mardi 24 février 2015

PERCEPTUAL DEFENCE: TimeLines (2015)

“Time Lines is a colossal work to the measure of Gabriele Quirici's inspirations who develops here a series of ambient rhythms that will seduce all form of listening needs”
1 Dreaming Time 8:43   2 Time Travelers 8:44
3 Time Lines 9:14   4 Meditative Times 12:43
5 Hypnotic Lines 8:16   6 Walking Time 8:39
7 Child Time 6:40  

8 The Circular Sound (Healing Time) 6:35
9 Saluto ad una persona importante (Sad Time) 4:56
10 Inner Space Time 9:36   11 Friends Time 9:04
12 Metaphysical Time 9:20   13 Ricochet Time Lines 4:09
14 Subway Time to Castro Pretorio Station 7:03
15 Silence Time 11:27   16 Cosmic Time 5:16
17 Rainy Time 11:16   18 Reflection Time 4:48
19 Moments Frail 6:47

SynGate | PD03 (CD-r/DDL 153:27) ***½
(Mix of ambient and driven based sequences Berlin School)
Sound graphic and designer for a music which is a choreography for dreams, Gabriele Quirici amassed in the course of the last 5 years a multitude of sound thoughts inspired by some emotional moments. Behind a Sequencer  and an Arpeggiator, he amused himself composing short music pieces. Rhythmic loops which suit the shape of his emotions. “Time Lines” is the fruit of these momentary strikes of emotion. Initially, these very personal reflections would had to find refuge on a double album which would have includes only the music of Perceptual Defence. But after mature introspections, Gabriele Quirici has rather decided to split the album into two parts. The CD 1, entitled Personal Time, would be very introspective, while the CD 2 would offer the possibility to some of his friends musicians to compose through these loops of rhythm a music which would be more personal to them. The result is as strange, as eclectic as fascinating. Because beyond the appearances of rhythms molded by impulses of arpeggios rather complex, the shadow of Perceptual Defence keeps a close watch on this incursion of the Italian synthesist  in the sonic sculptures of the New Berlin School and makes sure that “Time Lines” stays under the bosom of the works to the dark and experimental flavors of Perceptual Defence.
Synth lines singing such as interstellar whales welcome the fragile rhythm of "Dreaming Time" of which the race of the arpeggios is drawing movement of back and forth. This ascending movement becomes more fluid, less static, loosening even some shadows, certain more crystal clear, which pound in a more free style beneath a sky multicolored of musical lines became now more sibylline. "Time Travelers" dissipates these nuances between the chants of the synths with a violent rhythm which flutters like a seagull trapped in the tempest of the Pacific winds. Winds which sometimes moo with somber metallic impulses, destabilizing the race of the arpeggios which struggle fervently in an agile static ballet. Always in a membrane of motionless rhythmic ritornello, the title-track offers a more fluid approach where two lines of harmonious rhythms, one with a very boosted flow and the other one with a more waddling approach, crisscross their minimalist airs under the breezes of a synth and of its aggressive twisted solos. In spite of the swiftness of the arpeggios and the charm of their sometimes destabilizing cadences, the rhythms which widen nevertheless a gap between the very ambiospherical approach of Gabriele Quirici and the model of driven based sequences rhythm of the Berlin School style remains rather ambient. No matter the forms, except for the superb "Meditative Times" whose sonic decoration reminds that of the
Software in Electronic Universe. Here, the rhythm eventually imploded with keys which pound in all directions, drumming a rather abstract cadence which awakens a foot stomping. One could definitely believe to hear a piece of music mislaid in the vaults of Software. It is very good, like "Hypnotic Lines" which also adopts this ambio-cosmic approach with keys which follow each other in a crocodile line, adjusting their flickered beatings in nice corridors filled of star dusts. "Walking Time" offers a more delicate rhythm, always as harmonious, with arpeggios which skip in a mess of synth lines filled of chirpings, of rhythmic loops, of cosmic mist and of ethereal voices. The finale pushes "Walking Time" towards more psychotronic corridors with some very furious arpeggios. "Child Time" is a sweet electronic lullaby with keys which sculpture some very wide oscillations, dropping to the passage other keys which try to follow the pace. The movement is as oniric than soft with delicate structures of crisscrossed ambient rhythms which coil up each other in a beautiful melancholic veil. This is very nice! The more we move forward in the section of Personal Time and the more Perceptual Defence is offering sweetnesses. Even with its sequences which stammer in an a little more jerky approach, the rhythm of "The Circular Sound (Healing Time)" throws a captivating aura of serenity. The keys make contrast with the slow veils of the synth which wrap up a pace after all very musical.
Birds of a feather flock together! That cannot be more true than on the 2nd CD of “Time Lines”, where the music of Gabriele Quirici finds takers with the boldnesses of his friends. Let's say that it's rather eclectic and that it's necessary to be curious here. For most of it, we are resolutely in the lands of ambient and abstracted of an EM stamped of
Perceptual Defence seal. Written with Syndromeda, the storm of oscillations which pushes "Inner Space Time" at the borders of a cosmos a bit bitter and uninviting which is in the same vein as the cosmic storms of

Fear of the Emptyness Space. I don't know the music of Waveman (John Valk) but I quite enjoyed the ambiguity of the structure of ambient rhythm in "Friends Time" which unwinds its series of arpeggios in a pattern of parasitic rhythms and within a lot of cathedral sounding synth pads. It's full of carillons and the movement of sequences in the background which haunts the ear is very appealing. A beautiful surprise, while the heavy and stillness rhythm trapped in the synth layers and in the howling of guitar in "Metaphysical Time" is going to graze the timorous ears. I have to be honest here, my hearing holes have suffered! And it doesn't get any better with "Ricochet Time Lines" and its multiple oscillation loops which wave in a heavy ambient pattern decorated of very experimental tones. TD on LSD! On the other hand, I like those furious oscillating loops which eat up the pace of "Subway Time to Castro Pretorio Station" which is really shaping the race of a train in a very colorful electronic soundscape. "Silence Time" is the most beautiful moment of this album where Alluste brings us literally in the lands of old Berlin School. It's as very beautiful and poetic, like "Child Time", and the imprint of Alluste is omnipresent. The rhythm is delicate, magnetic and follows a beautiful hypnotic tangent with collusive shadows under a beautiful electronic cosmic sky. "Cosmic Time", with Pharamond, is more audacious. After a very ambiospherical intro which is knotted in sizzling synth waves and in singings of flute, the sequences run away in keen pulsations which eat up their shadows, creating a starving and undisciplined structure of rhythm which finally converges into a beautiful Berlin School which is too short. "Rainy Time" offers another structure of loud and dark rhythm which imprisons its fury into long ambient corridors. The oscillations run against synth layers which waltz in opposite currents. The track deserves to be known more deeply in order to appreciate all of its nuances. It's Michael Bruckner music! Thus it deserves that we give an attentive ear because the music is always on an evolutionary mode and is ending with beautiful undulations filled by perfumes, as much oceanic than esoteric. "Reflection Time" hides its slow and brooding rhythm, like the march of a thinker, in a torrent of black breezes from some very sinister twisted shadows. I like the echo of the tap-dancing which gives a mesmerizing depth to the rhythm. The voice of Antara Annamarie Borg carries the dark and almost apocalyptic ambiences of "Moments Frail" out of the limits of “Time Lines”, ending so a very polyvalent album where the thoughtful moments of Gabriele Quirici saw the light of day behind some great modulations of sequences and arpeggios.
When we take a closer look to it, “Time Lines” is a colossal work to the measure of Gabriele Quirici's inspirations. Contrary to the sound envelope of his
Perceptual Defence project, the Italian synthesist develops here a series of rhythms, for the most part ambient, which adapt themselves to all forms of listening. The approaches of New and Vintage Berlin School is merging in envelopes as ethereal as cosmic, allying those of Software to Schulze without denying Tangerine Dream, I think here of REWO and Pharamond collaborations. So, there is of everything for all tastes and some of the  lengths pass well enough if we really want to dive into the experimental spheres of Perceptual Defence. There are some very beautiful moments in this album which is a real demystification of the Arpeggiator.
Sylvain Lupari (February 24th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You can find this album on the SynGate Bandcamp page here
 

Aucun commentaire:

Publier un commentaire