mardi 16 novembre 2010

GERT EMMENS: The Nearest Faraway Place Vol.1 (2008)

A dark and metallic wind brings sound effects to resounding arches. The opening of The Nearest Faraway Place Vol.1 is a floating movement where hardly perceptible voices drag among tribal lugubrious breezes and whistling lamentations. An introduction worthy of a sound fiction where everything could be heard, as well as imagine. A flute, quite distinct, wanders in this intriguing universe, waking up a sequence with shimmering tinkling of which echoes are multiplying in a prismatic stream, flowing towards another sequence hemmed of an undulating bass line. The rhythm is taking shape on a movement which gallops hesitantly under a shimmering firmament. A synth/guitar fusion and percussions embellish this pace which rolls in loops on a soft structure before embracing vaporous waves, celestial choruses and fleeing layers which decorate an ethereal musical constellation.
There goes the poetic and extremely musical universe of Gert Emmens. The Nearest Faraway PlaceVol.1, of which premises were conceived for a concert given in Germany on November 10, 2007 (Oberhausen’ Gasometer), is a long 71 minutes musical piece, divided in 7 parts. The Dutch synthesist continuous his ambiguous exploration of a galactic universe with dark and intriguing forms. An unreal world sculpted in the fickleness of its rhythms and tonalities, as well as its sequenced sculptures with sonorities so unique to the musical world of Emmens and of its mellotron synths to variables astral flavours, crossing the darkness and limpidity of harmonies. Part 2 is a heart-hooking with its emotive mellotron that wraps rhythmic sequences support by guitar riffs. The tempo is fluid and dry, watered of guitar and synth solos.
Part 3 feels one’s way towards on a sequence in cascade. A rhythmic more theatrical than musical, shelled of metallic percussions and wrapped of a synth with spectral odes and tearing solos. Part 4 is pure Emmens, such as we know him since When Darkness falls Upon the Earth.
A complex sequential structure with heavy and resounding jolts which hop on a keyboard with flickering waves and lyrical blows, creating a strange fusion melodiously coherent where the hatching rhythm waltz with a mellotron with melancholic waves. Around the 6th minute, the sequence becomes more nervous while confronting heavy percussions which slow down a rhythmic already dubious. The synthesized veils wrap this cadence becoming anemic with misty odes which drag us under the cosmic storms of Part 5, a part with a pulsating and nervous sequential rhythm which flows beneath a synth with spectral breezes and a guitar contrasting of lucidity, which dies out in a fluty astral nebulosity. Part 6 is emerging from it to reinitiate this atmospheric heaviness with a grinded tempo which makes the splendour of this Gert Emmens 14th opus with a rambling tempo on nervous and hesitant sequence which undulates in a well tempered synth ambiance. It’s a more psychedelic than electronic movement, which grows on a chthonian synth with very sinuous solos along strikes of slamming and anvil percussions. That’s another very good title which exploits the dark zones of analog years. Part 7 is a beautiful final where guitars and synths oppose their lyricisms on a beautiful hypnotic and musical sequence, as Gert Emmens knows all the astuteness, before crossing the quietude of a morphic synth. A final which opens the door to a possible Volume 2.


Sylvain Lupari (2008)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream;

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