vendredi 8 octobre 2010

POLLARD/DANIEL/BOOTH: Pollard/Daniel/Booth 2009

For EM fans, Brendan Pollard is synonymous of retro Berlin School. His solo works, as much as with Rogue Element, are all magnificent jewels of an EM which embraces tenderly the roots of TD’s analog years, with a subtle zest of contemporaneousness. Recorded in one day, live and without overdubs, this Pollard/Daniel/Booth eponymous album doesn’t make exception about BP’s musical orientations. Brendan Pollard, Michael Daniel (Hashtronaut) and Phil Boot are delivering an album which exudes a somber tranquility, drawn by luxurious mellotrons, and a sweet improvised madness which gets closer to the Dream repertory as well as RMI’ first works.
Envelopes opens with a warm mellotron flute which quavers slowly on a loud linear movement, perfumed by chords of a forlorn piano and electronic eclectic sound effects. Ambient and atmospheric, the English trio plunges us into the depths of Phaedra and Force Majeure era with a beautiful foggy intro, a bit nostalgic, which is feeding of a secret ambiance while lining a ghostly approach, with its waves and droning flutes, on oscillations to intriguing resonances and synth to captivating loops. A slow crescendo is developing with a chthonian slowness, molding a slow rhythm which grows without sequenced surges until the 10th minute. A moment where a solitary sequence gallops in zigzag on flickered cymbals, forging a hypnotic tempo which gradually plunges us into the oversize rhythms of Envelopes. Waves on hoops hemmed of biting reverberations from where escape crystal clear sequences which astride opposite ascents, as well as heavy sequences to random rhythmic directions draw a loud pace. A heavy and frantic tempo which circulates in loops on a guitar with well chiseled solos form a 2nd vitamined part, which goes out slowly with its anemic rhythms wrapped in sweet hazes of a fluty mellotron. A mellotron making charms of the introduction. In contrast, Skaters deviates constantly in a sea of caustic sinuosity, stuffed of rippling spectral mellotron waves and a synth to corrosive laments. A music piece tinted of a post nuclear atmospheres that frees troubling aura, somehow a little bit touching.
Fine keys of a melancholic piano open Ladders worrying first measures. A dark intro where the synth bends its tones as shouts of a mephistic feline, in an oddly icy ambiance. A pulsation emerges from this syncretic chaos, filled with circular reverberations and animated by dragonfly cymbals. An intro of a solitary who strolls out in limbs that clears up on a fluty mellotron and a sequence with spiraled debits, forging a tempo sustained by a symphonic odes synth. Ladders finds a continual pace, robed by magnificent sequences, aggressive solos and a loud synth eroded by corrosive resonances. A good progressive, even psychedelic, Berlin School which borrows well structured cadenced permutations, feeding by furious guitar solos on a musical background tenderly ethereal, especially towards the finale with its subtle tones of organs which float on circular flickered cymbals; signifying the end of a track surprisingly audacious and furious for a Berlin School style.
Pollard/Daniel/Booth offers a very beautiful opus inspired by the Berlin School style. But a more daring and adventurous one where tribal elements’ synchrony of this music style thwarts its slowness with an audacious and clearly more progressive approach. It is a pity that it’s only available in 100 copies, but you can find it as a downloadable format.

Sylvain Lupari (2009)
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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