jeudi 5 mars 2015

AUDIOMETRIA: SomeWhere (2014)

“For those who have devoured the Berlin School style and especially the music of Javi Canovas this SomeWhere is in this confort zone that has seduced so far the fans of Javi”

1 Audiomultiplo 20:33
2 Midsound 16:16
3 Somewhere 14:16
4 Sonar 8:36
5 Stereolocus 6:04

Audiometria Bandcamp (CD-r/DDL 65:45) ***½
(Vintage Berlin School)
The least we can say is that 2014 was a rather productive year for Javi Canovas. Two albums solo, the preparation of the third one and a first collaboration with Miguel Justo. The duet is called Audiometria and the album is entitled “SomeWhere”. New stooge, same recipe! And why to change it when there is always a public lover of those based sequences movements of a retro Berlin School which is a bit progressive? This is the menu that waits those aficionados of the genre with “SomeWhere”. Recorded live in their studio, the duet Justo/Canovas proposes here 3 long movements which offers these undulatory rhythms in constants permutations where the parallel lines of sequences forge as many rhythms as harmonies in a pattern of retro Berlin School where the solos of synth and their acrobatic cabrioles are almost absent. It's all about sequences. Only sequences, mostly a la Franke! Ah yes... The last two tracks are mixing an ambient and sequenced music with a piano to the perfumes of jazz or of lounge. Different and intriguing! And there are lots of statics in this album (bad mixing or wanted?) which can annoy when we listen to “SomeWhere” with earphones. A small pleasure that makes so much the happiness of EM fans.
A soft breeze of bass flute opens the introduction of "Audiomultiplo" which takes shape with a thick cloud of synth lines of which the breaths become entangled in a slow movement of lunar waltz. A circular line of sequences makes its keys jumping with hiccups. These ones are jostling in large oscillating loops and encircle the notes of a pensive piano which crumbles a harmony which just has not the guts to take shape. A synth invites itself. It throws short solos and lines of mist around the keys which start to be short of breath. Slowly, the introduction is fading and give room to a movement of sequences which makes jump up its keys and the skeletons of their shadows. The movement exposes its protean colors, while other keys are skipping outside a heavy undulatory rhythm which crackles of its somber bass sequences. The rhythm that follows takes a gradual swiftness with cymbals which sparkle such as elytrons in a jar of glass as the sequences scatter other doubles in a fascinating tangled choreography. The keys are all jumping, scattering colors and tones in a structure which is slowed down by the multiple breezes of synths and their effects of astral nebulosity, pushing the last moments of "Audiomultiplo" in an ambient phase. "Midsound" offers a pattern rich of sequenced movements whose parallel structures are bickering under the caresses of metallic mists, a charming very 
TD flute and some breaths of ethereal voices. The introductory rhythm is split in several elements filled of contrasts. If a line of sequences raises a harmonious structure, resonant and wavering as in Poland, with spasmodic keys which embrace a circular movement, the duet lies down two other contiguous lines, of which one of bass sequences, which make pulse and drum the keys in a minimalist structure which spreads the principle of an ambient rhythm in constant tranquil ascent. This first phase dies out in the rippling banks of mist. Heavy and resonant, a line of bass sequences is whipping the brief meditative moods. We have just passed the 8 minutes and the rhythm gets violent. Brief and deep oscillations run to lose breath, losing keys which have difficulty in catching up the pace. Showing a velocity which progresses ceaselessly, the rhythm of "Midsound" spreads its ample loops which run like furious oscillations from where are falling mislaid keys and of which the opposite bounces captivate a hearing which makes dance nervously the fingers.
The title-track opens with morphic phases where the waves and the shadows of the white noises of the studio are undulating like some radioactive gases pushed by soft winds. This reminds to me of these anesthetic moments of 
Neuronium with these twisted solos and their anesthetic effects. A sequence emerges a little after the 4th minute. It skips in solo. Another line of sequence unwinds keys which run in wide circles around the first linear movement. Another one spreads a more harmonious approach. And another one throws its keys which skip delicately, amplifying a structure the of which polymorphic directions eventually weave a surprising symbiosis between a motionless rhythm and its ambient melody knotted in the multiple of its sequences. "Sonar" is an ambient and dark track with a very pensive piano which frees its vague notes in the singings of the twists of a synth filled by ether. It's kind of a pianist who cries over battlefields where the souls are squabbling in order to not leave. "Stereolocus" steals from "Midsound" this structure of sequences which reminds me so much of Poland. The rhythm is sneaky. Behind this constant cloud of cracklings, it pulses in a dense veil of reverberation. Particles and cloud of white noises hide a slow binary melody which battles between the piano notes with perfumes of jazz, ringings which remind a vague Tangerine Dream melody and with synth pads which float as the shadows of a threat.Javi Canovas or Audiometria! “SomeWhere” doesn't go out of Canovas' way of producing EM. The fans of the Spanish synth wizard will be well served here with an album which stays in his zone of comfort, even with the last two tracks which would have been able to nest on his Eunomia album. I quite enjoyed it. This is good old Berlin School filled of those psychedelic perfumes, of this ether of the old days. But I owe be honest about these white noises. These cracklings that we hear at the beginning of each track annoyed me a lot. I tested another CD to see if it wasn't my hi-fi system which made those sizzling sounds. And not, the sound was spotless! Deliberate or not? Considering the name of Audiometria!
Sylvain Lupari (February 5th, 2015)

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

mardi 3 mars 2015

PALENTIR: Empire of Illusions (2000)

“Empire of Illusions is an album to be discovered if our senses require something different without neglecting the melody, or the rhythms and even less the ambiences”
1 Fantasy & Reason 5:23
2 Under the Silverwheel 6:22
3 The Empire of Illusions 17:58
a) Morpheus  b) Rapid-I-Movement  c) Find The Key
4 Qi-Energy of Life 6:50
5 Tranceamazônica 5:02
6 Fatal Charm 4:06
7 Exhibit A 7:10
8 Searching For Words 5:45
9 The Threshold of Perception 5:52
10 Spinback 10:43
a) Backspin  b) Ascendant

Spheric Music | SMCD 3002 (CD/DDL 77:57) ****
(New Berlin School with a lot of samplings)
Written and recorded over the years of 1995 to 2000, “Empire of Illusions” continues exactly where Refuge in Fantasy has ended; either in a mythical sonic universe where the sounds make strength of law. And in order to better wrap us in this texture of samplings with tones so diverse as their meanings, Palentir has used the technique of binaural recording, giving an intense incredible depth to a universe where the listener feels literally plunged into a sonic world in 3-D. The effect is completely striking with headphones, but even more hard-hitting when we dare to raise the volume to forbidden levels. At this level, the pulsations of the title-track are voracious! Set apart the correctness, the wealth and the transparency of the samplings; the structures of rhythms, the melodies, the ambiences and the influences are very near of those in Refuge in Fantasy. Ah yes.... I can't closed this introduction without talking about the superb artwork as well as the very beautiful explanatory booklet which reveal the sources of each track of an album that I devoured my ears wide open.
The noises of a door mechanism open the introduction of "Fantasy and Reason" which, at the same time, seems to open to the musical life. Already the rhythm turns up in the ears. Decorated by sweet small bells and flavored by beautiful flute lines, "Fantasy and Reason" goes in a kind of dance music filled by some hallucinogenic perfumes of trance. The rhythm is lively, the melody joyful, and becomes a little more lively, I hear David Bowie's Let's Dance, whereas the synth goes more electronic with whistled loops which caress those delicate bells of which the ringings are perfuming a livelier rhythm which is more in a dance mood than of a Berlin School style. The structures of “Empire of Illusions” are as much varied as those in
Refuge in Fantasy, but in a more contemporary approach. Singings of owl sneak behind the closing doors, awakening the fauna of "Under the Silverwheel" which is a real Aladdin's cave for the ears. The blows of the owl are melting with the floating synth pads while that a strange nasal air from an organ weaves a minimalist melody which roams slyly and which serve as shroud to a beautiful flute. Clanic percussions delicately come to stimulate the ambiences which remain on the whole rather relaxing. The influence of Schmoelling can be feel here. The title-track is the most complex and the most delicious in “Empire of Illusions”. Pulsations pierce the cloud of ringings which open its introduction. The rhythm is slow and magnetizing. Stepping up a notch or lowering its strength, it's flooded with a fauna and a flora full of colorful tones as much organic as synthetic. Samplings of acoustic guitar get close tightly to this pulsatory rhythm which, phase by phase, melts in a sound decoration filled by a multitudes of voices from cities, tribes or from heavens. The pulsations switch to big industrial breaths. Heavy beatings which seem to frighten voices of spectres, while other voices are added and sound like knocks of clogs on the road. "The Empire of Illusions" flood itself into voices and into noises of any kinds, while the rhythm, and the melody always scratched by a six-strings, spread a generous veil of hypnotic trance. And suddenly, the tranquility of "The Empire of Illusions" drowns itself in a pattern of acceleration as unexpected as inequitable where the stress and the surprise lives together in a matter of a few seconds.
Ringings and astral voices open the epilogue of "Qi-Energy of Life". Arched on voice pads and on tribal percussions, the rhythm remains delicate. The ambiences are monasterial with voices of monks which float over a din of bells and carillons. The rhythm seems indomitable with momentums of violence which are next to a kind of spiritual trance, while the panpipe reigns in absolute master over a melody of which the noises of jungle bring it back in a heathen envelope. The delirious fauna throws itself into "Tranceamazônica" which proposes a more accessible tribal rhythm. More spontaneous with a beautiful sampling of clanic percussions which sing the rhythm and a flute which sings some cheerful harmonies.
Palentir manages to get out of this jungle in order to offer us a beautiful moment of serenity with the very melodious "Fatal Charm". The piano is as much delicious as the melody can be very melancholic. And yes, there is rain. Palentir brings us to another level with percussions which thunder a heavy ambient rhythm, with metallic rustlings and with subdued breaths which murmur "Exhibit A". It's a black, very intense track and of which the crescendo establishes a strange feeling of paranoia. Earphones here play a major role. The same goes for "Searching For Words" which adopts a little the model of Jean Michel Jarre's syllabic and eclectic languages in Zoolook. A delicate melody, hummed by Christiane von Kutzschenbach, puts in our brain a good dose of phantasms, while that Christian Schimmöller, faithful to himself, floods his structure of harmonious elements and paradoxical sound effects, amplifying the nuances and the contrasts which are the key of this fascinating album where beautiful melodies and delicate lively rhythms roam in every nook and cranny. It's a good track which spreads the nobility of its ambiguity at high volume. Built on synth pads and decorated with singings of flute in an industrial din, "The Threshold of Perception" is as ambient as placid. Let's say that the ossicles of ears resound massively here. And it's also true on "Spinback". To say the least of its introduction. Because after a few minutes of din, where nests a fine structure of melody lost in a noisy fog, where I presume being Backspin, "Spinback" concludes “Empire of Illusions” with a soft concerto for piano and bells. Ah yes, a concerto for chirpings of birds also, and many other more smooth noises. Did I hear an insect be gobbled up?
The music, or the sonic universe, of
Palentir, and it's even truer on “Empire of Illusions”, is principally for fans of sounds. To those who devour sounds and samplings. These sound effets are flabbergasting and their insertions are always so levelheaded. As for me, “Empire of Illusions” is more accomplished than Refuge in Fantasy. There is something magical here. Christian Schimmöller shapes his rhythms in the shadows of his sonic mishmash, reaching the highlight of an imagination which finds its height in our perception, from where the title “Empire of Illusions”. Well, I suppose. Although the influences of Schmoelling are presents in some occasions, Palentir spreads his sonic realm with his own identity, giving thus some very personal structures of rhythms where the imagination is more present than the pace. I quite enjoyed it, even if sometimes everything sounds so unreal, so improbable. But on the other hand, it's doubtless it the biggest strength of “Empire of Illusions”; an album to be discovered if our senses require something different without neglecting the melody, or the rhythms and even less the ambiences.
Sylvain Lupari (February 3rd, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Bandcamp page of Palentir here

lundi 2 mars 2015

PALENTIR: Refuge in Fantasy (1994)

“Very different because so much full of samplings, Refuge in Fantasy is like a precious stone that we rub and so discover all of its shine”
1 The Gardens 5:44
2 Orange Dream 6:25
3 The Waters of Life 11:48
4 Ocean 8:57
5 The Old Forest 7:20
6 Gil-Galad (Starlight) 8:51
7 Fountains 3:33
8 The Flight 3:52
9 Falling Down 3:45
10 World in my Head 6:35
11 Time Loop 2:14
12 Elapsed Time 6:19

Spheric Music | SMCD 3001 (CD/DDL 75:27) ***½
(New Berlin School with a zest of New Age)
Hum... that didn't really tempt me! It has been a while since that Lambert Ringlage sent me both albums of Palentir. And each time I put myself into it, the taste to pursue the experience became blurred in the middle of "The Gardens". I had quick glances here and there and I had the same feeling. By respect for Lambert, and because to date all the albums from Spheric Music pleased me enormously, I decided to really plunge into this strange universe of samplings which chew the music of Palentir following a recent listening of Johannes Schmoelling's  Wuivend Riet. The link? I'll talk about it later. Inspired by the world of fantasies of J.R.R. Tolkien, Christian Schimmöller forms his Palentir project (you know this small crystal ball called Palentir in the Lord of the Rings?) at the beginning of the 90's. Only 4 albums, including a collaboration with Lambert, will come from these very progressive ideas of Christian Schimmöller whose very harmonious, almost poetic, style breathes of a sound creativity finely developed by an impressive pattern of samplings
Sharp stridulations attract birdsongs and the tom-toms those of very ethereal tribal voices. "The Gardens" spreads its artificial charms with a variety of samplings. We can hear harmonies of guitar and singing of flute on fine clanic percussions here, giving to this first track of “Refuge in Fantasy” a rhythm as mesmerizing as lively where the flute amazes the ears. It's delicate and very musical. We are in Johannes Schmoelling's
 lands with sound shavings which remind strangely those of Wuivend Riet. Here and in "The Old Forest" where the samplings and the vibes stick very well to the spirit of the music. Moreover it's the first thing that jumps to ears after an attentive listening of this first album of Palentir on Spheric Music. The music is very relaxing and rather melodious, almost in a New Age way, where the influences of  Schmoelling, in solo or as a member of Tangerine Dream, glitter in rather hallucinogenic sound structures. Some connoisseurs will compare Palentir with Gandalf, but I don't really know the music of Gandalf. I'm just pointing that out. "Orange Dream" makes very Tangerine Dream, are you surprised here, with nice synth pads which decorate an introduction sung by a flute. The rhythm which comes is lively. Decorated by the flute, a variety of ringings and some bohemian piano lines, it rolls on some bass undulating sequences and on sober knock of percussions. The duel flute/piano, although rather smooth, gives a very New Age melodic cachet, while the multiple phases of rhythms and ambiences, always very accessible to the ears, give a more progressive depth to a music which inhales the atmospheres of the Dream, circa 85-86. In that respect, the moods and the arrangements of "Ocean" remind a little those ones, very sinister, of Legend. The same goes for the very beautiful "Falling Down", even with some nice passages which are going to remind to some of you the cosmic flutes of Software. We can easily also include "World in my Head" in the lot. All long structures with very removable sound décorations.
Suddenly, what annoyed in “Refuge in Fantasy” ends by eventually charmed. The samplings! Omnipresent, they are sensibly inserted and stick with the thought of the music. The music comes very often in second plan or is presented in short phases with random collages which are of use as fineries to noises of jungle, to singings songs of insects and of birds, to impulsive and jerky orchestral arrangements, to percussions as clanic as symphonic, to harmonies of piano and of flutes. Many singings of flutes with misty tones, as in
Tangerine Dream, or with cosmic moods and beats, as in the universe of Software. The intro of "The Waters of Life" is rather claustrophobic with its thick clouds of droplets which fall from everywhere. We hear a kind of Kyoto there which pinch its notes and a flute which throws floating singings in a mood a bit glaucous. Sweet twinkling arpeggios wind these ambiences which little by little melt themselves with an ambient rhythm shaken by hits of percussions which escape some rolling shadows. The melody is slow. Molded in the singings of the flute, it inhales an esthetics which gives it appearances very New Age. Even if "The Waters of Life", just like "Gil-Galad (Starlight)" and its structure of sequences a Berliner, as well as very beautiful "Elapsed Time" from which the melody, the arrangements and the carillons make me regret having ignored for a such a long time this album, scatters its 11 minutes into rather evolutionary phases to bear in a so singular way the New Age seal. Except for "Fountains" which is a beautiful ballad, less dark than "Falling Down", which charms with its simplicity. Only "The Flight" is kissing totally the lively and undulatory rhythms of the Berlin School, while "Time Loop" is a soft musing with a quite delicate piano which floats on sinister noises that we can easily confuse with a big clock of which the mechanism spreads its noises and its depth beyond the limits of "Elapsed Time".
Surprisingly, I quite enjoyed the
Palentir experience. Very different because so much full of subtleties and of sound effects, “Refuge in Fantasy” is as a precious stone that we pick in a muddy ground. When we scratch it, when we rub it, we eventually see its charms. And it's still so much more true with earphones.
Sylvain Lupari (March 2nd, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Bandcamp page of Palentir here

samedi 28 février 2015

NATTEFROST: Homeland (2014)

“With Homeland Nattefrost goes out of his comfort zone by surfing on a great model of Berlin School which shines of a more accessible approach”

1 The Golden Age 1:30
2 Dance of the Elves 3:33
3 Norse 6:29
4 Divine Light 8:04
5 At War 5:49
6 Homeland 20:23

Sireena Records ‎| SIR4026
Nattefrost Music (CD/DDL 45:45) ****½
(Berlin School)
 Nattefrost is a worthy representative of Scandinavian. Each album, set apart Futurized, is inspired by the tales and legends of this immense territory which was the cradle of the mythical Vikings. “Homeland” is no exception! Leaving this very sci-fi approach of Futurized, Bjorn Jeppesen returns to his first loves by signing an album which is a delicious fusion between the symphonic and the filmic approach, "At War", that were on From Distant Times and his usual electronic hymns, "Divine Light", which had at once caught the attention and  made the delights of his first albums. The result is surprising and indeed very charming. In fact the electronic bard from Copenhagen presents here his most beautiful album to date. From the first minute of "The Golden Age" till the last seconds of "Homeland", Nattefrost establishes a crescendo which gives shivers. As much as in the emotions that in the spine. It's one of 2014 jewels which has nearly passed under my nose, under the radar of EM. Like almost everywhere on the music planet, Nattefrost, who is very popular in his own Danemark, presented “Homeland” in a limited edition of 500 albums in 180 gram vinyl, produced by the Sireena Records label. Sold out in this format, “Homeland” re-appears in the form of factory pressed CD on the Nattefrost label.
The cold winds from the Scandinavian plains  sweep the horizons of "The Golden Age", blowing some thick clouds of rock dusts which fragment the evanescent harmonies of the undulatory synth lines. Short but effective, "The Golden Age" spreads the dramatic elements of “Homeland” with some dark and resonant chords which leave an imprint of mystery. Hardly longer, "Dance of the Elves" goes deep to the bottom of our eardrums with some superb melodious arpeggios which draw the lines of a melody, as virginal as devilish, where every note which fall is dancing with doubtful shadows and with linear pulsations of which the fast beatings lay down all the same a structure of ambient rhythm. The balance between the light and the darkness, the warmth and the cold, is striking of reality. Quite slowly and innocently the charms of “Homeland” spread their influences. Strange black breaths inject a foggy mood. They accompany the deep movement of "Norse"' undulatory pulsations. The structure, with a melody which makes twinkling its arpeggios resounding of transparency, and the furtive approach of a rhythm drummed by bass sequences, like an  accelerated war march, borrows a bit here the model of "Dance of the Elves", but in a clearly more elaborate context and with a structure of rhythm which offers beautiful oscillations filled of variances. The race ends in a very cinematographic ambience with a long ambiospherical passage which truncates the last 3 minutes of a rhythm hypnotizing like a tribal feast which precedes a war. The nuances in "Norse" are astonishing and testify of this maturity which has seized  the signature of Bjorn Jeppesen since
From Distant Times with Matzumi. Each album of Nattefrost brings its catchy track. We could have thought of "Norse" or the babylonnesque "At War". But no, the award goes to "Divine Light" and to its very lively pace which first and before all has to get out from a magma of synth lines among which the entanglements as much embroiled as the gurgling tones are clubbed by the rollings of the timpani percussions. The combustion of this static movement spits some arcs of fires of which the radiations forge the bed of a rhythm that bass sequences are leading it away from its static environment in order to lay a fluid rhythm which gallops in the knocks of very lively percussions. From melodic IDM, the rhythm of "Divine Light" offers itself some harmonious fineries with lines of arpeggios which are parading or still which humming in banks of ethereal mist and ambiospherical elements, giving to this track an attractive oniric depth. This is going to become one of the good music piece in Bjorn Jeppesen's repertoire. "At War" is titanic. Lively and heavy, it's intensely orchestral. And the illusion to see an army of vile gnomes crossing the fields of our visions is absolutely superb. The rollings of timpani, the lamentations of the defeated, the philharmonic envelopes and the moaning noises of war beasts are created with an extreme precision. We feel the intensity, the drama in this Vangelis' kind of track
With the title-track,
Nattefrost goes out of his comfort zone by offering a long musical river of about twenty minutes, a bet that he last attempted in 2004 with The Road to Asgard.
"Homeland" offers a beautiful evolution as well as subtle variances in tones and harmonious colors tinted of dramatic effects. The cinematic ambiances are always present with waves and winds which seem to blow on a field of a battle which knew its tragic end on the edges of a Scandinavian coastline. Touching effects punctuate this introduction with dark winds, knocks of percussions and electronic chirpings. A rhythm rises. Arched on bass sequences, it vacillates such as a lost soul before hanging onto a structure solidified by these percussions whose so different tones are a big part of the wealth of “Homeland”. The synth throws fragments of harmonies, as evanescent as unfinished, while the rhythm of "Homeland" follows a more steady course. It's tinted of organic perfumes and of iridescent sequences which dance with their doubles, so giving a structure of rhythm which bubbles in a multidimensional envelope and leaving to pulsations and to percussions the direction of a rhythm which is decorated of fine nuances in order to avoid the traps of the redundancy. And it's done with success! Very electronic, between Berlin School, as vintage as contemporary, ambient parts and a kind of progressive IDM, with impulses impregnated of restraints, the structure of "Homeland" offers variances and phases with jerks here and there which enhance the charm effect. The sequencing is very good with gaps in the structure which catch the interest of any fans of based sequence anthems. And when it becomes a bit sober, the ambiences, always rather dark, augment the effect of this long track of which the perpetual evolution towards more ambiospherical lands pass in the ear without a hitch. This is well done and this long track, decorated with beautiful arrangements and with new bounces, shows the control of Bjorn Jeppesen, both on his story and on the way he has put it into music. It concludes another very good album from Nattefrost. A surprising album, if we consider its very Berlin School approach soaked in this unique accessible side of Nattefrost. In fact, style Berlin School will never have been so accessible than with this “Homeland”. Very commendable!
Sylvain Lupari (February 28th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Bandcamp page of Nattefrost here
You can also watch a video trailer here

jeudi 26 février 2015

PHROZENLIGHT: Black Week (2015)

“Black Week is for those of us who where in the front seat at the very beginning of EM where everything was made by instinct”

1 Dropout Time 22:29
2 Just an Sequence 30:43
3 Trying to let my Mind Explode into Oblivion 22:18
4 Changing Addresses 16:32
5 Dark Week Passed 24:32

Phrozenlight Bandcamp (DDL116:37) ***½
(Vintage psychedelic Berlin School)
Bert Hulshoff is one of these examples of musician thinker who puts on music all the fruits of his emotions. So, the more than very prolific Dutch artist has released nearly one hundred albums, for the greater part in downloadable format, since that The Beginning has landed in the tubs in 2000. Composed, played and recorded only few days after the death of the now legendary Edgar Froese, “Black Week” is already his 5th album in January 2015 only. It contains 5 long sonic rivers of an average length of 23 minutes which are all simmered on the principle of improvisation, presenting an EM very soaked by the atmospheres of Klaus SchulzeTangerine Dream and  Edgar Froese then at the top of their experimental years.Slow synth pads, with the sonic outlines shining of electrostatic tones, are hardly brightening the somber ambient corridors which smother the introduction of "Dropout Time". While that a translucent strand escapes from these alarming pads, a rhythm pulsing like an interstellar suction cup makes its keys pounding in a furious undulatory minimalist pattern. This is a big cosmic rock of the vintage years which goes in our ears. And this is pretty much what they'll get, as minutes pass by, in exploring this album made in homage to Edgar Froese. A Phrozenlight's tribute to the old silvery fox. Going up and down, such as a crazy train which has no fear of derailment, the fiery movement of "Dropout Time" maintains its infernal pace, allying at the passage sporadic jingles, by undulating fervently in delicious synth layers with the aromas of old organ, whose shadows shake some electronic chirpings, and in these delicious gases of ether filled by these psychedelic fragrances which have furnished the magic of our loudspeakers in the years of Klaus Schulze's Picture Music. "Just an Sequence" hangs onto our ears straight away with a rhythm, always pulsatory, which is clearly livelier. The oscillations dance furiously in parallel with the echoes of percussions gasified of iodine and of which the ringings spin in a structure which at times remind a Stratosfear boosted with electronic steroids and of which the crazy pulsations are loosening shadows which try to hang in a rhythmic pattern which eventually will gurgle like a big stomach starving for pulsations. Breathless, the structure ends by flickering on the spot, offering variants which ally a phase of motionless rhythm to some sinister ambiences where from are born the deep oscillations of resounding arpeggios. With its structure of rhythm arched on a meshing of sequences in forms of chirping, pulsations and organic gurglings as well as electronic cymbals, "Trying to let my Mind Explode into Oblivion", (what a naming!) is not really for all ears. It's a long minimalist pattern which misleads the ceaseless chatters of its pulsations and where the synths experiment a very experimental electronic language on a movement which presents ambiospherical variants as attractive, its finale, as very noisy, like its passage in nothingness. Needs to be in the head of Phrozenlight in order to understand. And at times, we are very close to be. "Changing Addresses" makes a reference to Edgar Froese's famous quotation; « We don't die, we are only changing of cosmic address ». The intro is very floating with synth lines which waltz with a so very esoteric and sedative approach where prisms  sparkle in a rather dark mood. The rhythm gets out of its ambient matrix at around the 5th minute, exploiting the same minimalist furies that we find all over “Black Week”, in particular on "Dropout Time", but with more nuances in its velocity which remains after all relatively serene. A serenity which is even more present "Dark Week Passed", even if the finale resuscitates these violent storms of organic pulsations and the patterns of stationary movements that will shake the temples of your loudspeakers and will make jump up the hammer of your eardrums.
Black Week” aims at the fans from the very beginning of EM, where everything was made by instinct according to the discoveries and the possibilities of synthesizers and of their oscillatrices loops which could forge rhythms that no drummers could follow. Fans of that time where the frenzied pulsatory beats were fed by these ambiences that only the analog equipments could dissipate. Except that listening to those 2 hours of “Black Week” in a row turns out to be an exercise which proves that the tolerance can have its limits. If the 5 structures offer good moments, they also offer pretty good lengths. The discovery is more attractive if we taste the album track by track over the course of one week. This is what I did. And I was amazed then to want to hear the following one. Except that there, the pattern of redundancy erases the charm. Thus, one at a time! So we shall appreciate this tribute to Edgar Froese. A tribute to his first glances on an art that will bloom thanks to his curiosity, his perseverance and especially his immense talent to put in music his Daliesque vision of the art.
Sylvain Lupari (February 26th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You can find this album here