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 octobre 2011

GEIGERTEK: Soundtrack for City Living (2011)

1 Beyond the Garden (11:31)
2 Beauty in Decay (9:15)
3 Underpass (8:21)
4 Devil May Care (5:17)
5 Moonlight Interlude (4:50)
6 A Rainfall Moment (7:45)
7 West 9 (12:38)
8 Fast Lane (6:09)


For Neil Fellowes, the main idea behind Soundtrack for City Living was to get away from the spiritual influences bound to his first 2 works, The Garden and The Timeless Mind. A city man, Geigertek spreads all his cities’ influences and visions over a surprisingly diversified album. Yes, I know that The Timeless Mind was already very changeable, but on Soundtrack for City Living Neil Fellowes shows that he set a great deal of assurance since his last opus. An assurance and a confidence in its means which results in a more powerful album, more melodious and better constructed than The Timeless Mind. Geigertek sign musical pieces always so ambivalent, except that the polishing and the harmonious links are incredibly tightened, giving a great album where the arrangements give shivers and sighs to our souls of dreamy wanderings.
This journey through the meanders of a quixotic city begins with "Beyond the Garden" which is a beautiful track evolving on a progressive structure where harmonies are hiding behind structures to fine transpositions. A fine synth wave spreads its ethereal breaths up to the suave riffs synth which takes the appearances of a virtual guitar, drawing a rather lounge ambiance. An ambiance which evolves and permutates towards a jazzy tendency with wandering keyboard keys and a piano which frees melodious notes under a soft synthesized mist. Always so rich, Geigertek’s universe deploys with a beautiful synth solo and violins of mist which accompany a tempo of which the cadence evolves subtly. After a brief passage where the silence is perturbed by flittering cymbals and a synth line swaying finely, a bass pounds around  disco style wah-wah and a piano running freely on the sketch of a rhythm to come. And it comes! With tortuous solos of an incisive synth which blows in the neck of a heavy and galloping rhythm which gets out of breathe after 3 minutes of infernal dance in a night where shooting stars fly above rare automobiles rolling in deserted streets and which a solitary piano is being the only witness of this sudden emptiness. After a shadowy intro fed of caustic and metallic synth waves, "Beauty in Decay" unveils its melancholy with a nostalgic piano from which notes roam among fairy stars that glitter in darkness. The rhythm moves. It draws a structure of greyness where angelic voices and breezes of violins cry and float on sober and dark percussions and a piano which mislead its notes in the abyss of a world of sadness. It’s a very good track immersed by a somber mysticism, quite as the tenebrous "Moonlight Interlude" and its heavy notes of piano which drag nearby the laments of a forsaken saxophone.
With "Underpass" we penetrate into the adjoining zone of Endless Night where Neil Fellowes shows that he possesses a beautiful moving voice (for those who missed Endless Night) and that he feels at ease as much in structures of a rather progressive synth-pop as in EM. A beautiful bed song with a devilish piano, a bit like Carpenter’s Halloween but more melodious, pierces a dark veil where voices get lost among dense synth waves. From then on a catchy melody floods our ears with a structure which is similar to those of Ultravox and which we find on Endless Night. Fractured by atmospheres and ambiances and hooked to felted and conventional tones percussions, the rhythm is slow and languishing. The melody find it basis on this famous line of piano and a good union of man/women voices which crosses a somber ambiance that fanciful violins amplify. It’s a very nice track, quite as "Devil May Care" which is more mysterious and where Candice Wells’ voice is as much poignant as the saxophone which cries in a beautiful synth mist. For me, "To Rainfall Moment" is the most intense moment on Soundtrack for City Living. It’s a wonderful electronic ballad where a superb melodious line winds of an ascending movement sober percussions which are encircled of poignant élans of mellotron violins. A piano comes to strengthen this great ballad while keyboard keys delude our ears with a tone of guitar. It's incredibly delicious and it’s the kind of track which marks our ears. Too beautiful and too good, I would have wanted that it lasts longer. Taking well advantage of its 12 minutes, the structure of "West 9" is more complex, passing from ethereal and cosmic ambiances to a more jazzy approach to end in a great electronic final. After a slow floating intro, the rhythm settles down. It’s light and livened up by some keyboard riffs, skipping sequences and cymbals as well as a suave bass line to elastic notes. Sharp solos are transformed into saxophone breezes, lulled by a beautiful group of mellotron violins. Always so delicate, the rhythm is abandoned but the melody stays and is supported by a piano to notes as much melancholic as jazzy. On a shilly-shally structure, flooded by trumpets breezes and heavy reverberations of a city which wakes up, "West 9" takes back the road of rhythm with a more electronic approach where sequences pulse by increasing the pace while another line is encircle the rhythm which adorns of beautiful solos to tones of trumpets and of a more cheerful piano. "Fast Lane" wears very well the weight of its title. A track sat on nervous sequences, hypnotic pulsations and good synth solos which wrap a synth-pop rhythm. After having listened to automobiles passing by, the rhythm returns heavier with good percussions which frame dazzling synth solos. Not in rest with regard to other tracks "Fast Lane" unwinds on an ambivalent structure, dressed of a very varied musicality, where the frenzied rhythm crosses some more atmospheric passages in accordance with the works of the synthesist and musical visionary whom is Geigertek.
Soundtrack for City Living is a superb album. Very confident in his means, Neil Fellowes aligns 8 compositions where all the essences of EM meet in very beautiful structures in constants evolutions and where the melody is next to a surprising variety of the genres. There are several jewels on this last opus of Geigertek, by far his best to date.

Sylvain Lupari (2011)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream

Here's Neil Fellowes Website:

mercredi 5 octobre 2011

GEIGERTEK The Timeless Mind (2010)

1 The Stirring of Echoes 5:32
2 Passing 6:33
3 What Dreams May Come 7:20
4 Until the End of Time 6:38
5 In Another Light 9:04
6 The Embrace of Eternity 13:13
7 The Timeless Mind 5:31
8 Spirit-Walking 5:18
9 The Gift of Goodbye 3:03


Neil Fellowes (Indigo Code, Callisto and Trinity) is the man behind Geigertek. A musical project where the structures espouse various facets in accordance with influences very diversified of Neil Fellowes, which go from John Foxx to Billy Currie, while passing by Ultravox, Gary Numan and Enigma, as well as Isao Tomita, Erik Satie and David Wright. These influences get transpose on The Timeless Mind where the 9 tracks evolve in ambivalent structures. Structures where curt, unbridled and hyper rhythms precede or outstrip cosmic or ethereal ambiances. Ambiances and rhythms fed by nice melodies, arrangements and incursions of a divinely poignant piano.
Hanging back, "The Stirring of Echoes" voyages between its rhythms and ambiances. It starts with a lugubrious synth wave which roars and pushes hesitating limpid chords to migrate towards a more melodious approach. We expect a rhythm which is going to hatched with an amalgamation of nervous percussions to flittering, felted and metallic strikings which resound in a silvered mist. Everything is in suspension when the rhythm goes out of its shyness with twisted synth solos which roar spectral breaths and take up undulating bends to float on a melodious rhythmic approach fastened to galloping percussions and a rumbling bass line. "Passing" is a strange track which hesitates in its ambiances imprinted by mysteries and melancholy. The 1st part abounds of heavy symphonic élans which crush melodious snippets as dark as deeply touching, while a gloomy synth veil emerges from it and criss-crosses tenebrous passages to land in the notes of a very beautiful dreamy striking piano. These musical structures in constants permutations proliferate on Geigertek 2nd opus. After a soft intro where the piano makes float its notes with a flavour of nostalgia, the rhythm of "What Dreams May Come" wakes up slowly with muffled pulsations and discreet percussions which beat under an intense mellotron mist. A slow rhythm, fed by a beautiful sound fauna, which quietly modifies the initial axis of "What Dreams May Come" with howlers solos and a rhythm seething more and more. Without ever bursting, it deviates towards a morphic structure. Slow, with powerful tones of a spaceship in movement, "Until the End of Time" plunges us into a spatial approach. Superb cosmic waves waltz slowly and cover the white noises and chirping of a boiling stellar fauna. Violins seem to cry the fate of humanity with poignant élans which throw themselves into notes, at once deeply moving and melancholic, of a piano which seem to be the last hope of a world of perdition.
After a profoundly atmospheric intro, pushed by cosmic winds, "In Another Light" shake its torpor with percussions which grow and modulate a slightly technoïd pace. A nice harmonious track with a progressive movement, it unveils a very beautiful melody with keyboards keys skipping in their hatched echoes and circular stroboscopic sequences which are flying over by great synth solos. The longest track on The Timeless Mind, "The Embrace of Eternity" rests on a structure sprinkled of some permutations. After a cosmic intro, sequences skip and pound in a muddled way. On singings of strange mermaids, the rhythm livens up of a minimalist sequential movement where keys skip on various synth lines. Celestial or harmonious, these lines wrap the movement until putting it out. There, the synth lines intertwine in foggy breaths which evaporate in piano notes. This romantic finale livens up again of a less heavy and more melodious rhythm where synth solos remind me vaguely the universe of a certain Vangelis. The title track is moulded following the same precept, except that the rhythm is wilder with sequences which pulse at full speed and that solid percussions are espousing the approach, surrounded with beautiful solos of a synth to multiple tones. "Spirit-Walking" is a hyper track nervous where sequences feed on their echoes, shaping a frenzied movement hammered by good percussions. It’s a movement to subtle permutations, which add a good rhythmic depth, where synth solos are afire.
And, as everywhere on The Timeless Mind’s structures, the rhythm still diverts towards a more melodious finale where the piano offers notes which dance and float on an always so furious movement. "The Gift of Goodbye" concludes Geigertek’s 2nd opus of with a cheerful rhythm, as in an ambiance of nightclub where the jazz is on the menu. It’s a finale which precedes a long ambient intro, depicting quite well the musical universe all in contrast that lives within The Timeless Mind.

Sylvain Lupari (2011)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream

Here's Neil Fellowes Website:

GEIGERTEK Endless Night EP (2010)

1 The Visitors 4:53
2 This Man 4:41
3 Youth 3:53
4 Picture in Eyes 6:38
5 Total Pain 4:20
6 How Do You Dream 5:17


Endless Night is a significant title for an event in which Neil Fellowes was invited to participate, be an evening concert where he would perform synth-pop and electronica music styles at the Artificial 01, held in Norwich on August 21st 2010. An evening that Neil, the man behind Geigertek, would have wanted eternal. But the synthesist of Norwich suspected very well that the music of The Timeless Mind would not really fit to this event. Very strongly inspired by the new wave movement and the synth-pop à la Ultravox, Gary Numan and The Human League, Neil searched his archives in order to find music he wrote a few years before and which would be more suitable for this event. He thus composed nearly 40 minutes of music that he wanted to publish and when he asked for advice from David Wright about publishing,  David suggested that AD Music could published it. An audacious gesture which still widens the much diversified catalogue of the English label and a mini album completely unexpected, but secretly wished, in Neil Fellowes' career.
Endless Night begins with a title very near Ultravox’s style. After a rather ethereal intro, "The Visitors" pounds of a hopping sequential movement, wrapped by nice layers of a foggy synth. Neil Fellowes’ voice emerges. Surprising, he is suave and tinted with a surprising melancholic approach. The first thing that comes in mind is John Foxx and Ultravox. This feeling will follow us throughout this EP where the rhythms and melodies are strongly inspired by Ultravox and Human League, as on "Youth" and the beautiful ballad "Total Pain" where Neil Fellowes amazes with a very moving voice. "The Visitors" quivers and pounds on a good sequential movement and a heavy bass line which support a well structured melody. This is some good synth-pop, as "This Man" where the use of Vocoder bring us near Kraftwerk but with a more moderated tempo and a good synth line to spectral surges. With its ambivalent structures "Picture in Eyes" is the most elaborated track on Endless Night and the one that gets closer to The Timeless Mind's universe. Stuffed with heterogeneous synth winds, the intro transposes on a beat box which rolls percussions and hammers a steady rhythm surrounded by breezes of a synth to crier solos. Heavy, the synth wraps a line of sequences to crystal clear and wriggling chords which skip as xylophones fed to steroids, a little as Tears for Fears. Neil Fellowes’ voice is surprising and the melodious structure is catchy with abrupt movements, harmonious permutations and nice arrangements. IMO, it’s THE track on this EP. "How Do You Dream" encloses this whim of Geigertek with a furious rhythm where Neil voice amazes and fleet of ease among synth layers covers a tempo to hypnotic pulsations but frenzied sequences.
How to approach Endless Night? Well as me! Without waits and with a certain apprehension where we discover finally that the new wave period is an awkward souvenir which is good to remember. Endless Night confirms the very melodious approach that Geigertek had demonstrated us on The Timeless Mind, except that there are vocals and that Neil Fellowes is doing pretty good. It’s a nice EP which will please John Foxx and Ultravox nostalgics, as well as Human League, Reproduction and Travelogue area. I liked Ultravox and I quite liked this small musical journey of Geigertek in my memories of the new wave years.

Sylvain Lupari (2011)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream

mardi 4 octobre 2011

SENSITIVE CHAOS: Remembering Chestnuts, Icy Cold, and Bells (2011)

1 Remembering Chestnuts, Icy Cold, and Bells 6:24
2 Ceiliúradh Mhór 3:12
3 Winter Winds across the Heartland 5:01
4 Spirit of the Season 4:34
5 Carillon et le Champagne 12:52
6  Remembering Chestnuts, Icy Cold, and Bells (Prologue) 6:52
7 Remembering Chestnuts, Icy Cold, and Bells (Reprise) 4:42
Bonus Tracks
8 Nightshift at the Baby Mecha Nursery (remastered) 7:56


As much strange as charming, Remembering Chestnuts, Icy Cold, and Bells from Sensitive Chaos is a hallucinating journey into the wonderful and musical world of glockenspiels. A journey which goes straight in the heart of our childhood memories, during Christmas Eves and Holidays family reunions, and which enchants with its wintry tones. It’s an ode to winter, to its ice-cold pleasures and its nostalgic souvenirs that Jim Combs's last opus wakes. Through its carillons and its ringings as joyful as melancholic, Remembering Chestnuts, Icy Cold, and Bells wraps with a veil of prisms forgotten souvenirs of our early childhood. Built on a big variety of bells which ring and resound on rhythms and atmospheres to the antipodes of their essences, Remembering Chestnuts, Icy Cold, and Bells is a brilliant opus to the measure of the ingenuity of this musician without borders, nor labels.
The title track is glittering of luminosity. On a delicate synth line which hides discreet choirs "Remembering Chestnuts, Icy Cold, and Bells" wakes up with soft ringings of carillons which radiate on a delicate hypnotic rhythm. On a rhythm moulded by fine percussions, the crystalline arpeggios swirl in a wintry breeze to form a strange iridescent ballet where bells ring and flutter among curt chords of a cackling synth and a suave ethereal choir. "Ceiliúradh Mhór" is a wonderful ballad of glass which spins among a union of percussions and keyboard keys to forge a very beautiful and catchy childish melody. The synth blows a beautiful bewitching tune to this splendid carousel to jingles of prisms which is cute and delicate as everything! "Winter Winds across the Heartland" is a good ambient track where layers of a shrill synth interlace in a stunning sensibility. A nice cheerful track, "Spirit of the Season" offers a more punctuated rhythm.The percussions hammer a muffled but lively rhythm, while the carillons swirl all around this rhythmic structure which inevitably makes stomped.
Dancing on a discreet line with a tone of organ and percussions a bit like the Amerindian tribal kind, "Carillon et Champagne" soaks in a mixture of nostalgia and melancholy. On a slightly circular rhythm, the carillons draw an astonishing melody with glockenspiels’ strikings which twirl vaporously while following an ascending curve as in a mesmerizing ballet danced in weightlessness. Hypnotic, because of the color and tone of glockenspiels, "Carillon et Champagne" turns and turns in a stunning musical dizziness where tones of prism shape an odd melody. Delicate keyboard keys skip on a synth line at the opening of "Remembering Chestnuts, Icy Cold, and Bells (Prologue)". These furtive keys are effacing in the ascension of a synth line which makes tip over the track in an ethereal ambiance, surrounded by other powerful synth lines. An ambient track with filiform synth lines which sway in fine oscillations, "Remembering Chestnuts, Icy Cold, and Bells (Prologue)" is the only title of this last opus of Sensitive Chaos at not to use carillons. After a reprise of the opening track, where carillons ring with more velocity, Remembering Chestnuts, Icy Cold, and Bells ends with a track as cheerful as "Spirit of the Season". Initially on the first album of Sensitive plant Chaos; Leak released in 2006, "Nightshift at the Baby Mecha Nursery (Remastered)" is a lively track, livened up by nice arpeggios which spin on a rhythmic structure supported by sober percussions. On a structure always so crystal clear as we find everywhere on this Jim Combs's last opus, the rhythm is encircled by delicate shimmering arpeggios which turn in a minimalist way, increasing even more the glockenspiels which float of a beautiful circular movement on a tempo to youthful intonations, describing rather well the Holidays’ ambiance and the nostalgia circulating around Remembering Chestnuts, Icy Cold, and Bells.

Sylvain Lupari (2011)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream