Well installed on 2 almost identical tracks, Doom Bar opens the sonorities with an amphibious approach with disturbing reverberations. Piano notes circulate in this unstable sphere, coupling melodious snippets to sounds inserts of a provocating "metallicity" which dawdles on lapping which we cannot discern of a human world, an extra terrestrial one or simply a non-existent world. It is in this cloying blackness, worthy of a lunar station where thousands of beetles swarm in weightlessness that the movement waltzes, where voices, whispers, eclectic noises make of this English trio 11th opus a strange schizophrenic ode for the claustrophobic madness. Among this astral cacophony lie beautiful mellotron surges which waddle on hypnotic Tom-toms, but surrounded with a siren which coos in a heavy and threatening atmosphere. A condemned ambience seized on all sides by sound oddities sometimes clement, sometimes untimely. Much more a musical stylistic composition with complex sounds than anything else, Doom Bar distinguishes itself by the complexity of its evolution. Absolutely nothing is predictable. So the listener is plunged into an ambient universe where the biting madness is tangible in every sound hidden recess, with its guttural tones, its synths with aggressive heavy hazes and its anvil percussions which beat on excesses and insane provocation, preventing the rest of soul with a colorful industrial torture. Far from being totally iconoclastic, this remorseful madness contains strange sweetness which lives in the background, behind this ambient sound violence. A horror movie which eats a virgin prey which is listening and feeling as the 63 minutes go by, the title track risking marking more than one. To be listening in high definition to seized all the effects, but to avoid totally if schizophrenia is watching you.
Sylvain Lupari (2009)
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=12080