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

jeudi 6 décembre 2012

VARIOUS DiN: Index03 (2008)

“In Index03 Ian Boddy knits a wonderful musical pattern where every style, nevertheless so different, coils up in a splendid mosaic of 77 minutes”
1 B2 Gigacosm 4:38     2 Foundry 3:18
3 Geode 2:53     4 Particular Moments 4:31
5 Conundrum 4:21     6 Slow Hand 5:56
7 The First Cry 4:05     8 Rapture 4:38
9 Beneath Fear 4:03     10 Veiled 4:32
11 Trident 3:52     12 Distracted 2:46
13 Dawn/Bleep/Dusk 3:01     14 Tane 4:41
15 Lithosphere 5:37     16 Phased Realities 3:29
17 Fracture 3:09     18 Elemental
4:12

DiN30 (DDL 73:54) **** (Berlin School, electronica, dark ambient, psybient)

EM is sorely lacking of visibility. For some it's a big multi-sonic thing where all styles are entangling no matter the origins. That is why that the influential people behind labels have to innovate in order to make better known their products and so widen the horizons of a public curious but more perplexed than fascinated in front of an art that many consider constructed on lines of coldness. Ian Boddy takes the lead by offering free of charge a compilation aiming 9 works of his label, like Index02 last year. “Index03” regroups music coming from artists with styles so much diversified that the pallet of genres of the electronica and classic EM is adequately represented. You just have to click on a link, download and let yourself being rock by a music without borders.
The adventure begins with "B2 Gigacosm" from Surface 10 (Surface Tensions) which offers a delicious psy down-tempo of which the jerky cramps hiccup in a smooth organic musical fauna. The synth layers inject a disturbing lunar ambience with spectral waves which little by little lose their threatening shadows in more dramatic lines of violin. Ian Boddy's "Foundry", from Elemental binds itself to the finale by displaying muffled pulsations which espouse a tortuous rhythmic pattern. The rhythm is loud. Each chord trembles under its weight, unveiling a resonant ray where are banging percussions of a sordid universe and are ringing frivolous sequences which sing in this chthonian universe. "Geode" from Lithosphere (one of the two albums of the duet Ian Boddy and Robert Rich to niche on this compilation) calms down a little the mood with a more ambient title. Keys are clinking into bright hoops under guitar strata forged in howling twilights. "Particular Moments" is from Tetsu Inoue's Yolo. It's psybient music where lives lazily an organic fauna which moves at the speed of a two-toed sloth. After a chloroformed intro, "Conundrum" (from the album of the same name) of the Hoffmann-Hoock/Wöstheinrich duet attacks our ears with a delicious lascivious and pulsating tempo of a Hindu tribal kind where Klaus Hoffmann-Hoock's guitar is simply brilliant. It's as much beautiful as extremely mesmerizing. Ian Boddy masters his mixes and the coming of "Slow Hand", from the React album (Boddy
/Rich) immediately after "Conundrum" shows all the reach of his musical ear. The rhythm and the ambience are similar, to some variances near. More quivering "Slow Hand" trembles of its fragile chords and floats of its guitar strata sounding like ethereal choirs, moulding a strange hypnotic trance which espouses at no moment the glaucous pulsations that are pounding in a thick cloud of colorful jingles. We attend to one of the strong moments of “Index03” which continues on this momentum of loud but static rhythms, wrapped by a somber chthonian approach, with "The First Cry" from Radio Massacre International's Septentrional which is a mixture of Arc, Boddy and Boddy/Rich. And speaking of Arc, "Rapture" from Fracture intoxicates our ears with heavy and black Berlin School. The rhythm runs after its breath, trying to avoid these mephistophelic synth pads and these bats of which the winds and the metallic jingles crisscross those dense malefic woods. "Beneath Fear", from Parallel Worlds' Obsessive Surrealism concludes this 1st half of “Index03” with a heavy rhythm which resounds of its percussions to hybrid tones, bearing a surrealist melody whistling its innocence in a rhythmic chaos scattered by its bewitching traps of naivety.
With "Veil" we redo the tour of the 9 works that furnish the selection of “Index03”. Contrary to "Slow Hand", the approach is ambient and very contemplative. "Trident" from RMI charms us right on the spot with its synth pads à la Tangerine Dream which wrap a torrent of percussions from which the captive thunders release themselves to forge a hard-line rhythm. It's an electronic rock which pounds with its numerous knocks of percussions and which rolls under the chords of a mordant bass line of which the wild rhythm won't get rid completely of a Ricochet influence. A strong track! "Distracted" of Parallel Worlds intensifies this very rock progressive portion where Redshift, TD and King Crimson cogitate under the same roof over heavy undulatory rhythms which are not quite defined with their tentacular grips. As for me Surface 10 is the beautiful surprise of “Index03”. "Dawn Dawn/Bleep/Dusk Bleep" is a kind of lunar hip-hop which swirls in uncountable synth lines which hold captive the harmonies swooshing in loops. If the tempo is curt and hatched, the harmonious envelope has soon gulping it down to make it swirls into some electro-cosmic phases. Tetsu Inoue's "Tane" confirms him in his morphic electro acoustic style while that "Lithosphere" embraces the tangents of "Geode". After the eclectic "Phased Realities" (Hoffmann-Hoock/
Wöstheinrich)
, "Fracture" entails us in the black ambient phases of Arc. And even if a string of sequences sparkles there, even if the rhythm unwinds little by little, the title will see its explosion only in the movements of the percussions from "Elemental", so concluding a superb compilation put together of a master hand by the DiN's big man.
A compilation is a compilation! But not at DiN, nor with Ian Boddy!
One would make me “Index03” plays without announcing it that I would have some difficulty identifying every track so much they sound different outside their usual contexts. Ian Boddy knits a wonderful musical pattern where every style, nevertheless so different, coils up in a splendid mosaic of 77 minutes. Genial and it's free until December 31st, 2012. Here's the link:
http://dinrecords.bandcamp.com/album/index03-din30

Sylvain Lupari (December 5th, 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15720

mardi 4 décembre 2012

MYTHOS: Surround Sound Offensive (2008)

“Even if the entity is built around something that goes away from our Berlin School moods, Surround Sound Offensive is a strong album and an object of a hearing curiosity that will please to audacious ears”
1 S.S.O.-I 4:58        2 S.S.O.-II 5:29 
3 S.S.O.-III 3:47     4 S.S.O.-IV 5:20 
5 S.S.O.-V 4:44       6 S.S.O.-VI 5:58 
7 S.S.O.-VII 6:34    8 S.S.O.-VIII 4:19  
9 S.S.O.-IX 4:05     10 S.S.O.-X 5:28
11 S.S.O.-XI 7:28

MYTHOSMUSIC | 261051 (CD 58:10) ***¾ (Synth Pop, New Berlin School)

Pioneer of contemporary, progressive and electronic German music, Stephan Kaske never does things halfway. “Surround Sound Offensive” is the first title of a series of opus to appear where this excellent composer, sound engineer and multi instrumental artist explores the dynamic sound of Surround Sound Dolby Pro Logic 8. It's a dynamic work which takes its entire dimension on a more than adequate hi-fi system.
As of the first rolling of "SSO I" are starting, we seize all the sound dimension of this19th opus from the brilliant German synthesis. Symphonic percussions rolling and running over a synth which chats with a vocoder in a sound fauna of 1001orchestral richness. "SSO I" opens the door to the harmonious sound, sometimes complex but surprisingly accessible, of “Surround Sound Offensive”. Eleven tracks which combine the ambient subtleties to sequences lines for lots of unforeseeable rhythms. It's an amazing musical box which amazes each time that our ears cross a track. The melodious side of Mythos is always present but each softness are aromatized of variegated sonorities where the orchestrations are melting to the sound strangeness, as on "SSO II" a soft electronic ballade which crescendes on whistling orchestrations that are not without pointing out legendary Tomita. It's a catchy and deep ballade filled of sound effects and which deviates on an increasing tempo, just like on "SSO IV, "SSO VIII", the splendid and awesome "SSO V" as well as "SSO X". Beyond these ballads which hang the reveries above our minds, Mythos is always as he is by building more complex tracks filled of unexpected unwinding as on the heavy and atmospheric "SSO III", "SSO VI" and its strange amphibious pace combines on a superb sequencer, "SSO VII", the technoïd "SSO IX" and the unforeseeable "SSO XI". In short, all tracks build around musical patterns that are alike but each have their subtle variances in rhythms and ambiences.
The strength of Mythos is to develop a daring electronic music shaped in an avant-gardism sound universe while maintaining an approach just enough melodious to capture and maintain an auditive interest which grows at each listening. Even if the entity is built around something that goes away from our Berlin School moods, “Surround Sound Offensive” is an object of a hearing curiosity stuffed with sound effects and sonorities as rich as unforeseen in a curiously harmonious context. For those who likes more than conventional stuff.

Sylvain Lupari (December 12th, 2008 and translated on December 3rd, 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=11551

mercredi 28 novembre 2012

ROBERT RICH: Echo of Small Things (2005)

“Although difficult to encircle for a fan of base sequenced EM Robert Rich does all his effect on Echo Of Small Things” 
1 Pathways 9:36
2 Fences 4:57
3 Circle Unwound 9:00
4 Passing Terrain 6:09
5 Glint in her Eyes 6:25
6 Scent of Night Jasmine 9:09
7 Summer Thunder 4:27
8 Hollow Rings Longer 5:19
9 Weightless Morning 6:1
9
SOUNDSCAPES | SP008 (CD 61:14) ***½ (Ambient Music)

Usually I avoid ambient music (We are in 2007. Like what things really do evolve). I find it boring. I have the feeling that's an easy thing to do and that it's totally divested of interest, never managing to reach on me its first purpose; either leading me to an inner reflection. Robert Rich is among this artists' cream that are not afraid of evolving on this sphere of immobilism. And the reason is very simple; he converts to the perfection the feelings that he feels, captivating the listener in his soporific world where the space is full of senses. “Echo of Small Things” is his 8th opus of the Soundscapes series offers a collection of reflections from images from the photographer David Agasi. And, exactly as the sound could result from an image, Rich returns an arid and a surrealism ambience where the ambient music moves breathless.
From the first shadows of "Pathways", the musical curves monopolize an attention already fixed to the soundscapes effects. The music evolves through the breaths of its elements to get melt at a musical astral body in evolution. The movement is slow, crystal clear and constant. It transposes emotions that we grind when we roam on a path that we ignore, but which enchants us just as much. The breezes which cogitate here and there give a surreal aspect, a little as if we would be frozen in time. And slowly "Pathways" is melting in the immovable meanders of "Fences" where the synth cylinders raise themselves as fences posts, cutting of dream from reality. The American synthman deploys a treasure of creative imagination by juxtaposing his music on photos which inspired his last opus. The sound wealth on "Circle Unwound" is such as we feel ourselves being lifted in a slow spiral which unwinds into a heavy symphony with hesitating, but how much persistent, chords and keys. Of course we don't listen to “Echo of Small Things” with the conviction that we are going to rock. It's rather a soft rendezvous with emotions that comes in term with a motionless musical poetry. If "Passing Terrain" flows as an inactive brain wave, it returns a tangible emotion. It's quite as the very quiet "Glint in Her Eyes" and "Summer Thunder" which answer to the sculptural vision of Robert Rich. A little as on "Pathways", "Scent of Night Jasmine" is of a surprising correctness and a sensibility. The sound structure is of a wealth which invades our senses, showing the immense conception skill of Robert Rich to reproduce the feelings that transcends him. On discreet Tibetan gongs, of which the reverberations pierce the orchestrated silence, "Hollow Rings Longer" and "Weightless Morning" end this epic musical photographic on an abyssal sweetness where the space is in suspension looking to forming itself.
Although difficult to encircle for a fan of base sequenced EM, Robert Rich does all his effect. It's dark and poetic ambient that comes to reach us and which leads us to the soft reality of an everyday life which tolerates dreams only when we are on its quest.

Sylvain Lupari (October 1st, 2007 and translated on November 24th, 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=10292

samedi 24 novembre 2012

CONNECT.OHM: [9980] (2012)

“[9980] is a small jewel of an EM which this time embraces the aromas of a Berlin School lost in the lascivious dances of the haughtiness morphic down-tempos”
1 Evolution 1:1 8:33
2 Snow Park 9:02
3 [9980] 8:10
4 Mol 9:09
5 Fossil 11:07
6 Take Off (album edit) 6:53
7 Gentle Perception 5:14
8 Time to Time by Time 7:55
9 Winter Sorrows
7:13

ULTIMAE RECORDS | INRE054 (CD 76:13) ****

Silvery breezes whistle like cosmic sirens over the breaths of spatial machinery, revealing an extraterrestrial fauna which feeds the intro of "Evolution 1:1" and of its heavy and slow down-tempo. The breaths of apocalypse espouse the strikings of percussions, merging into a strange organic rhythm which trembles of its heavy bass line. The rhythm heavy and morphic, "Evolution 1:11" kicks off this collaboration between Hidetoshi Koizumi (Hybrid Leisureland) and Alexandre Scheffer (Cell) who respects the atmospheres and the organicosmic rhythms whom enjoy the vast majority of the works that we find on the Lyon based label Ultimae Records. Realized between Tokyo and Paris, “[9980]” is a mosaic of lunar ballads which float and waltz into morphic ambiences. Lunar ballads which sometimes are alike and are charming with a shady identity on rhythms and melodies finely chiselled, sleeping in an electronic fauna where the subtleties abound and bring the necessary nuances to those duels of cosmic sensualism which dance on great morphic down-tempos. A great album (are we surprised?) with musical and sound textures which put us height ears and imagination.
Of the uncertainty of the winds of Orion and the reverberating breaths of space shuttles, which drag their smoke dusts in astral corridors, is born "Snow Park". Slow, the rhythm pops out of its heavy drones to hop weakly on sober percussions. The bass line is as much strong as soft. Its haunting curves draw a morphic slow tempo, hatching a splendid melodious line which sings of its fragile arpeggios under the breaths of a seraphic choir of which the breezes get melt into the rustlings of synth. But there is even softer and more lunar with the title-track which beats of its morphic pulse in a musical dream mellow for cosmic coitus. As almost everywhere on “[9980]”, Connect. Ohm sprinkles its structure of extraterrestriales tones and starry dusts, forging fragments of melodies which complement each other by interposed segments. "Mol" espouses the same rhythmic model with few variances close. The rhythm is also slow but imposes a crescendic procession with timeless loops (which appeared in the 2nd half of "[9980]") that steal the ethereal choruses which abandon little by little a soft tempo. A tempo always so morphic which implodes with good percussions of which every blow imposes more heaviness to accompany this bass line which bites presently all rhythmic vegetation that grows throughout “[9980]”.
Molded following the same precepts, "Fossil" offers a fine line of hyperactive sequences which ring in the absolute void before merging in a rhythmic structure which ages of its latent evolution. Sequences are bustling nervously. They pound and surround the arrhythmic strikings of pulsations and percussions, so winding an undecided rhythm trapped in its toxic cloud of galactic tones. And the embryo becomes a butterfly when the heavy down-tempo encircles our ears with percussions which slam around a trembling bass line, freeing one of these melodies which lovely tease the hearing. The movement of sequences reminds me the melodic rhythms of Tangerine Dream and that's even more convincing on "Take Off" which bathes in echoing loops and riffs of guitar dragging around in the dreamlike vapors of a wandering melody. "Gentle Perception" is a beautiful track that we don't hear coming but which does its effect. Deprived of rhythms but rich in lunar ambiences, the movement soaks in an organic ambient landscape where is lapping a thick cloud of indefinite jingles. Dreamlike and floating, the structure reminds me strangely the slow processions of Solar Fields which are dying before imploding into a suave morphic down-tempo there where we waltz under a rain of Perseids. The synth multiplies its dreamy lines which float in emptiness, freeing breaths of angelic voices and a fine melodic filet, like in the long ambient phase that is "Time to Time by Time" and its metallic drops which fall into oblivion. "Winter Sorrows" concludes this very ambient/ spatial ode with oblong metallic drones which waltz against current in an ocean of atone synth lines. We hear the breaths of machineries in it to sculpture these lines avoiding with fright the thick cloud of stroboscopic circles that falls down on "Winter Sorrows" peace of mind which stirs up of its internal mutiny.
Once again the Ultimae Records label releases a small jewel of an EM which this time embraces the aromas of a Berlin School lost in the lascivious dances of the haughtiness morphic down-tempos. And nevertheless the taming of “[9980]” wasn't an easy thing. Connect. Ohm throws a lot of subdued ambiences where circulate a thick cloud of cosmic tones on evolutionary structures which sound alike a lot. It's under the shells of my earphones that I finally succumbed to the charms of “[9980]” which abounds of a mass of nuances and subtleties which increase as we tame these perpetual structures. Musical structures which hide an incredible sound fauna that will delight the most whimsical of audiophiles.

Sylvain Lupari (November 23rd, 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=15696