mercredi 29 septembre 2010

PICTURE PALACE MUSIC:Fairy Marsh Districts/Music For Sunken Monasteries & Castle Moats (2010)

As you have might guessed; I have enormous soft spot for Picture Palace Music music. As far as I’m concern, Thorsten " Q" Quaeschning is a puff of fresh air which reinvigorates the world sometimes too placid of EM, quite apart from the fact that he certainly gave a 4th breath to Tangerine Dream when Edgar gives him a little freedom. In fact, listening Picture Palace Music is like going on an astral journey in the mythical Europeans campaigns where sorcery, alchemy and magic of all the colors wandered in the long corridors of wood and medieval forests. Quaeschning writes his music with strong theatrical tendencies which whip our imagination since the release of Somnambulistic Tunes, back in 2007, while always wrapping its works with very expressive titles. Fairy Marsh Districts/Music For Sunken Monasteries & Castle Moats is another ode to the perversity of temporal voyages where dramas jest of monastery heresies.

Superb and strongly inspired of Middle-Ages Juffer Vey's Minnesong debauches this PPM 10th work with a romantic acoustic guitar that a storyteller scrapes in front of his mass market audience. A Mellotron with strings of a misty melancholic violin wraps these first notes, getting out Juffer Vey' S Minnesong of our baroque thoughts to redirect them much close to Sahara with fine tabla percussions. From then on musical paradoxes confront with the appearance of a sequence which tumbles down nervously, accompanied by electronic percussions which collide like a whip tail under the aegis of a more limpid Mellotron. From a silky counting rhyme of the medieval mass market, Juffer Vey' S Minnesong is turning into a superb electronic part where the nervous rhythm hardly hides its first influences. And there goes the odd musical universe of Thorsten " Q" Quaeschning; between primices of an ancestral world where horses furrowed green virgin plains beneath shades of dark clouds and its synthesized knights who ride a universe to thousand contemporary sonorities, "Q" hacks himself a place of his own between dream, illusion and reality. Spring-Water-Fall follows with fine xylophone arpeggios which fall like a melodious rain in suspension. A strange shower of rain encircled of choruses, veiled layers and discrete cymbals which little by little evaporate themselves to leave an enchanting clearing where bathes a strange mystical aura with celestial solos which howl among heteroclite sonorities, paving the layout of Fairies & Fairies and its hatched tempo which dances with gipsy guitar notes and a synth to discrete breaths. A minimalism rhythm where sequencer keys hiccup and undulate, such of wavelets, below heats vocal breaths of Gothic mermaids. It’s in this quietude of a world peppered of magic illusions that this 1st portion of Fairy Marsh Districts ends.
Damsel's Dive opens the 2nd part with percussions stumbling down to split a nervous rhythm, supported by guitar chords and a sequencer with lines that fly furtively, moving towards a superb refrain which flies over an adjacent structure animated of a soft bewitched madness which is not without reminding the splendid Añoranza from Curicculum Vitae 1. Around the 4th minute, the drum divides the tempo which plunges towards a psychedelic approach with a furious guitar that hiccups of fierce chords, covered by a synth to hungry witches’ streaks. As strange as violent, Damsel's Dive will need more than one listening before seizing all of it subtlety and fineness on a hard and frenzied rhythm pierced of soft ethereal inserts. This is what I call a bomb which deviates on the very beautiful and romantic Nun Exclusive where a soft dreamy violin frees fine charming solos which overhang a discrete piano and a secret acoustic guitar. Quite as much static, but more intriguing, Marsh Mellow Dea/N MArtins Gans/Z Oder Gar Nicht/S Destotrotz is built on a world of pulsations. Light beats pulse near a sequencer to multiple lines of anarchistic percussions, joining other percussions of typist machine style which beat among short synth inserts, reminding Tangerine Dream electronic sonorities from the Schmoelling era. The more this music piece goes on and the less we can’t be unaware of this influence, because the new sequences lines and t pulsations plunge us into the time of Flashpoint and Exit. Help, Murder, Help falls heavily with a powerful musical structure where guitars and drums combine on a title much more the Heavy Metal style than purely electronic, even if heavy layers of a black and dark synth flies over Help, Murder, Help from start to end. A title that says it all and which breathes all the ferocity of its name. Lunatic Asylum plunges us in the corrosive universe of PPM with a rhythm as slow as heavy, imprints of loud and sinuous layers from a morphic synth which spreads out its feelings of abandonment. An intense and very introspective track where the dark melancholy amalgamates with the soft frustration of a latent bipolarity, a little as all that surrounds enigmatic works of Picture Palace Music.
As on every Picture Palace Music work, Fairy Marsh Districts/Music For Sunken Monasteries & Castle Moats gets discover on the tip of ears. Once the first listening passed, we end up discovering all the enchanting musical universe of Thorsten " Q" Quaeschning, which is more than daring by painting a music with temporal antipodes where the Middle Ages goes along with a harmoniously contemporary approach on a canvas at once dramatic and romantic. Would I take you by surprise if I tell you that it’s a superb opus? It might be too early to state that Quaeschning is the new genius of a hybrid musical crenel; electro-theatral-rock, as it would be too early to say that Fairy Marsh Districts is another small masterpiece from PPM. But one thing is sure; " Q" continues to astounded with a unique musical approach that is a pure breath of fresh air. Simply sublime for those who can see all the magic in music.

Sylvain Lupari
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le pseudo de Phaedream;

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