lundi 13 décembre 2010

KELLER & SCHONWALDER: Repelen 3 (2010)

The music of Broekhuis, Keller and Schonwalder had a second breath with the addition of Raughi Ebert on guitars and Thomas Kagermann on violins and voices, during the very first Repelen in 2006. This way, the minimalism approach of the Berlin trio grew rich of several other musical layers, adding a harmonious depth to music already inspiring and very hypnotic. Recorded in Detlef Keller studios, Repelen III is the first studio album from the German quintet. Album played in concert at the Dorfkirche Repelen on February 7th, 2010. An album that is truly at the musical image of Broekhuis, Keller and Schonwalder, a minimalism Berlin School with soft progressive harmonies.
Fine chords evolve stealthily on Storm Chaser's opening. A soft opening with slightly hopping sequences, imprisoned by a discreet mellotron, which cross other sequences as limpid as nervous. A light violin calms the awakening of this intertwined sequential movement, which grows on a steadier pace, where notes of acoustic guitar and piano perfume the melody of a foggy tenderness. Languishing and superb, Sunset Café is the cornerstone of Repelen III and one of the beautiful musical pieces of modern Berlin School style to charm my ears these last years. This is some pure Broekhuis, Keller and Schonwalder we have there with a sweet minimalism progression which hypnotizes and mesmerizes with a delicate tempo tinted by a little bit melodramatic approach that starts with a foggy mellotron. Slowly it’s releasing of its sea spray, freeing a fine line of bass and a bass-drum pulsation which introduce a hypnotic pace beneath hesitating strata of a charmingly dreamy synth. This harmonious procession is getting dress by beautiful notes of a solitary piano, keys of an unpredicted xylophone and arpeggios of a romantic guitar which drag here and there in this foggy course which is Sunset Café. These minimalism jolts, which shape this hypnotic cadence, continue on Sunrise. A track swarming of a livelier rhythmic activity and which is deploying beneath strikes of bow, stretching its tones under choruses of a misled mellotron and a good line of a pulsating bass. This is another beautiful Berlin School which pulses on cawed percussions and hybrid sequences while being criss-crossed by a violin with eroded laments.
Madrigal is a beautiful lullaby that the Berlin trio uses to presents us from time to time. A romantic piano and a mellotron synth, from which breezes of flute from an imaginary country, cross an angelic choir where sober percussions, charming violin and a guitar with pleasant solos lull our sleep up to the edge of our dreams. More liven up Old Kids on the Stick is moving on a nervous pace, where a synth with strange spectral tones is adding a ghostly touch to a structure which waddles on sequential jolts and a warm bass line. An opening with jazzy percussions, floating keyboards keys and a guitar with heart-rending laments, Babylon Road plunges us into a universe of minimalism Berlin School. A Berlin School on a sober rhythm which increases subtly its pace, releasing soft passages of mellotron mist, but prioritizing an exchange between a chiseled violin and a guitar with brief mordant solos. Skinner’s Run concludes with a very rock approach. It’s something new for Broekhuis, Keller and Schonwalder who amazes by this steady rhythm where Bras Broekhuis hammers the pace along with a guitar filled of gorgeous solos and a synth with twisted and ghostly solos which are hiding the light mist of an ethereal mellotron. This is high electronic dynamite compressed in 8 minutes that we have there and another striking musical movement from the Berliner trio.
We can’t have the best of both worlds! This said, Repelen III is a solid EM album of Berlin School style. Certainly different because recorded in studio, so without any improvisations at all, and it’s the big paradox in Repelen III. With a more structured music and especially by prioritizing Kangermann’s violin and Ebert’s guitar, Detlev Keller and Mario Schonwalder forgot theirs synths approaches which are filled of twisted solos and morphic strata. But they always remain concentrated on their so much mesmerizing rhythmic visions and progressive minimalisms sequential movements. As for Broekhuis, his percussion play is still so delicious. As for Kangermann and Ebert, they certainly bring a new dimension to the minimalism Berlin School of the German trio, adding harmonious touches and a musical depth to a more and more delicious rhythmic thanks to Broekhuis, Keller and Schonwalder audacious sequencing vision.


Sylvain Lupari (2010)
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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