dimanche 28 novembre 2010

ROBERT SCHROEDER: New Frequencies Vol. I (2010)

Robert Schroeder has the merit of always keep his public on alert. Album after album, and this since his 2005 comeback with Brainchips, the German synthesist disconcerts his fans by producing avant-gardism releases. Albums, I think in particular of Sphereware and Taste It, where Schroeder explores and innovates its musical creations based on new technologies, while respecting its musical paths who, needs to remember, always swayed between Synth-Pop (Double Fantasy) and a EM as well sequenced as cosmic. Entirely released with the Propellerhead REASON software, New Frequencies Vol. I furrows the world of virtual keyboards with PC’s, shaping a musical world which is beyond sonorities boundaries that Schroeder created until today. Voted as the best album in the Audiophile Series in Pop category, New Frequencies Vol. I is the first of album series, contrary to the D.MO, where Robert Schroeder pushes his musical explorations out of conventional Space Rock limits. He dives into Space Synth-Pop with an album filled of ambivalent rhythms, but amazedly powerful, with solid percussions, subtle and strange voices samplers as well as a synth with hybrid and wrapping surges but a bit less cosmic.
Rhythm Dancer shoots off at top speeds this Schroeder 21st opus with synth waves that hem in loops on a lively rhythmic with slightly rattlesnakes sounding percussions where digital sound effects are multiplying, faithful to sounds multiplicity that reigns in the complex musical universe of Schroeder. The rhythm is ambiguous and explores various structures on hatched keyboards keys, synth howling and avalanches of drums which break out on a cadence well fed in tones. The Reason Why offers a more chipped structure on synths with sinuous waves and jazzy tones. A track which floats in a very dense synth envelope, but of which the rhythm is constant and supported by a good line of bass and sequences which pulse heavily on tablas percussions à la Earth, Wind and Fire style. I Like It explodes straight as its opens with a rhythmic filled of rattlesnakes endings and a synth of which metallic strata shell his cosmic and psychedelic elements beneath suave voices sampling. Here, as on the whole album, the synth is dense and extremely varied, diversified in tones of all kinds, but remains so dreamlike with smooth waltzing strata. We are far from a cosmic EM with sequences which develop slowly. Everything on New Frequencies Vol. I swarms of a livened up and groovy musical life, like Twitter my Mind and its slower rhythm, notches by hip-hop or break-dance disc scratches, good and loud percussions on a synth with ethereal strata that waltz in spite of a cosmos torn between the dream and the reality of dance floors, quite as From Heart to Hearth whom on the other hand offers a more tangent cosmic than Twitter my Mind. Falling Down is a small jewel of rhythmic duality with a synth which spins in loop on a heavy tempo of wave-like resonances and where the hybrid cadence is crowned of heterogeneous tones which hammer an already complex tempo. A splendid track with its groovy moves in a grotto with a star-studded hanging on the ceiling and cosmic draughts, that sticks to ears on the first listening quite as the superb Caribbean Nights and its tempo fed of heavy resonances and of good innovative percussions.
The sound experiments on indecisive and hybrid cadences continue with the enigmatic I Feel so Good and its percussions which imitate call of ducks and synth with its moves of old hippies still on acid letting of steam. A Night in Space is the only unctuous moment of New Frequencies Vol. I. And still there, even this suave and languishing movement is filled with a rich and experimental sound fauna, making of A Night in Space one night which is really cosmic and oniric with its synth layers coiling up such as anorexic hoops which cook up under metallic percussions, in the shade of a melancholic synth sulfurous solo. A robot-kind voice stammers a robot text on RockNtronic opening. The tempo falls. He is heavy, sinuous and slightly syncopated, taking more forms and strengths as he investigates the hidden recesses of its structure which remains always ambivalent between its synth with incisive solos and captivating strata as well as its heavy percussions. Oxidation concludes with a wavy kind rhythm, a little as on Rhythm Dancer, but with eroded reverberations which circulate in loops, in the shade of juicy synth solos.
Between Moonbooter’s progressive Synth-Pop and Art of Noise’ abstract originalities; Robert Schroeder pilots a sound sea to externalities very different from EM Berlin School style. Lot of sounds and tones, powerful ones, incisive, chipped, syncopated and twisted sounds! In short, a sound range of the most complex, punchy and printed by originality which couples to beautiful melodies, among them the superb A Night in Space and others tracks where nervous structures and bouncy beats abound of beautiful ambient and wrapping strata, creating a surprising and charming duality.

Sylvain Lupari
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=13517

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