mercredi 29 septembre 2010


It’s easy speaking about future when we do it at the present time! I’m explaining. Who would have thought that Jerome Mixes series would have survived? Who would have thought that Jerome would have become a skilful studio beast, endowed by a very good sense of writing, when he made his first steps with his father in 1989? Not a lot of people, me first. Today, force is to admit that JF earned his place in the world of EM, even if his approach is less ethereal. With years passing by, Jerome pleased himself to remodel the music of his paternal and the Dream. As many TD fans, I heard on the tips of my ears JF’s Mixes, in particular the splendid version of The Scale with Prime Time on The Past Hundred Moons (DM III) and each time I wrinkled eyebrows until I seriously attack the small phenomenon which is Jerome Froese.
Right from the start I’m telling you straight away; I liked this DM V. Yes! You read it well. In an era where Papi Froese works on new versions of TD’s works, Jerome’s approach brings dynamism and another vision of the musical phenomenon that was Tangerine Dream. And the more JF advances in his mixes, the more he attacks colossal works, like Rubycon and Poland. The Return of the Time is a mix of Rubycon. A completely metamorphosed Rubycon which keeps his entire aura of mystery, amplified by discrete layers and choirs of a sober synth while being hammered by good percussions, sometimes rolling and frantic, other times heavy and hammering. Jerome makes a skilful mixture between hatched and syncopated rhythms and passages more or less vaporous, a little as if he wanted to preserve the primary identity of Dream’s classical works. With his percussions that roll down with a zest of ‘‘metallicity'’, on an intro which points out with astonish Flashpoint, Flow Path is a worthy descendant of Exit, but with a clear amelioration on cadences than on the original. Here, like everywhere else on DM V, Jerome brilliantly uses his panoply of percussions and heteroclite sound effects which hop and collide on great lines of bass, drawing frantic rhythms, tinted of a mythical ethereal aura. If Jerome respects the premices of original works he isn’t shy at all to cover them of powerful rhythms, as on the heavy and powerful Meshwork (Das Mädchen auf der Treppe), Code to Zero (Midnight In Tula), though least heavy and Alien Sitcom (Mojave End Title) which per moment knocks down the house. If loud rhythms is DM V factor ‘‘uno’’, we also find magical and more tender passages as Polar Circle which is a very beautiful version of Miracle Mile’s Running out of Time and Mombasa (Touareg Remix) which is as banal as the Booster III version and this in spite of the crescendo effect which Jerome tries to insufflate. Scope off Minds and Hinterland are splendid versions of various segments from Horizon where JF maintains all harmonies and sequences while accentuating the approach of sequenced percussions on structures where rhythms fit with wonder these new percussions incursions. On this level, Hinterland is an impressive success.
As far as I’m concern, DM V is a superb surprised. And I must admit that its hearing pushed me to discover the others Mixes of Jerome Froese. If the son of father Froese had strongly impressed me with Shiver me Timbers and The Speed of Snow, he hooks me intensely with these new mixes of Tangerine Dream works. I won’t push my pen as far as writing down that they supplant the original ones, though it’s rather difficult to do worse than Rockoon or Lily on the Beach and other musical adventures of the 90’ and 2000, but they bring a good rhythm of freshness and audacity to titles that we would never considered in another way.


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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