jeudi 28 octobre 2010

DEBORAH MARTIN:Deep Roots Hidden Water (2010)

I had been seduced by the musical approach of Deborah Martin on the very beautiful Erik Wøllo album, Between Worlds released in 2009. Enough to investigating a little more her musical universe, which is describes on Internet as being New Age. It is thus with little apprehensive ears that I approached Deep Roots Hidden Water, an album that was out of print and which Spotted Peccary remastered in a beautiful special edition including a digipack booklet in 2010. The album includes 10 tracks that bring us into prohibited spiritual territories, on structures semi- ambient and strongly tinted of a mysticism orchestral approach at the same time lyric and tribal.
Well sited behind its synths, Deborah Martin has fun to modulate a pallet of sampling that sounds like a mini symphonic orchestra, a chamber orchestra. And it’s this way that Deep Roots Hidden Water opens. Haunted by Water and A Dark and Silent Place are molded on samplers of soft violins, oboes and cellos which creates soft atonal melodies built on intuitive dream. There are no rhythms, like everywhere on Deep Roots Hidden Water, but only a lyrical orchestral fusion that flows like a timeless poetry. The structure of the title track is identical, except for Tony Levin bass which shapes an indecisive soft rhythmic on an amalgam of poignant violin strings and noble oboes. Fine Tabla percussions open the mystic One Sun. A slow and bewitching track which evolves on a soft oniric structure, where angelic voices caress soft and warm astral winds on synths with celestial trumpets fragrances. The more we go deeper into Deep Roots Hidden Water to more we are entering a further complex musical world. Crossing Plateau is a track without rhythms, apart the bass pulsations which shape a soft tempered surge provides by a synth with incantative murmurs and orchestral veils besieged by sound elements as heteroclite as fascinating. Blue Lake brings us at spiritual doors of First Nations people with soft tribal flutes which amalgamate their songs on a synth with slow dark surges which form hemmed loops in an ethereal fog. Chords of a solitary guitar roll in loop and throw a little light on this dark track, but very revealing of indigenous spirituality.
One could describe The Strength of Stones like a strange ghostly western with his acoustic guitar and its synth with raucous breaths which modulate sonorities like an out of tune violin. Evolving in an ambiance both weird and mysterious, The Strength of Stones is the ballade of a black knight getting out of a dark and still unknown world. Voices of the Rim fills our ears deeply with this fusion of flutes, Indians and traditional, which blow soft atonal melodies on a slow curtained of an ancestral fog. The Brilliance of Stars is very poetic with its synth to slow movements of serenity which cross a discrete flute with light breaths. Across Sky is the only track where we can hear a form of movement behind a dense curtain of orchestral layers which shape a soft symphony for solitary dreamers. A solid and intense title, Across Sky finishes where Deep Roots Hidden Water had begin.
A dark orchestra in dunes and phantasmagoric woods of an extinct civilization! Here is the best way of describing this strange, but graceful, ambient album that is Deep Roots Hidden Water. I don’t believe for a minute that this 2nd album of Deborah Martin soaks in the insipid facility that is New Age. Too much dark and atonal for that! But Deep Roots Hidden Water is a stunning musical voyage at the same time dark, intriguing, mysterious and surprisingly melodious. As these melodies which emerge from the unknown to taunted our ears.

Spotted Peccary SPM-0503 (2010)

Sylvain Lupari
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream; http://www.gutsofdarkness.com/god/objet.php?objet=13908

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