?" stays forbidden. Forbidden of explosion, it’s softly pounded by a mixture of sequences and indecisive percussions that caresses of flutes wrap of an oniric delicacy, while cymbals click their tsitt-tsitt and that synth waves spin in loops, converging towards this stationary rhythm in an intense linear implosion. Hoops of limpid sequences encircle this vast vertical movement which wriggles and gesticulates in all senses, freeing sequenced ions which lose their cohesions into some knocks of tribal kind percussions and these hoops of synth which coo under the soloing breaths, decorating a finale which embraces some soft souvenirs of the King’s digital era. The intro of "Flow and Beat" is one of dream. Some nice synth layers lull the solitude, accompanied by Arabian winds which drag a world of melancholy. These crisscrossed breaths weave a poignant poetic approach that some forsaken piano notes are wrapping by an aura of perdition. But glaucous pulsations forge themselves at far. They attack the serenity with aggressive cymbals and muffled pulsations, drawing the wild destiny of "Flow and Beat" which will stay of hammered rhythms for the next 10 minutes. Throbbing pulsations, spasmodic and stroboscopic sequences in diverse forms and tones, cymbals and insistent percussions; "Flow and Beat" is carved in a furious rhythmic alloy which will bend only of a weak harmonious nuance, whereas that a series of wavy piano notes and synth solos, as floating as incisive, wrap it with a harmonious layer. And it’s into the vaporous mists that the glaucous pulsations, the cymbals and the last percussions rollings that sounds the knell of "Flow and Beat" which fights for its survival but which ends to dies away after more than 12 minutes of furious sequential hypnotic loops.
Even in its minimalist frames the music of Broekhuis, Keller & Schonwalder is always evolutionary and sometimes explosive, The Hampshire Jam shows it amply. It’s a very beautiful album which is in the continuity of Music of the Machines where the crescendo of the sequential structures, superbly well supported by Bras Broekhuis' percussions, tergiversates to insufflate long moments of cerebral hypnoses. It’s a little as if the cross-bred rhythms of the trio always stayed prisoners of their hypnotic and melodic structures. And I believe that it’s what makes the charm of Broekhuis, Keller & Schonwalder. So, here’s another album of BKS to be added to your collection.

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15108

* If you want to know more and discover the musical world of Broekhuis, Keller&Schonwalder and hear some MP3 snippets, here is Manikin website link: http://www.manikin.de/


lundi 9 avril 2012

KELLER & SCHONWALDER: Red (2012)

"Red is a wonderful opus of a surprising sweetness with progressive and evolutive rhythmic and harmonic structures."
1 Red One 32:07
2 Red Two 14:44
3 From Red to Green 20:22

Manikin | MRCD 7095 (67:13)

Oh does it feel good to hear some new stuff from Broekhuis, Keller&Schonwalder! Not that the Repelen odyssey wasn’t good. Far from it! But I was quite in eager to hear the suite of Orange and, especially, Blue. And the wait was worth it. I'm not mistaken by writing that Red is the best work of the trio since moons. More melodious and sharply more poetic than Blue, Red presents 3 long minimalist structures where the Berlin trio honours its reputation of masters architects of evolutionary musical structures with interchangeable rhythms which are exchanging some permutatives melodies as lively as oniric.
Percussions fall with crash. Their curt and loud knocks awake a latent iridescent synth wave which makes dance circular chords to introduce this long minimalist river that is "Red One". From then on settles down a bed of sequences which teems under different rings and tones on a delicate movement with fine permutatives nuances. We have the feeling that the rhythm is starting to galloping, yet it hardly moves. Pecked by the knocks of beaks of sequences which chirp and buzz finely, the rhythm skips slightly under warm and morphic synth layers. Layers which crisscross and skim over this ambivalent rhythm which fidgets without knocking down its structure and which quivers without disturbing its melodic path. A rhythm divided between its oniric sweetness and its chaotic jumps, linked to this sequences/percussions union, which deviates subtly from its bewitching hypnotic axis towards the 15th minute with a more ethereal passage. A short passage where the percussions always hammer the insistence but where sequences get out of breath, pulling "Red One" towards a bi sequential rhythmic structure with a pulsatory line and another more harmonious one, drawing a melodic rhythm wrapped of an electronic mist, of resonant cymbals and swallowed by great synth solos. We easily let ourselves lulled by this passage as much rhythmic as morphic, but the cymbals which ring far off announce more unbridled percussions which accumulate more and more, falling very hard on a finale which resists this assault of the electronic skins before taking back its hypnotic rhythmic course.
More aggressive, "Red Two" falls for a caustic intro where Tabla percussions and alternate strikings sequences emerge to weave a surprising clanic rhythm which pulses of a frenzied pace under the howling layers of black metal. Only vestige of this corrosive intro, a line of bass makes buzz its heavy notes, while the tempo of "Red Two" becomes milder with synth layers more dreamlike  which wrap a rhythm always very active and captive of its tribal percussions. And it’s the charm of "Red Two". On a mixture of electronic percussions, drawing tribal rhythms, and a line of bass to buzzing notes, the rhythm of "Red Two" bursts under a scarlet sky where solos and harmonious breezes of synth are bickering the tranquillity of spaces and melancholic mists in some rustlings of creased metal which roar parsimoniously, displaying all the splendour of the melodic paradoxes from minimalist structures. "From Red to Green" comes to put the final touch to this superb album of Broekhuis, Keller&Schonwalder, which is solid from start to end, with an ethereal intro where floating choirs roam in astral decors. A beautiful strummed melody appears from it. Letting go its nostalgic and harmonious notes in the eye of a prismatic and metallic whirlwind, the piano hears some keys skip with verve to mold a nervous sequential line. A fine melody follows, to nest in the hollow of a spasmodic movement. A movement which accentuates its rhythmic crescendo, with sequenced riffs and more insistent percussions, that some suave twisted solos embrace of their spectral twists making forget the piano notes which got lost in an amplified rhythmic structure. This curt and bouncy rhythm, pushed by splendid howling solos, gets back in touch with the harmonious ashes of its nostalgic piano notes which reappear out of the iridescent mists of an intro that we had forgotten on the dreams of this heady minimalist procession.
Can the minimalist art become annoying? The question pops out each time that our ears are confronted with minimalist structures which flow as long quiet rivers, shaken by some harmonious torrents. Well not! To say the least, not the music of Broekhuis, Keller&Schonwalder which is all in nuance and of which the fusion of sequences/percussions brings an unsuspected rhythmic depth to a decaphonic work. Red is a wonderful opus of a surprising sweetness where the rhythms, and this no matter their forms, are of use as cradles to melodies as enchantresses as morphics. Rhythms and melodies flew over and flogged by twisted and corrosive synth solos. Synths imprinted by mists and chthonian choruses. In brief, all the melodic universe of real good minimalist Berlin School! I adore!

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15102

* If you want to know more and discover the musical world of Broekhuis, Keller&Schonwalder and hear some MP3 snippets, here is Manikin website link: http://www.manikin.de/