jeudi 16 décembre 2010

HARALD GROSSKOPF: Yeti Society (2004)

Yeti Society for a world of ice! A world where the courage and the bravery is read through the story of the Endurance boat equipage and which is listening through 7 tracks and 2 videos where the dry and hatched rhythms are flooded with percussions and sequences as nervous as unforeseen. It’s flanked by his accomplice Steve Baltes, that Harald Grosskopf weaved his 5th solo album inspired by this amazing historic epic. A dramatic story which is not nevertheless depicted with the same musical approach, because even if Grosskopf throws beautiful synth and mellotron layers as melancholic as dramatic here and there, he prefers an irradiant approach of steady, alive and technoïds rhythms in surprising musical structures where the duality is always the prerogative of its furious cadences.
A tribal song on a synth waltzing wave opens Circumspection, losing Chamanizes in its trail. A curt rhythm, fed by sudden sequences stops and go, breaks this strange prayer which was transformed into popular clamor. Already, we know that Yeti Society's tracks will be coated by a heterogeneous sound world where the harmony will cross multiple sound samplings. Incisive strikes of percussions hammer a nervous pace and shape a hatched rhythmic which hiccups of a strange echo, while keyboard keys circulate on a nervous and frenzied structure. A little as some vague musical loops which wave on a sea of harmonious contrariety where the brute rhythm gobbles up all the circling harmonious fragments behind this strange rhythmic pattern. Bravery moves on with a heavy sequence, stuffed with chords with echoing harmonies, on an avalanche of percussions which tumble down as in a sulfurous progressive jazz-rock. The tempo becomes hemmed by syncopated loops which spin around crystal clear and melodious chords, on a structure broken by nervous percussions which strike with indiscipline among varied samplings. A fine ethereal wave awakens the first jolts of Elephant Island which wave on Tablas percussions and a pulsating line with hatched coos. Electronic percussions with varied tones and tribal singings live up a structure which stirs up in a brief moment of frenzy before embracing a duality, both in the harmonies and rhythms, with very exhilarating and captivating synth mellotron strata which are griping with a hesitation, forging a soft lascivious echo.
With its arpeggios which skip in loops on a nervous musical structure and its drum kit which hammers a heavy, constant and weighing rhythm Endurance is a nice techno interspersed of a brief atmospheric passage. A soft harmonious passage before the rhythm is taking back more vigor with a syncopated line which winds around heavy thud hammerings, forging a rhythmic worthy of rave parties and dancefloors, as on Broad Liquids which is on the other hand more in a lounge style. A distant reverberation with tribal fragrances opens South Georgia. Guttural loops are unwinding in musical hoops, while crystal clear chords stroll around heterogeneous percussions on an ambivalent structure, mi atonal and mi lively. The tempo kicks up in the 2nd portion of South Georgia with resonant riffs and percussions which drum a soft structure dressed of brief catchy melody. Endeavourance closes magnificently well Yeti Society. It’s a soft electronic ballad starting with a delicate avalanche of crisscrossed strata, which are dissipating to make room to a very charming feminine voice which blows a tribal ode on a dramatic organ line background. Delicate crystalline arpeggios circulate in an air revived by waves of a reverberating synth and oniric choirs, while hesitating percussions fall, as sound the knell. Quietly, but especially dramatically, Endeavourance is getting free of its atonal grip to embrace a slow rhythm, livened up by flickering percussions which click under heavy layers of a grand synth.
A synth of which its thick dramatic coat will never mute these arpeggios so fine and delicate which swirl such of crystal tears in a sea of bitterness.
Yeti Society shows once again that Harald Grosskopf controls as much rhythms as melodies and synths as percussions. Even if yeti Society's rhythms are based on percussions, as acoustic as electronics, and sound samplings, there is a subtle mixture keyboard / synth and percussions / samplings which modulate beautiful melodies often taken by the constant rhythmic influx which develops on each of the track of an album to emotional antipodes.

GROOVE UNLIMITED: GR-110

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 : http://www.gutsofdarkness.com/god/objet.php?objet=14027

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