mardi 16 novembre 2010

GERT EMMENS: The Nearest Faraway Place Vol.3 (2010)

The Nearest Faraway Place Vol. 3 is the last part of this cosmic trilogy that the Dutch synthesist began in 2008. Once again, Gert Emmens covers his sound galaxy by a pleiad of synth lines with tones unique to his gears conception and where plentiful strata wrap of their foggy cosmic sequences to intertwine lines. Sequences sometimes hesitating and sometimes mordant but always constant, which criss-cross a cosmic tale under synth lines with foggy steam and suave weeping solos. A musical universe signed by Gert Emmens with a beautiful complicity between analogue and digital where the borders of imagination belong as much to the listener as its designer.
A distant synth line ripples lazily on Part 15 opening. We could imagine ourselves at a cosmic fair where mechanical streaks tear the firmament below subtle bass pulsations. A sequence comes along. She waddles at good speed, wrapped that she becomes by a beautiful layer of a lyrical synth which frees soft solos through synth mist, whereas the rhythmic bustles in a universe where synth breaths to multi- coloured tones embrace a languishing rhythmic which finishes its race under cosmic droplets and thunders. Within the years, Gert Emmens left his sound imprints in the wonderful world of electronic music. All that the Dutch synthesiser touches is inevitably transformed into musical enchantment. A long movement divided into 8 parts, The Nearest Faraway Place Vol. 3 presents structures with morphic and floating intros which dive into progressive rhythms with always striking sequences. Part 16 offers a more cosmic intro with Jan Dieterich's guitar which frees soft vaporous strata in a most heterogeneous sound universe. Mellotron strings bring us to a strange ethereal waltz, guiding us near a wriggling sequence which skips nervously to shape a pace which hems on a beautiful bass line. Part 16 becomes then a big cosmic rock, little as Part 20 finale, where Gert Emmens controls skilfully the rhythm with increasing and decreasing sequences which furrow over vaporous inserts and great synth solos. After its heavily cosmic intro, Part 17 bites to full teeth in a sequential movement which recall a lot those beautiful TD years. A heavy and nervous sequence that runs breathless beneath the wandering hazes of a foggy synth, until the rhythm explodes and deviates under strikes of e-drums. Beautiful peaceful solos float above this rhythmic incandescence where we recognize amply the sound universe of the Dutch synthesiser who doesn’t stop surprising with its loopy solos and those soft synth blows so personalized which tussle between sequential permutations. Great Emmens there! With its peaceful tempo, escaped from the morphic depths of its introduction, Part 18 is the most accessible musical piece among The Nearest Faraway Place's project. A beautiful track sits on a sober sequential movement, where guitar and synth are exchanging solos and vaporous strata.
After a superb cosmic intro where synth lines hem above stars, a threatening sequential movement bombards the always indecisive rhythm of Part 19. A ceaseless race where the sequential impulse undergoes of subtle modulations, among breaths of a foggy synth, before explode beneath a synth with twisted and languishing solos. Part 20 offers a caustic and threatening intro, before becoming supple with a beautiful wave of a synth at once nostalgic and protective. A soft and beautiful intro crushed into increasing sequences which draw a tempo skipping soberly under a synth with ghostly breaths. Structured in three phases, the movement becomes more hard-hitting with the emergence of electronic percussions which are gobbled up by synth solos which hem and contort under a heavy vitamined tempo. Afterward, we close eyes and we contemplate the end of this long 3 parts cosmic trip with a floating ending where strata confront and collide in a cosmos of ether on Part 21 and mould lovingly in the beautiful orchestrations of Conclusion.
The Nearest Faraway Place Vol. 3 is in the continuity of the first two volumes. An album where Gert Emmens can seem predictable, but continues to amaze with a subtlety in tones and rhythmic modulations that makes his music as unique as it sounds. As on each of the albums from the Netherlands synthesiser, the music pours between a wonderful complexity of structures and pleasant melodies that hang on to an ingenious sequenced vision and a synth that kicks away its long solos twisted in a strangely poetic and cosmic foggy. Some great Gert Emmens, as he always used us to.


Sylvain Lupari
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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