vendredi 9 octobre 2015

JEFFREY KOEPPER: Konnektions (2015)

“Konnektions is to Jeffrey Koepper what Skeleton Keys is to Steve Roach; an album of a rare intensity which aims to be undoubtedly an inescapable in the chessboard of modern EM”
1 After Glow 9:46
2 Oracle 3:41
3 Pantheon 8:45
4 Trance Electric 11:10
5 Astral Mechanika 13:13
6 Mercury Circuit 10:45
7 Among Stars 5:10
8 Belief 8:54

Air Space Records 007 (CD/DDL 71:29) *****
(Ambient sequencer based EM)
Listening to this Jeffrey Koepper's new opus is a little like to make a long upward pilgrimage towards heavens! Connecting the human emotions, the spiritual feelings with the analog machines. That's the main spirit behind this mosaic of sounds which starts to unfold with the warm rays of "After Glow" which irradiate of its floating arcs filled of cracklings. Larvas of synth untie their sonic ink, establishing a parameter of lyricism which infiltrate our ears with such a sweetness. Oh...that it feels good to take up with the music of Jeffrey Koepper! Because everything coming from this American musician/synthesist is weaved in a kind of sonic poetry. A fine movement of sequences shapes a structure of ambient rhythm. One would say a group of turbulent keys which make shine their crystalline tones by cavorting, by skipping, by getting entangled and by spinning with synchronized capers, and others more random, in a tight weaved schema where every forgery-step is fast returned in the magnetism of the movement. This is a sonic universe, a sonic poetry of a rare delicacy that a discreet bass line propels for the beginning of an astral procession. Quietly, "After Glow" establishes the parameters of “Konnektions”.
It's been a while since Jeffrey Koepper has gave us some new music to throw between our ears. Since Arctisonia in fact, which dates in 2011. The man played around and did other things among which having some jam-sessions with friends. And this long wait will result in a wonderful album where each track follows a processional tangent filled with ambient electronic rhythms which are weaved in the subtleties of the analog equipments. Our buddy Jeffrey uses here the Modular, that 
Steve Roach had so silky toyed with in his masterpiece Skeleton Keys. And that's the reference point of “Konnektions”. Everything is built, blown and rendered in analog tones. The result is an album where the sound background is incredibly rich and warm. The minimalist structures are constantly nuanced by a depth in the ambient textures where the allegorical singings of the synths are used as springboard to rhythms which undo the strands of their sequence patterns with effects of echo which are transformed at times into real vertiginous spirals. Assembled and mixed by Steve Roach (his imprints are everywhere) in the Timehouse studios, “Konnektions” is to Jeffrey Koepper what Skeleton Keys is to his good friend Steve Roach. The rhythms, always very poetized, are wrapped up in rich electronic textures with a lot of soundscapes to the opposite contrasts. This connection between the souls and the machines is like a slow procession in cosmos with patterns of rhythms which are quiet and violent, passive and energetic. In fact, they adopt the visions as much of its author as the ears which absorb them with delight.
"Oracle" hangs onto the last notes of "After Glow", here the 8 tracks of this opus merge in a long mosaic of 71 minutes, with an ambient phase where are shouting these stars which shine with their thousand sound chants. Voices of astral nymphs are joining this sound choir where also flow tears of synth. The bass is shaping some kind of dramatic impetus that will feed the ambiguity of our feelings throughout this delicious processions cosmographical which is “Konnektions”. The introduction of "Pantheon" roams like a beast lying in wait. Sonic hoops pile up and the bass line snores while that, far off, a more musical synth line unwinds the carpet where will parade hopping keys and their glass reflections. The movement remains rather celestial, even if a bass line draws incomplete arcs which form a passive structure of rhythm where are dancing some keys weakened by their crystalline appearances. I hear some
Michael Stearns here. Kind of this pastoral procession in Chronos? We are approaching the jewel! After a delicious ambient introduction, where our senses float along the multiple synth layers, the gravitational rhythm of "Trance Electric", the signature of Roach here is omnipresent, makes hear bass sequences which skip in the steps of a long ascending spiral. It's the kind of rhythmic structure which makes dance our hemispheres with these nuances which degrade in the snags of the synchronicity. This is splendid and intensely exhilarating to the ears. And little by little we are heading to what we can easily compared this section of “Konnektions” to Roach's Empetus and lastly to Skeleton Keys. Behind the sonic filaments which deform, the keys make one thousand capers which split the rhythm of "Astral Mechanika" into a long stationary rhythmic skeleton which is forged by kicks, by spasms and by fitful jerks. It's the beginning of a trance monument. The head shakes softly and our fingers are on fire due to drumming of this static storm which risks to stun you. Minimalist, the structure remains not less generous with the additions of multicolored threads, striking strata and electronic chirping which push the violent and passive rhythm of "Astral Mechanika" into long caresses of sound braids and of intrusive bass waves. And trapped like a rebel which refuses the abdication, the movement escapes in order to contract its violence even more which oscillates this time with more serene synth pads. We always stay in the field of static rhythm with "Mercury Circuit" and its  multiple kicks which draw a strange cosmic rodeo. The movements, I would say rather the jolts, of the sequences leave no fraction of a second of freedom for the atmospheres which stand back, while drawing a beautiful cosmic soundscape. We are in the heart of a sequences tempest since 35 minutes and "Among Stars" moderates a little this storm of ambient rhythms which torments “Konnektions” since "Trance Electric" with a structure of rhythm as much boiling as "Mercury Circuit", except that the elements which surround it (astral pads, dark waves, slow circular larvas of synth and other effects of sound camouflage) wrap it up in a clearly more ethereal phase. While we imagine that "Belief" is going to end this last Jeffrey Koepper's album by an ambient finale, it's rather a delicate structure of rhythm which infiltrates our ears by a dance of sequences, and their shadows in tints as much fictionalized than iridescent, which skip in an effect of echo (you know these kinds of sound cannons that Roach built in Traveler and Empetus?), rooting even more this perception than we have literally here a pure jewel of analog EM between the ears. Yes sirs; “Konnektions” is to Jeffrey Koepper what Skeleton Keys is to Steve Roach; an album of a rare intensity which aims to be undoubtedly an inescapable in the chessboard of modern EM.
Sylvain Lupari (October 9th, 2015) &
You will find this album on the Air Space Records web shop here

mercredi 7 octobre 2015

ROBERT FOX: Into the Light (Remastered) (1997/2015)

“Into the Light is a solid album which mix wonderfully the orchestral moods to some very strong and lively rhythms proper to the England School movement”
1 Feel The Warmth 2:28
2 Brother Earth 6:10
3 A New Day 2:07
4 Paths of Change 8:49
5 Into the Light 11:35
6 Somewhere out There 8:24
7 Shadowedland 11:31
8 Lights.. Pictures.. Sensations 9:48
9 Nearer than Before 2:28
10 Sister Earth 5:59

AD Music|  (CD/DDL 69:76) ****½
(Orchestral England School E-Rock)
Where to place the music of Robert Fox in the immense universe of EM? With very well structured compositions, which leave no room in any forms of improvisation or spontaneity, filled with melodies which are coated in of silky orchestrations and of very beautiful arrangements, the hyper-melodious music of Robert Fox is cataloged as being of New Age. If I share a bit this opinion notice, well I don't here. “Into the Light” is a powerful album and it in every sense of the word. The rhythms are furious, sometimes even violent, and even the ambient phases, with the exception of short moments, are fed by upheavals and by emotions. Evidently, melodies are legions. But while being very beautiful, they charm more in the background altering not at all this powerful musical framework which is the envelope of “Into the Light”. Yes there are voices! But they are well measured and inserted skillfully sensibly, giving some more of relief and of depth to an album which will amaze you by the power of its contents. I have approached this album with many prejudices. And I hope that with this chronicle I shall bring down these barriers which stigmatize the image of Robert Fox in a too humdrum, a too honeyed style. I know that David Wright can be easily carried away about the music on his label. But I have to agree with his words when he puts this album very high in the chessboard of the EM made in England. And by this new mastering, which is totally justified, David Wright gives more depth to an album which already had amply.
We feel this touch of this new remaster from the first seconds with a storm of woosh and of wiish which infiltrates our ears. "Feel The Warmth" begins this very musical journey of
Robert Fox to the heart of his imaginary countries by a very evasive piano which lays down the beginnings of a melody of which the notes are drank by a delicate voice of a nymphet and by a somber synth wave which muffles "Feel The Warmth" in a dense apocalyptic veil. The atmospheres metamorphose with the arrival of "Brother Earth" and with its sharp pulsations. An Amerindian incantation floats on the beginning of a rhythm papered in heavy atmospheres that a piano cuts out by delicate harmonious lines. The rhythm which follows is very catchy. Flooded by these elements and with dense orchestral pads, it skips with a fusion of percussions and pulsations. We are in the lands of a good orchestral electronic rock that the piano tames with a delicious Honky-Tonk approach. This is as good as it sounds weird to read! "A New Day" moderates the moods with a short ambiospherical approach where sparkles a thick cloud of stars and whistles a shower of cosmic lines beneath the stories of a celestial nymph. A piano gets loose from these more or less cosmic atmospheres in order to draw up a very harmonious structure of rhythm which is sat on very agile notes. The percussions are also lively than these piano notes. And little by little "Paths of Changes" gets transformed into a monument of intense heaviness which is set ablaze by some dense orchestrations where the melody is now blown by a synth with the airs of trumpets. Whether it is from the piano or the synth, the melody which haunts the heavy passive structure of "Paths of Change" is as much poignant as intrusive. It leads us to the soft rhythm and to the intensely troubling title-track which uses the perfume of beautiful synth lines to the colors of ochre. A kind of saxophone cries in these sound turbulences where are pounding some sober and steady pulsations, but without really bite for a structure of rhythm. Orchestrations are intensely moving, but not as much as the piano with its strong and heavy notes which hammer the onirism of our cerebral rhythm. This is very beautiful.
And like every time, this
Robert Fox comes to shake up my soul, to set fire to my emotions. Add to this the voice of this astral goddess and the intensely touching piano, we are not really far from the very New Age structures of Vangelis. The rhythm of "Somewhere out There" is more sustained, maybe even as violent as in "Brother Earth" with beautiful crash of chords which resound in our eardrums and with some lengthened riffs which are dying in a structure decorated of beautiful electronic effects. Some carillons are ringing in this tumult drowned in arrangements rather very striking which remind me of Mike Oldfield in The Songs of the Distant Earth. With such references, that can't be mediocre! "Shadowedland" is a long track of atmospheres with loud effects of knocking and synth lines which try to flood a spectral melody which shows up the nose from time to time. Ambient and very intense! "Lights.. Pictures.. Sensations" is a splendid electronic rock. Certainly the wildest track in “Into the Light” with a meshing of sequences, percussions and pulsations which forge an intense rhythmic ride of which the harmonies are blown by a synth perfumed of the airs of a saxophonist lost in this tumult. "Nearer than Before" is another ambient phase which will lead us to "Sister Earth" and its structure of rhythm kind electronico-tribal-Amerindian of "Brother Earth", but in a more ethereal envelope. I would say even more joyful. What a way to close an album!
Between Mike Oldfield and
Vangelis, while passing by the high colors of Code Indigo, the music of “Into the Light” is a bulldozer of feelings and rhythms which is going to turn you upside down. There is quite a lot in there; furious rhythms worthy of England School's good moments, melodies which are going to hook you some sighs on your soul and arrangements (the piano is divine) which are going to set the fire on them. Alive and audacious, with this mixture of voices over tribal and ethereal rhythms as well as hard knocking e-rock, it's a very musical album which rolls at high speed in this universe of sounds that is EM. I didn't know the album before, so I don't have a clue if it's due to David Wright's remastering, but I am sure as hell that this “Into the Light” is a solid album which seems to have passed by incognito. And I always try to understand why.
Sylvain Lupari (October 7th, 2015) &

lundi 5 octobre 2015

FABER: Dark Sun (2015)

“Dark Sun is a stunning album with very intelligent structures of rhythms which pound and beat in a splendid eerie sonic tapestry worthy of the best episodes of Tangerine Dream's Near Dark”
1 Dark Sun Theme 2:02
2 Dream X 6:18
3 Lost in Space 6:04
4 Ghost Trains 4:50
5 Snow Cold 5:23
6 Alien Chants 10:16
7 Atomic Particles 5:18
8 Thunder in my Heart 6:41
9 Cathedral 4:34
10 Voices from Outer Space 6:54
11 Canadian Woods 6:26
12 Dark Sun Reprise 1:53

MellowJet Records | cdr-fa1501 (DDL/CD-r 66:41) *****
(Sci-fi and horror pictured mind EM)
A shade with dark resonances snore between our ears, releasing a thin strip of sibylline lines where roam sinister rustles. Our ears get fill then of a disturbing mist filled with the perfumes of darkness as well as of electronic tones which bring us back to this wonderful time of Schmoelling, Froese and Franke. So goes "Dark Sun Theme", so will go “Dark Sun”! The only album that I had heard from Faber was his last year's Stories. I had found that well, just like many others tracks than I heard and that you will find on YouTube, thanks to videos splendidly created by Rob Hartemink who is second to none to make us discover beautiful electronic ballads. It was an honest album with beautiful melodies and not too much complicated rhythms. Then you imagine my head after the first 10 minutes of “Dark Sun”! From the first lines of "Dark Sun Theme", we enter into a mesmerizing universe, that I compare to that of Tangerine Dream's Near Dark, with a superb diversity in the programming of the percussions and in rich sound effects where our senses are divided between hearing sonic horror scenes, abstruse moods and sometimes cosmic ambiences, which quarrel the borders between the darkness and the brightness.
A sonic door opens on "Dream X", letting pass a bouquet of sibylline waves which sneak between the links of the sound chains. Discreet singings and noises coming from these corridors which divide our parallel universes are coming from all sides. A signature which will be present everywhere around the multiple sinister shadows of “Dark Sun”. Percussions fall and their bounces draw a soft rhythm which limps in dense ochred vapors where the murmurs and the resonant shadows can be confused easily in our ears. The rhythm is soft, as most of the rhythms in this last album from Faber. It's a kind of down-tempo, which is not totally one, that the ambiences are walking with the quintessence of their sound effects. A voice rises and recite the famous words of I Have a Dream while the percussions mislead a little the stability of the rhythm, giving to "Dream X" the necessary elements to seduce even more. "Lost in Space" follows with an intro as much disturbing where the synth lines float weakly in a sonic horizon painted of intriguing whispers. The rhythm which runs away is slower. Like a slow spiral, it swirls with a mixture of lines to the colors of Mars of which the old analog tones and others more contemporary are intertwining to amplify its rotary axis. Percussions click here and there, always amazing the ear by the correctness of their insertions, while subtly "Lost in Space" breathes of an intensity renewed in our ears. This is a great ambient beat, like in the wonderful "Voices from Outer Space" and its choir which gets lost in harmonies of synth filled by airs of Latin trumpets. "Ghost Trains" carries admirably well its naming with a lively rhythm, knotted in good electronic percussions and fluid sequences which sharply flicker. Sound effects accentuate the race of a train while others bring us back to the Exit period from Tangerine Dream. This is a great fast pace track. A solid heavy and powerful e-rock which is also tempered by the spectral approach of a feminine voice with oriental flavor while being amply fed by a rich sound tapestry and by guitar effects. "Snow Cold" is troubling melody, a kind of Halloween one, which makes its effect. A dense coat of synth, perfumed of ochred colors and of dissolved voices encircle the swarm of the crystal clear sequences which weave this melody forging of earworm. We just can't resist here...
Like in every track in “Dark Sun” the ambiences are developing delicately in order to give a more intense and sometimes a little more livened up sound pallet. Take "Atomic Particles" for instance which offers another introduction rich in sound effects. Pulsations, which hiccup like in a sort of Amerindian tribal percussions, pound with shadows of resonances whereas synth lines release perfumes of ether. The eerie melody which haunts the spiral corridors of "Alien Chants" is as much attractive as in "Snow Cold". The structure gets rid of its ambient introduction to offer a good chaotic down-tempo where cavort intersidereal whales and synth solos perfumed in the harmonies of a nasal six-strings. That reminds me enormously the music of Software. "Thunder in my Heart" is another very livened up track where the thunders spit a surprising structure of rhythm fed by a meshing of bass pulsations and sequenced percussions which are in search of a rhythmic skeleton. And it comes in the shape of a sort of dark Hip-Hop very well fed by this frame of sequences and percussions where a synth weaves this kind of melody which catches immediately the attention. It's very well crafted and the play of percussions, pulsations and sequences, and their shadows which trample in last echo of the previous one, is a monument of pleasure. "Cathedral" is a vampiric ode a la Phantom of the Opera. It's captivating and its presence here is as this unexpected thing which brings us towards the sublime "Voices from Outer Space". The pinnacle of “Dark Sun”! And I would have concluded this album with this track because "Canadian Woods", which stays a little in the same roots of the soft rhythms, dismantles a little this ball of feelings forged by "Voices from Outer Space". Except that its last minutes, more aggressive, make us regret this first impression. And the synths! Their harmonies so much spectral, their singings so much sibylline and their divine ambiences too dark to be celestial which feed these last minutes, as well as "Dark Sun Reprise", return us constantly to the charms of “Dark Sun” which is quite a whole  treasure. A brilliant move by Faber who mixes here his always very melodious approach and his electronic rhythms always covered of an intelligent game of sequences and percussions in dark atmospheres which call out those of Tangerine Dream in Near Dark. A very beautiful album Mister Ronald Schmidt!
Sylvain Lupari (October 5th, 2015) &
You will find this album on the MellowJet website here

dimanche 4 octobre 2015

TANGERINE DREAM: Rockoon (1992)

“Was it here that, us insistent fans, gave up?”
1 Big City Dwarves 6:00
2 Red Roadster 8:30
3 Touchwood 4:34
4 Graffiti Street 5:04
5 Funky Atlanta 4:00
6 Spanish Love 5:40
7 Lifted Veil 3:30
8 Penguin Reference 4:45
9 Body Corporate 3:40
10 Rockoon 7:21
11 Girls On Broadway 4:44

Miramar MPCD2802 (CD 57:48) **
(E-rock and whatever you want)
Because it's necessary to talk about it. Because Eastgate managed to find a new German label which will re edit a lot of albums from the Dream in nice digipak formats with an inner booklet, but without bonus tracks. And because the story continues to get write with various chapters, let's approach completely the 90's years of Tangerine Dream. After the disappointing Melrose, which coincides with Paul Haslinger's departure, the mythical Berlin trio became officially a father/son duet for the next 13 years, making of this combination the 2nd the longest artistic collaboration of Tangerine Dream, after that of Franke/Froese. To change Franke for Jerome Froese, it's like replacing John Bonham by Simon Kirke; we know that the rhythmic depth can be, but the soul and the subtlety in the bends, in the depths and the basses of the rhythmic structures could cruelly be lacking. After all Jerome is still very young and has big shoes to fill. In fact the epic of Edgar and son will suffer a great deal of the lack of rhythmic subtleties and of Franke's sequencing patterns, as he has suffered also a lot of the lack of the subtle nuances in the harmonies further to the departures of Schmoelling and Haslinger. More than Melrose, which has some nice tracks on it, I found that “Rockoon” was cold, linear and had totally lacked of depth even if both Froese took a very long time (the longest period of studio maturation of TD that I heard) to realize this album. But in the end, it's a true energetic album (Rock... oon) with a lot of wild rhythms and layers of a hyper heavy bass pattern. But that remains cold. Why? Don't know! And yet, I just love 220 Volts which came right from that album. There are things like that we just can't explain. So that's why I won't say that it's a bad album. I'll only say that I just didn't like it at all. Because this “Rockoon”  literally seduced a new generation of Dream's fans and propelled Edgar's project towards new territories which introduce a new movement of electronic rock in Europe, especially in England. Except that I, I did not like this “Rockoon”!
This being written, what is to say about “Rockoon”? Bah … It was nominated in the category of the best New Age album of the year in the land of New Age but didn't get a Grammy. That quite means a lot about the artistic understanding that the duet drew. On the other hand it also confirms that “Rockoon” was an album well done with melodies which hang onto the ears of the novices in EM, beats which set fire to the feet of those who taught that they were entering into a psychedelic universe (remember, we are in the other side of the Earth here) where everything was splendidly innovated!!! Because “Rockoon” was full of catchy rhythms and melodies deserving of American FM radios. Tracks like "Big City Dwarves", "Red Roaster", "Touchwood", "Graffiti Street" and "Rockoon" are good electronic rocks. Big beats (I still think they are cold as ice), huge guitars tinted with beautiful and sober melodious approaches, a saxophone which replaces (with horror) synth strata and some rare good sound effects. You have the canvas of “Rockoon” here. But tracks such as "Funky Atlanta", "Spanish Love", "Lifted Veil", "Penguin Reference", "Body Corporate" and "Girls On Broadway" are kind of sacrilege in a
TD repertoire. I know that I'm hard but I told you that I didn't enjoyed at all this album. And believe me, I tried! As much as I tried, and ended by like other albums from that era. As you will read further on my Blog. But this “Rockoon”? Nah...
Personally, I have nothing  much positive to write about this album. And about other albums signed by
Edgar and Jerome Froese. Certainly, there were some very good of made, but there are also some very bad. But if you like easy rhythms, striking guitar solos and riffs without soul (Jerome will be much better as the years will pass by), cold electronic percussions which roll on very aseptic synths; “Rockoon” might appeal you. And I know it could because it pleased to a lot of people. It could be an entrance door to some of you, as I know it was an exit door to some of us. But I did stayed and I have discovered some nice music, not as nice as in the golden days but still nice, some years later. Ah this TD! It's like an old flame who never stops to entice you! With or without this “Rockoon” and, yes, lot of those which will sound just as bad to my ears.
Sylvain Lupari (September 30th, 2015) &

vendredi 2 octobre 2015

BEKKI WILLIAMS: Elysian Fields (Remastered) (1996/2015)

“This is a solid album with a great orchestral EM filled of catchy melodies which always tickle the limits of New Age”
1 Megaera 3:39
2 Elysian Fields (Part 1) 6:01
3 Charon 4:57
4 Moons of Artemis 4:24
5 Hera 3:05
6 Aphrodites's Lament 6:49
7 Secrets of the Labyrinth 6:58
8 Icarus 4:57
9 In the Arms of Morpheus 6:08
10 A Glance from Medusa 7:09
11 Elysian Fields (Part 2) 10:12

AD Music | AD150CD (CD/DDL 59:12) ****
(Synth-Pop, England School, orchestral EM and New Age)
At its release in 1996, “Elysian Fields” had really hit the jackpot! Let's see the contexts. EM of the Berlin School style had lost its points of references in an EM oriented, with the possibilities ceaselessly renewed by the new digital/digital equipments, towards an approach resolutely more pop rock. Beatboxes, riffs of false guitars and fast flow of electronic percussions deviated the formerly floating atmospheres and the rhythms of ether of EM on ashes of a new EM taken away by the waves of the Synth-Pop and of the New Wave music. Tangerine Dream had also laid the foundations for a new EM which quietly found its followers in the emerging movement from the England School. Ian Boddy, Mark ShreeveJohn Dyson and highly esteemed Andy Pickford were the standard bearers of a style that the critics have always confused with the New Age and even of the ambient style (Sic!). It's in this stride that Bekki Williams proposes a first album which will seduce everybody with its rhythms as lively as the melodies tinted with a very feminine poetry which are wrapped up in beautiful orchestrations to be made capsize the souls of the most romantic. Between New Age and Synth-Pop sieved of a delicate ambient perfume, “Elysian Fields” deserved certainly the media attention of this time. Out of print since 2 years, the album finds its way again in a new remastered version which includes a bonus track while keeping those charms of the 90's tones. Tones which aged, but of which the beauty of its envelope is still very charming.
Let's forget the very pink-candy intro of "Megaera", and its fluty spasmodic voices, in order to concentrate us on the rhythm of lead which is transported by good electronic percussions and by a synth with very shrill solos. We are definitely in the good lands of EM here. "Megaera" is a solid e-rock which had made the lovers of the genre salivate during its first appearance on a compilation from the
AD Music label back in 1995. The rhythm is heavy and alive, in the pure spirit of Tangerine Dream of the dad and son Froese's years, but with more passion. More melody in the soul. "Icarus" is as much wild and lively with some very retro electronic percussions and a synth with very aggressive melody. "Elysian Fields (Part 1)" was also part of this 95 compilation. It's Ying and the Yang. If "Megaera" ploughs us the senses. "Elysian Fields (Part 1)" softens them with a sweet opening where fanciful violins caress the ascents of chords forged in glass. The rhythm which follows is in the kind of pure ambient ballad with breezes of voice which lead us to a silky orchestration of which the harmonies overfly a slow, almost lascivious, rhythm  ploughed by heavy percussions where a kind of guitar does into romance. Melodious and very beautiful and above all filled with orchestrations which are giving goose bumps. It didn't quite worked on me, but my love Lise adored it. "Charon" is a good track knotted in the darkness with lines of sequences which flicker in the torments of percussions which roll like a trolls' walking. The effects and the orchestrations set up a structure rather near of a good Synth-Pop. "Moons of Artemis" is livelier with a pattern of great sequences and good percussions. The rhythm is fluid and becomes more spasmodic while the harmonies blow against current. The orchestrations, quite in a Oriental mood, remind me of Yanni, while one of my friends finds a resemblance with the structures of Andy Pickford here. The same goes for "A Glance from Medusa" and its very Arabic orchestrations which encircle a heavy structure which is getting jerky. That does very cavalcade in movies.
"Hera" is a beautiful moment of tenderness rendered by a delicate piano. The orchestrations are hugely wrapping and encircle marvelously the very melancholic side of the music. Impossible not to like it! "Aphrodites's Lament" is the bonus track. And it's newly written by
Bekki Williams with the help of David Barker. Nasal singings are covering a very ambient intro while that quite slowly the rhythm beats more and more with a meshing of sequences and percussions which skip with liveliness in ambiences haloed by voices of nymphs, by beautiful orchestrations and, always, by this nasal synth. The finale makes very pastiche with these surges of synths which call back why Bekki Williams was retained by the BBC Radio in the adventure Shadow of the Wind. "Secrets of the Labyrinth" propose a rather ambient intro with dark lines of synth which release hybrid sound particles. We do not know if it is some water or dusts from cosmos. A line of sequences forges an interesting structure of delicately jerky rhythm where effects of guitar meditate beneath effects of synth washes. The rhythm is circular with a more or less dark approach and the jumping keys become more insistent as "Secrets of the Labyrinth" progresses and goes down into a heavy symphonic coat. After a furious "Icarus", In the Arms of Morpheus" calms down things with a rather vaporous intro where percussions drum a pensive rhythm. A rhythm all the same rather heavy which will remain stillness and which can make us lulled languishingly of the trunk, because of the orchestrations, under the sweet caresses of the singings of flutes and the harmonies of a synthesized sax. "Elysian Fields Part 2" is a very intense track, the best here imho, with beautiful orchestral caresses from the harmonies which are really going to weave to you an earworm. The music loses of its intensity a little after the 7th minute when a very beautiful piano scatters the harmonious beginnings of this delicious saga which is “Elysian Fields”. This is very nice, it's soft and very oniric. And it concludes an album which leaves me perplexed! Because when I listen to it I feel like this unfaithful soul who deceives his beloved one, because the other one is more attractive, is more charming. While one perfectly knows that it does not have the ounce of the depth of this first one who guides our senses since for so long. If you like a  good, a very alive and a well orchestrated EM with outbursts that will give you goosebumps to the soul with its strong flavor of New Age which gets lost in very lively structures of rhythms, this “Elysian Fields” from Bekki Williams is going to seduce you to the bone!
Sylvain Lupari (October 2nd, 2015) &
You will find this album on the AD Music web shop here