vendredi 8 octobre 2010

POLLARD/DANIEL/BOOTH:Vol. 3 (Eindhoven 2009) 2010

To explore the musical universe of Pollard/Daniel/Booth it’s unrelentingly make a temporal musical voyage that brings us to the roots of Berlin School. Even with technologies and today’s equipment, the English trio is continuously attracted by long bewitchments of analog synths whose soft perfumes of Mellotron mist travel on wonderful sequences to random rhythms. Recorded 2 weeks before the famous Hampshire Jam 8, this spectacle in the grounds of Netherlands School presents 3 long titles with ethereal ambiances whose nervous sequential rhythms cross the fogs and flutes of a wrapping Mellotron with synths to sharpen solos and sound effects of a forgotten analog world.
The concert begins with a Mellotron filled of Gothic and mystical breaths whose ethereal fragrances set foot on a drizzle of analog sound effects, thanks to Phil Boot who adds a unique dimension to Pollard/Daniel/Booth Berlin School style. Spectral and strident hooting which lasciviously surround a Mellotron whose dense layers and fluty sonorities float such as morphic clouds embellish of mislaid piano notes, adding an even more mysticism to Eindhoven I intro. Towards the 6th minute spot a sequence with hatched keys moulds a nervous pace which gallops a cadenced structure with subtle permutations. Constant, the tempo hammers at a movement seized by a synth overflowing of cosmic sound effects and heavy reverberations, borrowing a Jarre rhythmic appearance on Les Concerts en Chine. Weighs down by heavy resonances which come out of everywhere, the rhythm crosses a minimalism road where a guitar to forceful solos sets ablaze around the 12th minute point, followed of a synth with twisted solos. On a hypnotic cadence Eindhoven I becomes loud and metallic. An aggressive Berlin School that slowly moderates its pace to penetrate the soft auditory fragrances of a cosmic rock drowned of an approach as celestial as spatial. Eindhoven II presents a fabulous intro where piano notes embrace a soft celestial flute. A tender intro that a fulminating sequence wakes up it senses towards the 7th minute. Follows a heavy and aggressive rhythm which undulates under the weight of synths with symphonic breaths and the lightness of piano notes which tag along a completely unforeseen sequential line, adding more weight to a heavy cadenced which overlaps under a beautiful bass line. Eindhoven II becomes heavy, even violent, with a powerful rhythmic movement, liven up by heavy synthesized spheres which spit evasive streaks of the reducing scratches in a weighty sound immersion tinted of symphonic and apocalyptic synths. A fierce movement which overlies cosmic plains before landed on shores of a Magic Flute galactic world, just as its introduction. A slow intro with heavy sound effects of a syncretic and galactic world opens Eindhoven III. A world of artifices and arcades which gradually made room to morphic fragrances where monastic choirs, mellotronned flutes and fluttering synth layers zigzag slightly in a spangled cosmos of cosmic sound effects. A soft flute gets free of it, announcing the arrival of a sequence with heavy resounding chords which hammer a powerful hypnotic tempo, surrounded by a synth to sinuous waves. The sequential movement splits, mislaying chords shaping a cadence released of its minimalism approach. A cadence that rams an undulating tempo, crossed by briefs solos of an incisor guitar and synths solos of which layers intersect in a space heaviness worthy of the great Berlin School of vintage years.
It is true that Pollard/Daniel/Booth doesn’t invent something. Claim the contrary would be showing fan fanaticism. On the contrary the English trio excels in the art to make us revive the Berlin School retro while adding a touch of contemporary that can’t also be denied. A modern-day touch nourished by furious sequences to hiccupping doubled blooms. Sequences which shape daring tempos to multiple rhythmic fragmentations, transcending the hypnotic and minimalism rhythms of the vintages years. In short Pollard/Daniel/Booth offer solid retro Berlin School, as at the beautiful time, but with a perfect meshing of the equipment and innovating visions of the valiant knights of EM, all eras put together.

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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