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

mercredi 13 janvier 2016

INDRA: Archives-Ruby Four (2015)

“We have here a more dancing, a more rock/techno side of Indra with a nice collection of pretty good tracks where we recognize quietly his contemporary signature”
1 Sunshine in Blue Eyes 7:30
2 Mustang Le Rouge 7:36
3 Nostalgia 8:02
4 Pyar 3:42
5 Fiesta 6:11
6 A Late Evening 11:13
7 The Nile Experience 10:08
8 Speedy G 9:53
9 X-Factor 8:14
10 Sanctum 4:23

Indra Music (CD/DDL 76:56) ****
(Mix of EDM, morphic techno and ethereal moods)
We pursue the exploration of the universe split up in the limbo and scattered between 1998 and 2005 of the Rumanian synthesist with this 4th chapters of his Ruby series which is walled up in the serial mega of 25 CD entitled Archives. And this time we get closer a little more our contemporary Indra with about ten tracks which explore more the Dance side than the melancholic poetic side of Indra and whose influences here seem to be enshroud by the structures of Jarre and his  techno Kid clothes rather than by those of a Schulze who roams an dreams in his long minimalist sonic rivers. Albeit both sides live very well together at some points in this “Ruby Four”.
"Sunshine in Blue Eyes" and "Mustang Le Rouge" bear proudly the sonic seal of the tape limitations of the end of the 90's. To start well, "Sunshine in Blue Eyes" welcomes a soft melody blown by a synthesized flute and strummed by a tenderly melancholic piano. The synth is charming with nice cooing solos and with good electronic effects which blab over a muffled tempo structured in the comfort of a good electronic ballad. That does very New Age, another facet than we did not know from
Indra and that we learn to discover in this huge collection. Tears of violins which wash over in a staccato move and which open the very Arabian "Mustang Le Rouge" drown themselves in the sweetnesses of a fluty synth while the track divides its 7 minutes of a romantic and ethereal introduction in order to dive into a soft kind of techno with pulsations and percussions which lift a duel of jerky harmonies. Composed in 1999, "Nostalgia" does very Vangelis of the Opera Sauvage years with an ambient structure where the lines of flute stroll as much as a very nostalgic piano. Then we make a huge jump in time with 6 pieces of music written in 2004. A jump in time and a jump in style with a more energetic EM which hesitates between some hard and pure techno, a softer one (almost morphic) and an EDM. "Pyar" begins with a mix of techno and of dance music where some very hatched stroboscopic lines, good boom-boom-tchak-tchak pulsations and a very creative play of percussions bear the charms of some very pleasant and attractive Arabian chants. It sounds very Jarre of the Chronologies years, in particular because of its heavy structure of rhythm raised on good percussions. "Fiesta" is livelier, yes it can be, with a  gypsy approach on a beat of lead. We find more the Indra that we discovered at the end of the 90's with the very beautiful "A Late Evening" which is very ethereal with sibylline layers which float in prismic particles. The movement is soft, very esoteric and the layers become more melodious while that quite slowly "A Late Evening" goes into a beautiful down-tempo wrapped by these silky layers which swirl in a soft torrent of emotionalism. "The Nile Experience" also proposes a long evolutionary structure. It starts with a herd of sequenced pulsations which skip in a circular structure of ambient rhythm. Electronic effects decorate this passive staging whereas subtly the rhythm increases its velocity with pulsations which gurgle and with other technoïd pulsations which redirect the capers of the introduction towards a structure animated by effects of jerks. "The Nile Experience" gets develop inside its 10 minutes without ever really exploding, preferring rather a brief ambient passage before resuming its structure of cerebral techno. Written at the same time, "Speedy G" begins with a rhythmic fury contained in the sparkling of sequences which chirp in the shadows of slow and idle layers. It's the knockings which liven up this desire of rhythm. And this rhythm becomes a good morphic techno adorned of some nice cosmic effects a la Jarre and splendidly musical synth solos. This is where Jarre meets Schulze here! It's one of the good tracks in this Ruby series! "X-Factor" is cast into the same decorative mold but with a clearly lighter and a more musical structure. Composed in 2005, "Sanctum" ends “Ruby Four” with a more lyrical, a more ethereal approach. The structure sounds so much like those long quiet symphonies of Klaus Schulze with chords and keys which roll in loops, like a sonic brook in suspension, into some slow and anesthetic layers which cover up a soft and almost absent rhythm. It's especially very soft and rather elegiac. And quietly this Ruby collection leads us towards the Indra that we know and that we recognize more and more here.
Sylvain Lupari (January 12th, 2016)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Eagle Music web shop here

lundi 11 janvier 2016

SYNDROMEDA & MAC of BIOnighT: Volcanic Drifts (2015)

“A little difficult to tame, Volcanic Drifts is nonetheless a solid musical journey into these poles which tie two worlds in constant movement”
1 Sulfur 17:01
2 Obsidian 22:13
3 Deep under the Surface of the Earth 13:40
4 Steamy Weather 20:28

SynGate | CD-r SSMB01 (DDL/CD-r 73:22) ***½
(Cosmic and progressive E-Rock)
Danny Budts and Mac of BIOnighT are two good veterans of the EM scene of the Berlin School style and/or very progressive one who have decided to unite their visions the time of an album; “Volcanic Drifts”. So much to say it straight away, nothing of what comes out of this first collaboration is not similar to the styles respective of each of the musicians. If the ambient and black metaphysical style of Syndromeda decorates the introductions and the finales, as well as some certain ambiospheric passages, the heavy and incisive rock which turns upside down the volcanic atmospheres of “Volcanic Drifts” transcend the multiple approaches of Mac, although we find certain flavors there here and there. Is it Mike Hobson's contribution (aka Thought Experiment)? The fact remains that “Volcanic Drifts” borrows the corridors of a EM of which the rather cosmic approach gets dilute in the good heavy progressive rock which sniffs shyly at the smells of MorPheuSz.
It's with dark winds, intrusive woosh and noise of cave which loses its water that "Sulfur" develops between our ears. A shower of celestial objects unfurl at top speed in stereo effects, amplifying even more this approach as much cosmic than dark of this first track of “Volcanic Drifts” which feeds on long drones among which the echoes and the effects of reverberations forge at the end a symphony of ambiospheric laments. A beautiful Mellotron escapes from there a little after 3 minutes and its singing sounds out of tune in this black universe where the sulfur will never have had a so beautiful color. It's there that the rhythm wakes up. A little disheveled, I would say even chaotic, it skips and zigzags with a good velocity, untying keys which dance lightly in a continual coming and going which hides the charms of a kind of saxophone. The rhythm grows rich of other skipping keys while the synths vaporize some ethereal airs which sing a little as in the time of
Phaedra and Rubycon. The ambient rhythm of "Sulfur" floats as a dismembered Phoenix which tries to land. What it is doing at around the 11th minute before being reborn in a heavy and very ephemeral progressive rock fed of percussions and heavy riffs and among which the bites and the attacks hide good solos of a rather discreet guitar. "Sulfur" ends its race in a more elegiac approach. Heavy, lively and audacious, "Obsidian" also approaches our ears with dark winds which assail electronic effects and blow strange airs in hidden woosh. Pulsations turn up around the 2nd minute and hesitate. The movement is shifty and dithers in more persistent winds. We hear notes of a sitar here. The rhythm hatches out in a more steady shape around the 4th minute. It's a good beat supported by electronic percussions and sequences which skip such as footsteps on the surface of an ice-cold pond. Riffs of keyboard (and/or of a six-strings) adds more heaviness to the rhythm which stays quite rather cerebral whereas the synths shape some strange apathetic airs which are rather fascinating. The sequences and their random dances add more depth while "Obsidian" becomes more and more heavy. We get into a nice progressive electronic rock with a good play of percussions and a solid structure of sequences which add a lot of colors to the rhythm as well as a seductive depth to its melodious approach. We speak here about a structure of rhythm which exceeds the 18 minutes and where the duet of Danny Budts and Mac adds a panoply electronic effects, like; peak-wood kind of percussions, winds of bagpipe and notes of sitar which oversize a loud and very good minimalist approach. This is indeed a solid electronic progressive rock with a zest of psychedelism.
"Deep under the Surfaces of the Earth" propose another ambiospherical introduction fed by noises and by electronic effects, it sounds as if we are on the wings of a space shuttle which has difficulty in traveling through cosmos. But we are under the surface of the Earth. Where the sequences are juicy and full of organic tones. They skip and dance with their echoes while the synths decorate this soft and hopping rhythm of good solos, like in the time of those good psychotronic rock of
Neuronium. A little as in "Sulfur", the track will explode for a brief moment in a pure and heavy rock before raising a cloud of sequences of which the dissonant harmonious footsteps are weaving a circular endless structure where still vegetate this big rock which will reborn some 2 minutes farther. The guitar, the loud riffs, reminds me enormously of Frank Dorittke, amplifying even more this perception of the MorPheuSz influences. "Steamy Weather" is what gets closer the most of the Syndromeda universe . Still here the introduction is filled of woosh and of wiish which fill our ears of residues like soot of carbon wrap the lungs. We hear dark choruses there murmuring an esoteric hymn while little by little the blue pierces the nothingness with a silky veil of orchestral mist. The sequences play the rodeo, forging a delicate spasmodic rhythm with keys which skip in cotton wool. The synth decorates these atmospheres of electronic strands with multi-colors sound which squeak and crawl between the skipping of the rhythmic keys. Danny Budts' metaphysical imprint is quite present here. The winds get scatter, leaving only sequences with choirs and these percussions which click like whips in the mist. The solos in corkscrew offer a psychotronic universe which comes out at small doses, leaving some solitary keys shiver of cold in this abstract universe. The percussions which fall then create a dissonant effect while a vampiric bass line spreads a kind of very progressive rock structure of rhythm that Mike Hobson whitewashes of fuzz wah-wah. It's the imprint of Thought Experiment which seizes then the finale of "Steamy Weather", mixing rock and jazz in an electronic envelope rather difficult to tame. This is just as in all of “Volcanic Drifts” which won't scare off, but not at all, the fans of Syndromeda. Even if Mac tries at times, and successfully, to give a more accessible luster to an EM of which the charms always live in its complexity. It's a sonic adventure for those ears which always look for a little more to thwart the boredom.
Sylvain Lupari (January 10th, 2016)

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

samedi 9 janvier 2016

FREDERICH SHULLER: Quantum Principles (2015)

“This is a real nice surprise where the minimalist form of EM adorns itself of crystal clear sequences which tinkle among multi layers of beats and ambiences”
1 Entropy 6:39
2 Plasma 5:42
3 Obstinate Electrons 16:31
4 Pulsating Ions 9:52

Kontinuum Productions (DDL 38:45) ****
(Minimalist and hypnotic New Berlin School)
More and more, I have this feeling that we quietly assist to an emergence of EM, the Berlin School and/or the psybient styles, in Romania. A little as with Poland, but some 10 years later, the land of Indra abounds now of some rather interesting artists who explore and push back the limits of a genre which amazes constantly due to its infinite possibilities. Frederich Shuller is a French artist of German-Rumanian origin who is also a good friend of Mihail Adrian Simion, aka Alba Ecstasy, and who is influenced by artists who have roamed over the territories of progressive EM such as Klaus Schulze and Tangerine Dream. Inspired and encouraged by his good friend, Frederich Shuller signed a first album in the autumn of 2014, The Untitled Album. Strong of a first successful contact among the critics and of a good reaction from the Romanian public, Shuller delivers 6 albums, all of an average of 40 minutes, which have found niche on the download site of Kontinuum Productions. “Quantum Principles” is his last one and unveils a pleasant world of minimalist structures built upon some great movements of crystal clear tones sequences.
The notes which fall and flutter in winds without sounds remind me at once big flakes of sonic snow. It's with these charms that "Entropy" will caress your ears. Percussions which click such as carbon monoxide emissions bribe the virginity of the tones which are so crystal clear. Other more solid percussions, like a good rock dipped into the lightness of the 80's, sculpt a steady rhythm where crash the sounds of cymbals. Lines of synth fly lightly as the first snowy keys, deepening the fields of the charms of "Entropy" which becomes a real labyrinth of rhythms and harmonies with its minimalist structure which adorns itself constantly with new elements. It's a rather attractive stylistic composition where are grafted a line of 7 spasmodic sequences, percussions without directions and rivulets of sequences which bone their carcasses. The synth and the keyboard are not outdone. The harmonies flow into different shapes and tones while the solos whistle in loops as "Entropy" approaches its 4 minutes. And there are other sequences... Very appealing, "Entropy" leaves its imprints and introduces even the very nervous structure of "Obstinate Electrons" with ions which skip in the shape of minimalist jerks on a long structure decorated with a beautiful line of a vampiric bass and with lush layers. The synth sheds its tears while the percussions solidify a steady rhythm which is nibbled by evanescent lines of rather discreet sequences here. Here are two great striking structures which wrap the somber interstellar journey without rhythms, but with many atmospheres, of "Plasma". If plasma would have of the sound, it could possibly give that. "Pulsating Ions" stuffs itself a bit of these atmospheres but proposes a mute rhythm with a troop of pulsations and percussions which weave an ambient and muddled structure of rhythm. Thin lines of sequences filled with organic tones come and leave, such as amorphous bees which try to take away the juice of a huge flower. That gives the effect of a kind of ambient Dub where are drumming sequences, pulsations and percussions in a cosmos filled with huge worms which come little by little to gnaw its structure.
A minimalist EM where every bend grows rich of new elements as attractive as unexpected, “Quantum Principles” is a small pleasure which finds all of its nobility the ears wrapped well in a good set of headphones. The wealth of the sound and the complexity of the intertwining structures of rhythms, or layers of atmospheres, arouse constantly the curiosity of the ears which are in search of a sound aestheticism, the colors of sequences are absolutely enjoyable here, and of a complexity on which one becomes accustomed quite rather easily. This is a really nice album which deserves that we explore a little more the universe of Frederich Shuller.
Sylvain Lupari (January 8th, 2016)

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

mercredi 6 janvier 2016

MOONBOOTER VS WELLENFELD: Live Munster 2015

“Live Munster 2015 is a solid album which allies perfectly EDM and ERM in its deepest Berliner moods”
1 Time 9:11
2 Timeless Gravitation 8:38
3 Welcome to the Past 6:45
4 Vintage Attack 6:49
5 Lifetime 5:05
6 Ring Modular 6:58
7 Meeting Mr. B 6:44
8 Days of Silence 7:35
9 Looming the Doom | Spirit of Time | Phase 5 8:10
10 Sine Wave 6:14
11 The Wave 5:43

MellowJet Records | cdr-mw1501 (DDL/CD-r 77:57) ***¾
(EDM + ERM with Berlin School moods)
The music of Moonbooter and Wellenfeld fits together perfectly well. If one, Moonbooter, likes more the style of dance music, the other one likes injecting a dose of dark depth and of Berlin School to their music. And both have a propensity without equal in the art to create melodic threads which always find a taker for the most demanding ears. The table was set so that both key artists of the MellowJet Records label unite rhythms, harmonies and cosmic atmospheres within the framework of a concert entitled The Dark Side given at the Münster Planetarium in Germany on October 24th, 2015. Offered in downloadable format or also on a CD-r format, the music of this concert turns mainly around the last albums from Moonbooter, The Wave, and of Elements from Wellenfeld. A quick incursion is also made in the albums Pandemic and Phase V from the duet Detlef Dominiczak/ Andreas Braun as well as in Moonbooter's Cosmoromantics album.
It's with the soft rhythm of "Time" that “Moonbooter VS Wellenfeld-Live Munster 2015” begins its musical trip between our ears. The music is appreciably identical, except for the electronic and the rhythmic effects, like the bass line and the pulsatory beats, which are more accentuated around this delicately jumping rhythm. The best moments of both albums are present here of which the superb "Welcome to the Past" from
Moonbooter, a really nice rendition which respects marvelously this melancholic approach which could make the last one of the damned soul dreaming. Without forgetting the solid version of "Timeless Gravitation" and its indefatigable rhythmic bend which goes up and goes down into dense orchestral layers. "Looming the Doom ¦ Spirit of Time ¦ Phase 5" is a mix of 3 tracks took in the repertoire of Wellenfeld's Pandemie and Phase V albums. Both tracks surround the superb "Spirit of Time" out of the Cosmoromantics album from Bernd Scholl. It's undoubtedly the highlight of this show which is a great compilation in fact of two very solid albums of Electronic Dance Music and of Electronic Rock Music in 2015. A nice little gift from the MellowJet Records shop which is also a great way to enter in the universe of 2 artists who know how to measure the dance and the rock in a rather Berliner envelope.
Sylvain Lupari (January 6th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the MellowJet Records shop here