mercredi 1 janvier 2020

SYNTH&SEQUENCES keeps moving

Dear readers and followers, I want to thank you warmly for this massive support of you in the evolution of my Blog Synth & Sequences. Unfortunatly, du to the fact that it has a lot of stuff and a long list of artist whose music is reviewed here, I have to move this Blog to a more convivial way to read it and to find reviews. So it's the main cause of why this Blog is switching for a real website.

Now SynthSequences will need a new way to search from you, but you will see the differences between it and this Blog Please take to time to dig it will continue to read here. But you will remark that reviews will diseapper and reappear on the new website. Allready, more than 235 reviews have been removed and put on my new website.

I hate to do this, but this site cost me an average of 500$ a year. This is the reason you see the Donate sign. It's not an obligation for anyone, and it will be remove once this amount is reached each year.

Thanks and advance and long live to Electronic Music :D

Sylvain Lupari

mardi 21 octobre 2014

MYTHOS: The Dark Side of Mythos (2000)

“As much unlikely as it could be, this album from Mythos will plunge you for sure up until at the door of your perceptions of theatrical fear”

1 Rose X 8:13
2 Trust No One 5:32
3 X-Cursion 5:41 
4 The Truth Is Out There 6:16 
5 Mythos X  7:29
6 I Want to Believe 7:54 
7 X-Traterra 7:27
8 Zombies´S Supper 4:18

Mythos Music (CD 52:52) ****
(Theatrical dark EM)
Mythos is quite a character, nearly a living legend if we consider his roadmap, in the universe of EM who likes to touch all the phases of his visions and developing complex works with its panoply of electronic toys and assorted instruments. From rock to Krautrock and to electronic, everything he brushes ends to be something quite tasty. A studio recording has no secret to him. Just throw an ear to his albums in the best of the German psychedelic years and you will observe this intense and very enveloping musical structure which feed all of his compositions. And this “The Dark Side of Mythos” is no exception. And if the intriguing artwork appeals you, tell yourself that it's nothing compared to the music.
It's directly from depths of the infinite hell that "Rose X" opens. Latin singings surrounded by lugubrious animal tones circulate around metallic beatings which click like the clock of the death. The beat is mainly ambient with anvil hits which shape the clock of a tenebrous world. It rests so on a lot of metallic noises as well as crying from beast or tortured souls. Dead moments punctuate short atonal phases where we guess a soul being sacrificed...or murdered. This is creepy like hell. The beat returns with a series of clinking which are flooded by monk's prayers and by mooing of unknown beasts. But don't get me wrong. The beat is very atmospherical and moves through a mechanical chain which clinks and resounds among strange moanings and howlings. This will be perfect for Halloween to afraid the sneaky ones who want candies. We can imagine the worst, so much the music and ambiences which nest all over “The Dark Side of Mythos” flirts with the satanic neurosis. "Trust no One" follows the same corridors of the darkness on a so smooth sequence move which make waving its key, some of them are organic and other are in anvil tones, in an ambient setting convenient to the satanic rhythms. This is great horror picture music. "X-Cursion" is quieter and also more musical, even with its sinister and disturbing sound effects, with a smooth sequence pattern which knocks a slow beat beneath a dense horrific sound pattern. We are indeed in the very dark side of 
Mythos. The moods are heavy and a nice Mellotron flute emerges to charm are ears with an almost sensual chant. This is a very nice passage. "The Truth is out There" follows this path of indefinite structures of rhythm. In fact, the beat is slow, almost absent, and beats through organic sequences which gurgle in a dense uncomfortable mood. Master of the ambiences and of the places, with his systematic and much chiselled approach, Stephan Kaske keeps us on the alert with slow and mesmerizing rhythms which move surreptitiously in tortuous atmospheres that he draws in order to lead us in halfway between fright and charm. Let's take "Mythos X" and its lento staccato effect. The mood is totally frightening with those diabolical whistles which float on a floating structure of rhythm a bit jerky. Intense and dark, the track evolves subtle in a more musical approach worthy of a movie where the gentle soul runs breathless, his beloved nearly turn into a vampire, in a cemetery fills of mud up to his knees. Scary but quite bewitching.  This is the best part of this ode to terror. The moods and rhythms of “The Dark Side of Mythos” go quieter and nicer as we advance on the album. Always dark, "I Want to Believe" turns out to be a very nice and ambient carousel. The movement reveals two parallels, and paradoxical, lullabies which slowly turn around in a deep setting of fear, thanks to thunders, violin mist and a sneaky march of sequences. The more the music gets in, the more we are enchanted. This fascinating spiral swirls delicately on a movement which takes its intensity in its tone, like an inverted bolero. A totally divine moment which pursues its intriguing charm with "X-Traterra" and its gloomy ambiences where are fighting segments of dark harmonies which sparkle like lonely shooting stars in a foreign universe. I sense a bit of Software there as the movement goes near the doors of cosmos. It's impossible to avoid any links between “The Dark Side of Mythos” and the apocalyptical music of Mark Shreeve, or yet some big Redshift but in a less improvised setting, and of course Jim Kirkwood. "Zombies´S Supper" ends this ode to terror with a nice melodious approach stuffed by keys with shimmered tones which swirl and swirl, such as an unfinished melody. Unmistakably, Mythos wears the clothes of a Ghost of The Opera new genre with this work, all the same intensely theatrical, which is “The Dark Side of Mythos”. In spite of the very black moods, the music survives thanks to finely wave-like rhythms. Ambient certainly, but deliciously lively. And no! Stephan Kaske has not lost his rather melodious approach which floats like a balm on these ambiences of film terror of which the sound effects bring us near to the imaginary Satanism. A music ideal for Halloween, or for your murders and mysteries evening, “The Dark Side of Mythos” will blow you literally away and brings you also towards the depths of your child fear. Fans of Jim Kirkwood music; go get this one!
Sylvain Lupari (October 20th, 2014)

gutsofdarkness.com & synthsequences.blogspot.ca

mardi 14 octobre 2014

PHOBOS: Sector Four (2014)

“Sector Four is yet another fine opus of dark ambient music from Phobos”

Sector Four 69:39
Phobos Music (CD/DDL 69:39) ***½
(Dark Ambient Music)
A warm breeze out of nowhere lifts the subtle particles of the windy harmonies from “Sector Four”. These euphonies exchange the refulgence of the first breaths to be transformed into more somber, hollower winds. Winds which will always be at the heart of this atonal symphony and of these secret singings which little by little are coppering themselves of more astral, more cosmic atmospheres. Letting ourselves being absorbed by the hot cosmic winds of "Sector Four", and of their sibylline complexions, it is to agree to let travel our aura in the abstruse territories of the dark ambient music of Phobos. David Thompson is structuring a long ambient dawn serenade where only the fine subtleties bud the slow implosions which redirect in delicacy the flows of winds, the immobility of the movements. Except that there is nothing really new in the darkness of Phobos. Much less dark than Darker (can we really have darker?), but just as much atonal, “Sector Four” is a long ambient journey where the listener has constantly this sensation to float with celestial bodies throughout the 70 minutes that lasts this concerto for winds mislaid in the cosmic corridors. It's quiet. Very quiet! The delicate morphic changes chase away a possible boredom with momentums full of restraint which propel every segment of “Sector Four” towards new horizons of night-contemplativity. Flowing like an invisible water into the profound bed of a cosmographical river, the 70 minutes of "Sector Four" switch around quite slowly the sensibility of the intersidereal breaths which trade its translucent suntans for more neurasthenic tints. Composed and played with a minimum of equipment (VST and plug-ins), Phobos digs the grooves of his sonic breaths like an architect polishes lovingly his mouldings in order to harmonize them with the singings of winds. An opus exclusively ambient whose atone form exchanges imperceptibly according to the slow peaceful oscillations, “Sector Four” makes us adrift in a nothingness skillfully put in sounds by David Thompson who always finds a way to charm the listening with fine modulations in his times.
Sylvain Lupari (October 13th, 2014)

gutsofdarkness.com & synthsequences.blogspot.ca
Cette chronique est également 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=17411  

vendredi 10 octobre 2014

TM SOLVER: Auscultare (2013)

“This is a great album of these so famous ambient rhythms linked to this New Berlin School we have here. Hat to you Thomas Meier for such a hypnotic album”
1 Funky Planet 15:08
2 2012 DA 14 5:59
3 Sine Tempore 7:23
4 Cum Tempore 12:47
5 Magno Cum Tempore 17:08
6 Maximo Cum Tempore 19:06

SynGate |CD-r TM06 (CD-r/DDL 77:31) ****½
(New Berlin School)
Released at the end of 2013, “Auscultare” is an album which totally went unnoticed at this crazy period of the year where the musical (sonical?) novelties flood a market which has not enough ears, nor of money, for all these small jewels which go out at the same time.
And it's a pity because this last 
Thomas Meier's album is quite a whole jewel of New Berlin School style of EM. Without reinventing the wheel, even if the author indicates rightly the very first use of the analog synthesizer GRP A4 on "Magno Cum Tempore", TM Solver regilds all the same the coat of arms of a style which seems to live again constantly of its hypnotic charms with soft rhythms which swirl and swirl in our head, as souvenirs of another time nevertheless always very present. I loved it. I adored it. And it's for sure among my Top 10 list in 2013!
And that begins with "Funky Planet" and its delicate morphic rhythm built on a pattern of sequences whose mismatched lines of movements are jumping, like balls wrapped up in felt-tip, in a rhythmic choreography which swirls such as a lunar Cha-cha. The synth lines are mellifluously vaporous. They exhale an oniric perfume of ether and mysticism with these seraphic voices while vaporizing delicate breezes of solos which snivel languishingly on this delicate structure of rhythm and its multidimensional interlacing as much fragile as these arpeggios which are skipping into a deep and dense foggy engorged of an iridescent drizzle. We are into cosmic, minimalist certainly, but deliciously hypnotic beats. I love and it starts things pretty well. More ambient and clearly more melancholic, "2012 DA 14" offers a beautiful endless cosmic ascent with fine sequences which climb timeless stairways by wearing on their fragile rhythmical paces the weight of a whole arsenal of mists and astral voices. "Sine Tempore" offers also a delicate rhythm rather morphic which sparkles and rings like a concert of carillons under the breezes of a nasal synth. This synth, very melancholic, spreads its sorrow with a beautiful lyrical approach where the solos sing and the violins cry with the seraphic voices on a tempo which livens up and fades out on this enchanting binary movement of sequences, one tinkled and the other one drummed, which tinkles almost everywhere in the adjacent corridors of “Auscultare”. Of what to bewitch and solicit the most temperamental of the listenings. "Cum Tempore" proposes a more syncretic electronic envelope where hollow winds and bright breaths get lost in lunar orchestrations. A slow movement of bass sequences braids a furtive rhythm which climbs an abstract slope where are hooting and are whining quantity of synth lines in perfumes and tones charmingly hybrid. Some sound effects burst here and there, punctuating the track of a psychotronic approach which calms down its reason into other more musical lines.
With the quadrilogy of time, we enter the best segment of “Auscultare” and into a great revival of the best moments of New Berlin School. Splendid with its long movement of sequences of which the skeleton bends over backwards the articulations, "Magno Cum Tempore" seems to be the equivalent of a stem cell taken out of the lunar atmospheres and rhythms of
Software, in their superb Add-Space-to-Time from Electronic Universe Part I, with a rhythmic ritornello so much near that we actually believe to hear a remix decorated with a more luxuriant sound fauna. The rhythm and the sequences are always bouncing like silk balls in a long spheroidal sonic corridor, at all times very harmonious, while the heterogeneous and organic tones as well as fragmented whispers bring "Magno Cum Tempore" towards another level of contemplativity. This is very good. It's the kind of music piece that we can hear all day long and still be seduced because of a particle of elements (broken chords, seraphic voices unusual noises, which are constantly grafted here and there. "Maximo Cum Tempore" adopts a little the same minimalist and hypnotic pattern, but with more velocity in the movement. Dancing on the perfumes of lightness, the sequences flow as fast as grass-snakes which go down a vertical wall, while the electronic percussions and their scents of old Jarre add a rustic cachet to a Berlin School style restored by the modernity of new equipments. Other lines of sequences, more harmonious, get loose from these allegorical coronel, darkening this other long piece of beautiful evasive melodies which coo in astral mists and fluid solos to the fragrances of passivity. Of beautiful New Berlin School quiet, hypnotic, very cosmic and deliciously melodic; here is of what is made this other very beautiful album from TM Solver. Let's hope there is still some money left!
Sylvain Lupari (October 9th, 2014)

gutsofdarkness.com & synthsequences.blogspot.ca
Cette chronique est également 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=17408

mercredi 8 octobre 2014

SHANE MORRIS & MYSTIFIED: Evolution (2014)

“Evolution is a surprising album of ambient music which rivets the eater of sounds that we are in a mode of constant listening”
1 Fire Gathering 11:18
2 Growing into New Territory 10:21
3 Waiting for the Storm to Pass 13:30
4 Hunting in the Hills 12:18
5 The Trials of Evolved Man 12:46

Spotted Peccary | SPM-2302 (CD 60:06) ****
(Ambient soundscapes and tribal EM)
A breeze coming from the time widens a silky fluty blanket. Its dreamlike song raises a thick cloud of drones which eventually float like this light morning mist of which the suspended droplets moisten the dense Neanderthal forests. The dew dried up, the drones breathe within communicative breaths while the wooden jingles are drawing a ghost rhythm. The drumming arouse the curiosity of pulsations isolated in this leafy sonic vegetation from where wake up the stridulations of huge locusts. "Fire Gathering" takes then a tangent unknown in this Inspired Evolution series with percussions which knock down the ambiances became a little more threatening. Navigating in the seas of aboriginal and tribal moods of SteveRoachByronMetcalf and of Mark SeeligShaneMorris & Mystified are surprising with a conclusion at least clearly more aggressive than on the first 2 opuses of their trilogy. Between the mysticism of a society disappeared since millenniums and the paranormal of the contemporary tones, “Evolution” always offers these ambiences which are near the spiritual contemplativity as well as an impressive sonic pallet which this time breathe through rhythms as lively as creative. "Fire Gathering" continuous then its sonic breakthrough, just like a Cro-Magnon man discovers the dangers of his territories of hunting. The tension is tangible and each knock of percussions spreads a filmic aura, in addition to sharpening the tones of the heterogeneous noises and the organic jingles which nibble at these hollow vibes and these winds come of between mountains which sneak such as a false soothing wave.
Simply sublime, "Growing into New Territory" offers an array of beatings which sparkle and skip in a very dialectical approach. One would say a race of fragile small-steps which avoid the same traps, while the lines of synth are spreading an ambient soundscape, and so very soothing, which covers a forest half sleepy. "Waiting for the Storm to Pass" reminds me the ambient, organic and shamanic rhythms from the tandem
Roach/Metcalf. In spite that the track remains quiet, we feel a threat floating throughout its 13 minutes. ShaneMorris & Mystified may claim to create a prehistoric tone, at times we believe in it firmly, that the spectral approach of a secret society also perspires all through the 60 minutes of “Evolution”. And this even if we dive in the heart of luxuriant aboriginal vibes with "Waiting for the Storm to Pass" and its frame-drums' tomtoms which make us travel just like being on the wings of a huge insect and flying with the wave-like of synth lines. The breaths of caves and the long drones, all both rather musical, decorate the ambiospherical intro of "Hunting in the Hills". The fusion weaves a rather serene approach. Other more resonant synth lines are spreading some iridescent curves among which the magnetic singings and the reverberating pads arouse the awakening of the cymbalisation of the wooden cicadas. Hollow voices, which borrow the tones of frame-drums, and shamanic rattlers are quietly driving the serenity of "Hunting in the Hills" towards a more frightening passage, drawing the images that we visualize of a prey at the end of its resources. "The Trials of Evolved Man" seduced just as much with its docile pulsatory rhythm. The movement of the pulsations may be sustained; one would say an ambient techno with these jingles which adorn its parasitic gravity, that it awakens not at all the passivity of the synth lines, rather musical and very soothing I have to specify, which float such as the caresses of the gods on a fauna torn between its peace of mind and the rebellion of its mini-inhabitants. This very beautiful track throws a magnetizing crescendo, plunging the listener into a fascinating morphic state and so looping the loop of a trilogy of which we already regret its final part.
Evolution” is a surprising album of ambient music which rivets the eater of sounds that we are in a mode of constant listening. A rather unique exploit for an album of ambient music. The soft rhythms, the caresses of synths and their unique electronic dialects, as much as those brilliant acoustic percussions coupled to the multiple quirky tones give a rather unique sonic texture which exceeds even the borders, nevertheless splendidly defined by Steve Roach and his accomplices, of a landscaped and aboriginal music. This is the very beautiful album that offers us
ShaneMorris & Mystified . One of the best in the genre. Magnetizing, bewitching and simply superb!
Sylvain Lupari (October 8th,2014)

gutsofdarkness.com & synthsequences.blogspot.ca
Cette chronique est également 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=17386