mercredi 15 décembre 2010


Mario Schonwalder is one of the rare Berlin School EM style composers who continue to exploits those same minimalism structures. With nowadays and the continual collaboration of exceptional acolytes such as Bas Broekhuis on percussions and Detlev Keller on synths, Mario Schonwalder succeed in preserving these slow processions of repetitive chords which evolve among ethereal synth strata, percussions with accentuated strikes and a romantic mellotron. Blue is the 2nd part of color theories, as visualized and putted in music by the German trio, started in 2007 with Orange. Blue, is a color which is harmonizing with the fluidity and limpidity of this 11thopus from Broekhuis, Keller and Schonwalder.
Nervous, the first keys of Blue One roll on a great warm and waving bass structure where sequential crystalline arpeggios are coiling up in total harmony. A progressive minimalism structure, this 1st portion of Blue is delicately shaken and hems in an ethereal ambiance with a magnificent mellotron which throws his wrapping romantic veil on tablas percussions, vestige of an Arabian world. This bluish aura moves quite gently beneath the robe of a mellotron which divides its breezes between the bows of violin and cello, while murmuring a soft fluty sound with gentle harmonies. It’s all in softness that the tempo is living up with hesitating sequences which tinkle on more weighted percussions and an even slinkier mellotron, transcending an unreal Arabic world. The rhythm sways of a nice limpidity under a dense mellotron and percussions with so tribal fragrances, caressing at the end the so romantic musical universe of Schulze from Timewind and Mirage years. A superb Berlin School, hypnotic which is binding with heaviness and crash to Blue Two and its eclectic ambiguous intro where percussions strike undisciplined measures beneath heavy synth layers. Little by little, Blue Two remolds its acrimonious tempo to espouse an odd military pace with its rolling drums and its synth with distant mermaids blows which hum melodious singings, giving the vague impression of an aquatic immersion. The underwater waves have an unusual backwash effect, molding an undulatory movement which is hooking to bewitches sweet songs with fine strummed notes. This mesmerizing melody survives to Blue Two numerous rhythmic jolts, which is endowed of a rhythmic course of the most diversified; either lights movements of zombies trances, ambient passages purely ethereal where synths roar such as specters in twilights and ambient passages with hiccupping sequences. Varied paces for such a complex title, but which keeps its beauty towards this cyclic melody which espouses a sound variation more than enchanter. If Blue Two enjoy a colorful rhythmic structure, Blue and Red shows a constant rhythmic evolution. Atmospheric opening perturbed by diverse colorful tones, Blue and Red fits the contrast of its colors. At around the 6th minute point, the tempo opens with a beautiful Hawaiian approach to be sinking into a beautiful bass structure, drowned by multiple synth layers which wrap and fly over a soft moderate rhythm. Hopping sequences on synths with mermaid’s breezes, Blue and Red effectuates a beautiful transition between two colors with paradoxes of tranquility, quite as its progress which goes from warmth ambient to balanced rhythm to ends on a good hopping sequence and banging percussions that even the soft mellotron with cello tones does not manage to conceal the latent fury.
Even if we know what to expect from Broekhuis, Keller and Schonwalder, the trio continues to amaze in a musical universe that is still very near the Berlin School old roots. Hypnotic and mesmerizing, Blue is the proof that good old Berlin School still has some originality to offers and it’s far from being in the forgetting of temporal cupboards. Some good old Berlin School dressed by nowadays technology which preserves this warm approach of hypnotic and bewitching rhythms, as well as atmospheric ambiances on permutated sequences to hatched jolts, with a touch of aggressiveness that the trio rarely exploits, letting glimpse beautiful sequential possibilities on Red.


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 :

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