samedi 18 avril 2015

ERIK WOLLO: Blue Radiance (2015)

“With its mosaic of soft rhythms soft scattered in good meditative phases and ballads which are near New Age, Blue Radiance is what is made of more musical in the field of EM”
1 Terra Novus 1 (5:50)
2 Terra Novus 2 (7:25)
3 Blue Radiance (5:06)
4 Pathway (6:30)
5 Osmosis (5:30)
6 Moon Above (4:04)
7 Revealed in Time (7:02)
8 Crystal Orbits (6:27)
9 Sepia (5:19)
10 Timemorph (8:02)
11 Earth Sky (5:57)

Projekt | Pro00314 (CD/DDL 67:77) ****
(Ambient and ethereal with delicate beats)
I never grow tired of hearing Erik Wollo's music! From album to another one, the Scandinavian sonic bard always manages to seduce in a musical genre where the lack of imagination,of passion led inevitably to boredom. Faithful to his repertoire, Erik Wollo entails us in his soundscapes tinted with romance and poetry. There where the ethereal moments are easily next to moments of passion with rhythms which belong to the antipode of these meditative atmospheres which always find their way through our quest of charm. “Blue Radiance” is his 19th solo album since Where it all Begins published in 1983. Once again, Wollo criss-crosses the road of  rhythms and of seraphic moods with 11 tracks which shall seduce you, both for their meditative approaches than a tiny bit savage.
As a ray of sunshine warming up a morning cheered up by the noises of nature, the introduction of "Terra Novus 1" warms the edge of the eardrums of the impatient persons who look forward to approaching this very last album from
Erik Wollo. We are on known territory with this rivulet which sparkles such as a cloud of prisms in the caresses of those soft e-winds. Chirping or fragile sparkling sequences, the waves of this fusion of synth/guitar transports the tearful spectral harmonies of "Terra Novus 1" towards a delicate structure of rhythm. Ethereal sequences and percussions weld this ambient rhythm which swirls weakly, like these winds and these lamentations which feed the enigmatic sonic panorama of the Scandinavian bard. An immense fall of noises joins both parts of "Terra Novus", while a slow tribal rhythm, livened up by rich percussions and caressed by the blue rays of an ambient and exotic guitar, excites the rhythm a bit trance of "Terra Novus 2". Soft rhythms, well sat on sequences and percussions a bit clanic and/or rather spiritual, these first 13 are very forewarning of the 50 next ones of “Blue Radiance”. To begin with the title-track, of which the synth rays and the guitar groans lead us toward a very introspective place. It sounds very Eno on his sublime An Ending which we find on the Apollo: Atmospheres and Soundtracks album. That goes in my Ipod; section night music or music to cry on! And it won't be the only one! Musical pieces such as the very melancholic "Moon Above" or the very mysterious "Crystal Orbits", which sounds quite like the title-track, as well as "Earth Sky" are jewels of meditative tenderness where the tears of guitars are whipping gently the panoramic layers drawn in the soothing colors of blue radiance. These are nice ambient and very musical tracks. Way to go Erik! "Pathway" offers a delicate structure of rhythm with pinched arpeggios which parade like in a spiral figure in a ballet chorography. Fluid and jerky, the rhythm binds itself in a kind of ride in the Scandinavian lands where delicate notes of piano fall like stars in a sky blurred of auroras borealis. These piano notes forge a melodious ambient lullaby that we also find on the rhythm knotted in the gurglings of "Osmosis", where guitar chords forge a series of sequenced riffs which gallop on sober percussions. Here as all over “Blue Radiance” the winds and the ethereal breezes outline the anchor point of those melancholic poetic visions which lull the music of Wollo. It's beautiful, delicate and almost New Age like with the very acoustic "Sepia" where the meditative acoustic guitar and piano are signing a very beautiful ballad filled by the soft fragrances of deep melancholic harmonies. The lamentations of the synth add a spectral weight to this very beautiful and very meditative track by the way. "Revealed in Time", as well as "Timemorph", offer structures of very electronic rhythms. That of "Revealed in Time" grows like a ride in Steve Roach's universe. The rhythm is soft and well sat on a sober play of sequences / percussions which spreads a soft latent crescendo. The notes of guitar form some harmonious loops which roll into a vertical spiral, catching at the passage some fine strummed arpeggios. It's rather lively, while "Timemorph" leans on layers of sequences which flicker such as multiple reflections of prism. The movement is rather motionless and made us strumming our fingers, amplifying its pace with livelier sequences of which the fate is knotted around muffled and furtive pulsations. It's a good electronic rhythm, as Erik Wollo is capable of signing on each of his albums.
With its mosaic of soft rhythms soft scattered in good meditative phases and ballads which are near New Age, “Blue Radiance” is what is made of more musical in the field of EM. Each track puts a smile to ears while, very nostalgic,
Erik Wollo hammers his keys in order to weave some delicious musical itches. It's Wollo! It's melancholic and dreamlike. And yes we can literally see his music taking the shape of these enchanting Scandinavian landscapes that he has the gift to put in relief on a music which is very personal to him.
Sylvain Lupari (April 18th, 2015) &
You will find this album on the Projekt Records web shop here

mardi 14 avril 2015

STEVE BALTES: Bochum Sky (2014)

“Here is a nice unexpected surprise where retro Berlin School gets mixed to a kind of dance music intoxicated of sonic elements which are at the threshold of the psychedelism”

1 Bochum Sky I 35:24
2 Bochum Sky II 24:53
3 Bochum Sky III 10:23

MellowJet Records|CD-rSB1401 (CD-r/DDL 70:39) ****
(Cosmic electronica dipped in Krautrock and Berlin School)
Member of Ashra during the 97 tour and partner of Harald Grosskpof in Sunya Beat and Holo Syndrome's albums as well as the too good Vier Mal Drei in 2001, Steve Baltes goes his own sweet way through the roads of EM by bringing with him his mastery for rhythms and keys in diverse musical projects introduced by other artists. He proclaims itself, rightly, as being a musician to the service of others. And in every project where he puts his collaboration, the music breathed of rhythms and arrangements just as much lively than harmonious. The roles are inversed for “Bochum Sky”. Steve Baltes has rather answered the invitation of a friend to participate in the Sound of Sky event, set up by Stefan Erbe, which took place on July 13th, 2013. For the occasion he has written and performed three long sonic acts strongly impregnated by the model of Ashra with structures of rhythms which flirt between space funk and of cosmic techno and which dissociate themselves from their shadows in order to flow in opposite directions. It's a first album in 14 years, either since Rhythm of Life, for Steve Baltes. And let's just hope that it won't be that long before we hear from him again!
Hollow winds which hoot and others more metallic which squeal! It's with a dense thick cloud of shrill scarlet tones that Steve Baltes decides to draw our attention. The intro of this long first act of “Bochum Sky” is very realistic of an interstellar sky where comets, stars and sedimentary residues whistle, rumble and throb in a din which scratches a few those very helmeted ears. Bells, small bells and carillons flutter and ring in these winds where are hiding the first pulsations of "Bochum Sky I" which throb as much weakly as slyly. Subtly, the dance of the bells turn into a movement of sequences which makes its keys scintillate in this static storm where tears of synth ooze throughout a dense noisy panorama. The movement of sequences cavorts on the spot, beneath the bites of the wooshes and the noisy sonic serpentines. Little by little Steve Baltes spreads his electronic canvas which clears up a little after the bar of the 8 minutes. We are seduced by this minimalist dance of sequences which is whipped by the banging of electronic percussions. The pulsations remain laconic and the synth winds calm their intergalactic anger with more astral waves. "Bochum Sky I" becomes softer. Skipping in a wide hypnotic circle and adorned of fine dreamy arpeggios, the rhythm is nibbled by percussions which pound with more vigor than the sequences skip. Sequences which detach their shadows, increasing a pattern of motionless rhythm always hypnotic which enters its 3rd phase with a more funk, a more abrupt structure around the 15th minute. We are in the lands of Ashra, the guitar of Gottsching or Lutz Ulbrich in less, where techno and funk clinch their cosmic flavors under a sky multicolored of electronic effects. The hypnotic movement of sequences gets lost in electronic percussions and bass bumps of which the symbiosis shapes a more lively parallel rhythm. And the whole thing becomes more punchy. We draw an obvious parallel with the sequencing universe of Franke while the rhythm is skipping in cosmic electronic elements for about 20 minutes, before crossing a more ambiospherical phase. "Bochum Sky I" enters its 4th phase with an even more lively structure of rhythm. A curt rhythm fed this time by organic keys and by lively beatings where the tears of Oliver Franks' guitar get lost in synth lines a little more spectral. And quietly "Bochum Sky I" reaches its finale which is decorated with dialogues and electronic elements, reminding to all that the sound universe of Steve Baltes likes to cross the borders of time and of genres.
More accessible, and clearly more musical, "Bochum Sky II" also extricate itself from a dense cloud of noisy radio-activities before offering a superb movement of sequences which brings us back in
Tangerine Dream's Flashpoint era. The jingle of the percussions is machine-gunning this bewitching circular rhythm. Percussions which become more incisive and, with the help of the bass pulsations, redirect the axis of the rhythm which bickers in this change of skin before showing a beautiful symbiosis. The approach of Jarre kind of cosmic dance music perspires in this track constantly pecked by iridescent lines and by electronic gurglings. The singings of the flutes are making nibbled the charms by these organic pulsations, spreading all the paradoxes and the nuances inside this surprising sonic saga which is “Bochum Sky”. And with its finale clearly stronger than on "Bochum Sky I", and where the synth solos remind of the complex charms of EM harmonies, "Bochum Sky II" loops the loop with a return to basics where its introduction was flooded by an opaque veil as ambiospherical than ambiosonic. A finale and an introduction which are absent of "Bochum Sky III" which ends  this last album of Steve Baltes with a softer, a more dreamy approach. The rhythm is delicate. The percussions start the dance of meditation where the knocks of the grumpy pulsations disturb at no moment a serenity wrapped up in tears and sighs of synth. Oliver Franks' guitar scatters its melancholy while a soft movement of sequences reminds to us the structures of rhythms in constant opposition of “Bochum Sky”. It's a beautiful piece of music. It's a soft moment which little by little awakens its appetite for more swiftness. An always peaceful swiftness which will reach more the nirvana of meditation than excitement, concluding so a concert and an album where the contrasts, both in the rhythm and the ambiences, are what there is of the most attractive.
Bochum Sky” is a nice surprise. With a superb dexterity for figures of rhythms in constant opposition, for ambiences fed by contrasts, Steve Baltes presents an album where the borders of Ashra flirt with the hypnotic movements of the retro Berlin School. Our ears are full and totally fascinated by this immense sonic mosaic which is certainly the anchor point of this album where the minimalist structures are used as bases to an impressive sound arsenal full of nuances. Here is a beautiful surprise! In spite of some lengths in intros, unless we are a fan of intense sound scribblings, “Bochum Sky” remains a beautiful album where the kind of dance music gets intoxicated of sound elements which are at the threshold of the psychedelism. A beautiful album which will inevitably make us dig in the discography of Ashra, so much the sonic winks abound.
Sylvain Lupari (April 14th, 2015) &
You will find this album on the MellowJet Records shop here

dimanche 12 avril 2015

MARSEN JULES: The Empire of Silence (2015)

“There is a point in the horizon where the music can be cold as ice, this is where lies The Empire of Silence”
1 Penstla 4:12
2 Tlaslo 5:31
3 Kayi 5:04
4 Skriniya 6:00
5 Katiyana 9:04
6 Naklin 6:01
7 Chahatlin 12:42
8 Ylaipi 6:17
9 Astrila (Bonus Track) 38:40

Oktaf Bandcamp (CD/DDL 73:33) ***½
(Dark ambient cosmic EM)
Considered by his peers as a master of abstract ambiospherical figures, Marsen Jules is a very active German musician/synthesist who counts about ten realizations in his sonic portfolio. Released on the experimental music label Oktaf, “The Empire of Silence” proposes a heavy and very enveloping music where the German synthesist entails us in soundscapes as much intense as this cold which scrapes and which bites our ears throughout these acid breezes that Marsen Jules extirpates of his synths. Soundscapes of Antartique or Mars? The question needs to be ask because even if the artwork of “The Empire of Silence” seems unequivocal, the Siberian blue which surrounds it turns into a black cosmos in the middle of these immense thick clouds of breezes which can come as much from the emptiness of the Earth spaces of ice as those of a cosmos to the territories as vast as black.
And that begins with an explosion of synth waves to tints as much sibylline as metallic which accost a hearing yet surprised by the sudden raid of "Penstla". Even deprived of rhythm or of beatings, the movement is lively, fast and is inexorably hostile with a very aggressive thick cloud of synth lines which comes and goes continually. As quickly as a blink of the eye! More ambient, "Tlaslo" unwinds a slow and very meditative movement. It's like an astral waltz, here as in "Kayi", where the synth lines float and cross themselves, showing their contrasts, both in tints and in forms, where the serenity is next to a kind of anxiety. And it's the fight of “The Empire of Silence”. Whatever it's dark or impregnated of serenity, the music flirts with both poles and the slow movements are knocked down by sudden eruptions of sharp-edged gusts which define the ambient territories. Here, everything is coated with coldness. The frostiness of the soundscapes are reflected in the arcs of the synth lines which squeal such as icy breezes. And this, even if they float like in "Kayi"."Skriniya" is more serene and more meditative. It invites us to the best phase of “The Empire of Silence” with a more linear movement where the slow waves float as bank of mist in the cosmos. The orchestrations are slow and enveloping. I even had flashes of Tomita in Kosmos. From this point, the more we move forward and the more we tame this last album from Marsen Jules. "Katiyana" is a very cosmic piece of music and a very moving one. I hear
Michael Stearns, at times a very philharmonic M'Ocean, wander everywhere around this structure. "Naklin" is more disturbing with an approach which commands more the attention than the meditation so much it is dense, even anxious. "Chahatlin" replaces the moods in a meditation and serenity mode, just like "Ylaipi" which pleads for a more ethereal approach while the long track in bonus, "Astrila", is a long ambient ode which has nothing to envy the monuments of silence which is the Immersion series from Steve Roach. For lovers of a dark, heavy and very intrusive ambient music.

Sylvain Lupari (April 12th, 2015) &
You will find this album on the Oktaf Bandcamp page here

samedi 11 avril 2015

MATTHEW STRINGER: The Second Sun (2015)

“Matthew Stringer proposes here a solid opus painted in this secret correlation which exists between him and Johannes Schmoelling”

1 Riposte 7:55
2 Dreique 11:22
3 Fortress 8:26
4 Glimpse 6:46
5 Conduit 8:45
6 Window 5:56
7 Air 18:38
8 Retrospect (Bonus) 7:51

Perge Music (CD-r/DDL 75:38) ****½
(Mix of E-Rock and New Berlin School)
The least we can say is that Matthew Stringer is to Perge what Johannes Schmoelling was to  Tangerine Dream. And the correlation doesn't stop there! Real sonic window on a work undertaken in 2009 with Your World is but One, “The Second Sun” is a wonderful album where EM gets rid of its etiquette in order to intoxicate us with melodious perfumes of melancholy. An album where synths are sculpting some very harmonious solos, where the sequences weave rhythms always drawn from the influences of the Dream and where the piano of Stringer flirts with that of Schmoelling with a fascinating complicity to create two parallel universes which always eventually join.
A slender synth wave, perfumed by the dark radiances of drones, floats over the introduction of "Riposte". Voices, murmurs and lappings decorate the ambiences of this sonic fresco where Matthew Stringer leads us back to the Meadow of Your World is but One. Moreover, all the story of “The Second Sun” turns around this first musical essay from Stringer. If the dialogues, scattered here and there all over “The Second Sun”, help our way in, the author takes good care to underline, and rightly, that this journey corresponds as well to an introspective odyssey. Already we feel from the first seconds of "Riposte" a level of intensity which will occupy the ambiences of this fascinating album where Matthew Stringer will turn upside down our feelings as he will spread his fight to guide us in his Meadow. The synth lines float such as murmurs and caresses from the darkness, by moment one would swear to hear some Rick Wright (Pink Floyd) so much it's intense, guiding us towards a smooth down-tempo. The slow rhythm is built on good sober percussions and fed by fine crystalline arpeggios of which the ringings forge a melody almost abstracted so much it is fragile. The murmurs are always so present. They set up this delicious mixture of seduction and paranoia which imbricates the 7 chapters of “The Second Sun” while feeding its depth. These voices, we can even say dialogues, resound through a microphone at opening of "Dreique" which little by little spreads a rivulet of arpeggios and sequences tinted with prism. These carillons flow like a quiet water in the breaths of a seductive synth filled with hyper melodious, and sometimes strident, twists. A brook which little by little pours in a torrent, giving to the second part of "Dreique" a more lively rhythm decorated with a beautiful harmonious approach drawn in the shade of a keyboard of which the chords evaporate in the solos of a synth always very harmonious. "Fortress" is much darker. The black breaths of its intro melt themselves in a superb structure of rhythm that will remind to some of us the essences, the spirit of 
Tangram or still Firestarter. Unexpected and especially very good! "Glimpse" is as much lugubrious and intense. It makes me think of the tenebrous, but same rather melodious, ambiences of Walter Christian Rothe in his Let the Night Last Forever. The rhythm flows with beautiful sequences which skip and alternate the shadows of the pace of others before exploding with more swiftness. The arrangements are very good and we can even hear some guitar notes to roam while the rhythm scatters its sequences in a long ambiospherical final.
"Conduit" moves on with the same moods, but even deeper and more intense. The winds are roaring like these apocalyptic sirens that we heard in Silent Hill. The jingles and the panting feed a heavy climate of terror. A climate which becomes gradually blurred while, as so improbable as unhoped-for, a soft ballad extricates itself from these jingles. A beautiful ambient ballad, almost spectral, where the jingle of the time dances with the delicate arpeggios of the serenity. "Window" is a beautiful small track. A very romantic and melancholic piece of music with a beautiful piano which sticks its melody at the bottom of our soul. Whistlings of synth and tears of voices tune their shadows with the intensity of the feelings sculptured by the piano, giving a spectral approach to a track that will remind to some of you the play of
Schmoelling in his solo works. "Air" presents a very beautiful dark and melancholic intro where an intensely nostalgic piano spreads its sorrow on the roadways of a life washed by a rain which always tries to put to sleep the noises of a city very close by. Reference point obliges to define better the great versatility of Stringer is Vangelis and his ambiences and his so dark piano in  Blade Runner. "Air" turns out to be is a great track which exploits marvelously its 19 minutes to bring us to the borders of the Dream with a hopping rhythm and with harmonies sculptured in arpeggios which will sound vaguely like an almost acoustic version of Stratosfear. Great! The rhythm accentuates its strength at the same time as the synth blows these solos more harmonious than unpredictable which define the somber and cabalistic facets of “The Second Sun”. A track that you will get as a bonus when you buy the downloadable version of “The Second Sun”, "Retrospect" reaches our ears with another beautiful  melody drummed on a piano and of which the airs get lost in the strands of the breaths of a nature where everything seems to shine like a beautiful Sunday at the countryside. The approach doesn't clash that much from the atmospheres of “The Second Sun”, because the mirror of "Retrospect" lets filter some blackish reflections with dark chords which hook onto the happiness of this melody which swirls with this suppleness of the fingers on a piano which we tame by a sunny mood. Still there, the influences of Schmoelling perspire when the nervous fingers of Stringer lead the piano towards a livelier ballad where percussions and arrangements transport "Retrospect" where “The Second Sun” hasn't yet go. I have already heard bonus tracks which had half of the charms of "Retrospect"!
As it's impossible to keep silent the similarities between
Perge and Tangerine Dream, as it's difficult to ignore the parallels between the music of Matthew Stringer and Johannes Schmoelling . And there I don't say that one is copying the other! If Perge is literally melted in the Dream, Matthew Stringer possesses an identity of his own where the influences of Schmoelling, as those of Vangelis, Pink Floyd and even of Tony Banks (Genesis), are used as base to some appealing melodious approaches which melt themselves in absolutely exhilarating sonic decorations. The strength of “The Second Sun” is its melodies, so much from the keyboards as the synths, propelled by lively rhythms, but also coated by a heavy ambiospherical envelope which weaves ambiences which can become as much intimist as the visions of his author. This is very good and that will be one of the doubtless inescapable in 2015.
Sylvain Lupari (April 10th, 2015) &
You will find this album on the Perge Bandcamp page here

mercredi 8 avril 2015

ANDREAS HACK: Pieces (2014)

“I have to be honest, Pieces is a challenge for those who seek a purely musical kind of EM but we hooked rather quickly to this fascinating sonic tapestry where everything flirts with unreality”

1 Abandoned 8:00
2 Before the Fall 7:16
3 Lonely 4:17
4 Sand Spice 5:48
5 Hashima 6:45
6 Ghostly 4:37
7 Barcode 5:59
8 Spaceport 4:26
9 Under the Ice 7:24

MellowJet Records | CD-r AH1401 (CD-r/DDL 54:31) ***½
(Industrial electronica, ambient and cinematographic EM)
For several of us the name of Andreas Hack does not mean much. But mention his name in the circle of German progressive music and the looks will be illuminated. Discussions will ignite. Keyboard player and main composer within the Frequency Drift band, Andreas Hack knew how to impose his style which is strongly inspired by contemporary cinema and works of science fiction. Allied to the attractive voice of Katja Huebner, the music of the Bayreuth band is a source of fascination which aims at feeding the imagination of these ears risky and avid to hear something unique. And it's exactly of what is made this first solo work of Andreas Hack who transposes now his style into the corridors of EM where the possibilities of creating these film and the sci-fi ambiences are more infinite. In this surrealist decor, “Pieces” offers a range of genres which are in all time split up by the cleaver of the industrial atmospheres and the heaviness of their metallic particles which radiate as much into our ears as in every nook and cranny of this first solo album from Andreas Hack. The result is something very unique that you have to discover with a sense of boldness. Something between Vangelis, the Electronica of Ultimae Records and Univers Zero.
Hollow woosh which entail particles of prism and which on their turn get change into imaginary murmurs. The noisy, one would say a wave of residues out from a disaster, and passive opening of "Abandoned" plunges us into the very sinister universe of “Pièces”. A universe where the atmospheres stay in suspension and where the rhythms, as the melodies, get articulate by unfinished pieces. A dark piano scatters the crumbs of a melody which gets lost in corridors filled with the tones of a parallel universe. Is this psybient? Not really, but we are not that far! A synth line steals the airs of a solitary saxophone, which takes back its electronic airs, dragging the soft ballad of the lost souls which is "Abandoned" towards a superb and unexpected down-tempo which drags its carcass with difficulty in a hallucinating sound decor. And as for every structure of “Pieces”, the rhythm, the melody and the atmospheres get lost to roam in dark places that we easily imagine to be a door to a catastrophic parallel world or a door to stars, to darkness. But no matter! Everything comes back and restarts, arousing so a hearing curiosity which will find its rewards here and there on “Pièces”. "Before the Fall" follows with its herd of percussions which thunders and rages among Chinese bells and chords. The rhythm is static. Sometimes ambient and sometimes violent. A feminine voice, weaved in the magic of the samplings and the synth, speaks through a megaphone which has difficulty in restoring its right sounds in this very filmic ambiance that some voice-over amplify even more. Every track is linked here, weaving an apocalyptic cloth which fascinates those who are fond of sounds, but which can annoy the music lovers. It's in this context that "Lonely" goes out of our loudspeakers. It's a nice ambient ballad, with tears of synth to the perfumes of the Martenot waves caressing some very soft arpeggios, that rots under a dense veil of white noises and of its strange shudders. To date the sonic journey of Andreas Hack brings us in a universe where the noises become objects of fascination while the rest becomes obsession. A little as in "Sand Spice" where the percussions forge an obsessive spiritual trance constantly curbed by the opacity of the synth lines. The rhythm goes out from its shell for a brief moment, making us even rock the trunk, while the percussions plough a passive up-beat transported by slow synth waves with floating orchestral arrangements. Winds and particles of a lost civilization are blowing on the introduction of "Hashima" where a delicate and melancholic piano calms down our concerns. A very beautiful synth voice chases away these breaths, pulling us in a corner of our soul where it feels good to dream. This is very good and reminds me the most beautiful moments of tenderness which nest on
The Glimmer Room's wonderful I Remain. These ambiences continue on "Ghostly" which develops an intense dramatic veil with a meshing of lines and voices to very metallic tones, a little as distorted chants coming from a Minaret which lost its acoustics. Here, the structure of rhythm is splendid, but too short, with two lines which faces the heaviness of one with the violence of the other one. Always divided between rhythms and atmospheres, "Barcode" and "Spaceport" go from funk to ambient and to progressive rock always coated by an almost psychedelic sonic cloth, while "Under the Ice" starts where "Abandoned" had abandoned us.
More experimental than musical, more dipped into industrial ambiences than ethereal and definitively more impenetrable than accessible; “Pieces” stays not less a work as fascinating as disturbing. I admit that the first listening can leave us rather very perplexed, except that we become rather quickly attracted by all this confusion which in the end takes the attractive shape of a thing which obsesses without really knowing why. Available on MellowJet Records label which amazes with a music selection as eclectic as audacious.
Sylvain Lupari (April 8th, 2015) &
You will find this album on the MellowJet Records shop here