samedi 6 novembre 2010

THE JUPITER 8: Songs From The Engine Room Part Two (2010)

More than 5 years after Songs From The Engine Room Part One, the single crew of The Jupiter 8 comes back from galactic limbo of the 70’s electronic and psychedelic music. The unique OJ is coming back to shake temples of EM by creating a dazzling album where EM is besieged by hard, heavy and wild rhythms. Songs From The Engine Room Part Two is a powerful and astonishing album stuffed of bedazzled rhythms on beautiful synth and guitars lament. A mixture of musical universes which takes his energy and influences through ups and downs of the 21st century.
Noises as much metallic as electronic hole silence in opening of Signals. A slender pad undulates windingly under the cast of a solitary bass and electronic sound effects. A heteroclite intro carried by waves of a synth with tortuous oscillations debauches a rhythm sustained by sober percussions and a beautiful bass line as heavy as alive. Light and frivolous, Signals floats beyond a tempo that beats soberly the pace below beautiful layers, sometimes static and sometimes harmonious, of a synth which releases its solos among a panoply of analog and cosmic sound effects that twirls around a rhythm which gradually increases its pace to embrace a light technoid pressure towards the 2nd part. A software techno well hooked on a good bass, slightly slamming percussions which whirl headily around multiples and hybrid layers of a synth always so harmonious and cosmic. Heavy and incisive, Return to Earth is the meeting point between rock and electronic. The result rips the tapestry of walls. A huge electronic rock which embraces fragrances of Death in Vegas on Scorpio Rising. The rhythm is weighty and well cadenced with good percussions, which seem so real, and good riffs of a guitar that has no room for solos and a heavy bass that wavers a wild structure just like Faith No More. These basic instruments shape a heavy and infernal tempo, surrounded by subtle layers of a mellotron which escapes celestial choirs in this duality of morals and rhythms on a synth with harmonies that hang from the start. Melancholic and solitary, Time Slip Palindrome is a blues which makes sing its guitar on a funky galactic structure which hiccups of its hatched rhythmic. Half Light is a strange metallic ode which is dandling on a beautiful bass line and percussions which trace a light groovy tempo. A bass hems its chords in an atonal universe, surrounded by a fusion of guitars/synth layers which hoot in a Frippian universe. An inert structure soaked with a cosmic life, where layers wind and are coupling in a sinuous movement of cosmic schizophrenia. The Lost Voice of Reason is sculpted in the same mould as Half Light, except that the rhythm is progressive, though light, on a meshing of guitars/synth layers and pads, but an omnipresent guitar à la Göttsching style. Go Green is the master track of S F T E RP T. After an intro with the 50’s fragrances, the emanations of the Fifties, which stagnates in a caustic stasis, heavy guitar riffs wanders and resounds in loops whereas percussions and a heavy bass draw a tempo heavily hatched. Riffs of which the echo moulds a slow tempo where the bass gallops nervously on a structure amplified by movements jerked by guitar riffs. Rhythmic structure becomes wild and uncontrollable. Keyboard keys and guitar strata overhang this frenzied, heavy and metallic structure that gets astray in a brief moment of tranquility before bounced back, feed by furious guitar solos. A superb frantic track, but quite harmonious, that disconcerts and fascinates as all that revolves inside Songs From The Engine Room Part Two. A superb album which constantly surprises us by the diversity of its rhythms, sometimes wild and bedazzled, sometimes abstract and ambient, on creative musical approaches which hang and captivate as a great album of psychedelic synth-pop.

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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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