vendredi 17 décembre 2010

IAN BODDY: Pearl (2010)

I have to admit that I don’t really know Ian Boddy's musical universe. I discovered the music of the English synthesist following his association with Mark Shreeve for Arc, as well as his last collaborations with Markus Reuters and Robert Rich. So, Pearl was totally indicated to me. And I discovered it an artist who infiltrates the music as a chameleon. Ian Boddy can as well embrace synth and techno pop, melodious and poignant EM, as well as a more complex and darker music. A double album compilation which glances through 30 years of career, Pearl travels among around 40 Ian Boddy's albums. A career well filled which, in my opinion, can hardly be describes easily on only 2 CD.
Outer DiN contains tracks from the pre DiN area. We have 15 tracks which are linking up in a long segment of 76 minutes presenting a more accessible EM where the heaviness and darkness which surround the Ian Boddy's first works already teem. Mermaids’ choirs swaying in a musical limpidity open Hyperion. Synths there are very symphonic and oniric. They wrap with their orchestral strata a slow intro which leads on a superb melody with notes of a dreamy and nostalgic piano. This is a splendid heartbreaking ballad which bursts with robust striking of resonant percussions, shaping a slow rhythmic brood of silky layers of a symphonic and celestial synth. A little as on Who Controls Who which is more dramatic on the other hand, but always fed by heavy symphonic synths with a very baroque approach. Aquanaut is a more livened up track with a nervous rhythm, bitten by a good line of bass and sustained by percussions with a fast flows and sometimes slamming, à la Jarre style. The synth is mordant and spits riffs and solos as heavy and incisive as a guitar but with which mellotron choirs are tinted of a dark mythical aura, enveloping litanies of chords from harmonious keyboards which scroll in spiral. A track near the synth and techno pop, but which keeps this electronic envelope thanks to dark and wrapping synths, quite as heavy and fervent Sequence in Blue and its apocalyptic ethereal synth, the heavy and spatial Beyond the Event Horizon which succeeds the sublime and atmospheric Floating. Continuum - Alpha is a mesmerizing track where the hypnotic and hatched rhythm is unfolding on a wavy-like sequential movement, supported by a discreet line of bass and metallic percussions flickering around linear spirals. Twists which move towards melodious hoops in a sound universe at once charming, cosmic and unrealistic with its ghostly synth strata.
Heaven Gate oscillates between two worlds; the rhythm and the atmospheric on a dark approach and a synth as symphonic as on Hyperion. After an intro which waves like the surface of a sea moved by winds, the rhythm is waking up a little with fine percussions and a grand-sounding bass. Except that this rhythm seems fixed in hesitation, in spite of the little more nervous percussions and cymbals which flicker on a synth with strata waving as celestial choirs. Towards the finale, the tempo hatches out in a soft melody which remains captured with its captivating and stifling strata. Living in a Ritual is another techno synth pop where rock singer Brian Ross sings on it.It’s a nice track with percussions which alternate on a slightly syncopated pace where solos of synth spin fervently. Shrouded is dark, slow, heavy, hypnotic and especially intriguing. It is the slow procession which marches with difficulty, encircled by multiple mephistophelic sound effects, like chains and breathes from hell and which hides a beautiful melody under the shape of devilish bed song. After an intro that sticks pretty well on Shrouded, The Climb takes off with a heavy and furious rhythm on strange electronic percussions and a synth with layers subdivided between the rhythmic support, misled solos and the spectral melody. After a heavy atonal passage in Outer Kimits, Skylights is impregnate us with a superb ethereal melody of which synth breezes are as well divinatory as harmonious, climbing a soft rhythmic of keyboard keys which rise in spirals, under heavy dramatic pulsations. A short track, Metropolis sways with grace around wrapping strata and on a heavy rhythmic pounded by percussions hammering a sustained pace. Living Planet encloses Outer DiN with an ode to cosmos, to oblivion and to sculptural idleness with a sober waltz of times and slow perpetual movements.
The 2nd CD crosses the period of DiN. A period when Ian Boddy multiplied collaborations with artists as eminent as Mark Shreeve, Robert Rich, Markus Reuter and Dub Atomica, Chris Carter as well as Bernhard Wostheinrich. Inner DiN continues the exploitation of rhythms and melodies with a dramatic spirit undertaken before the birth of DiN, but with a darker musical approach among a surprising palette of tones as powerful as heterogeneous. Never Forever is a soft introduction to the complex musical world which spawns in the universe of DiN. Slow synth layers waltz and entwine around a delicate melodious line moved by wrapping synth pads. An electronic world in fusion which leads us to Walking the Slow Path and its sequential line which moves in secret among a vibrating line of bass and percussions drumming a discreet tempo which bathes in indecision. Something that is halfway between Arc and Redshift, Walking the Slow Path evolves delicately, as a procession towards an infernal world, and this even with its limpid and silky chords which chime here and there. Coriolis and Chiasmata borrows too this same mephistophelic tangent, but a bit less deep, with slow processions, synth laments with ochred breaths, percussions and sequences with a little more arched rhythms. Atomicity changes a little the dark climate of Inner DiN with an array of percussions which fall in burst from everywhere. A bass line, fragile solitary keyboard keys and fine lines of synth which hoot provide the harmonious portion.
After fossilized strata of the ambient The Mechanics of a Thought, Presentation Of An Offering explodes of a curt and nervous rhythm which progresses on a structure sometimes ascending and sometimes still. A track with an ambivalent rhythm which exploits more the essence of the static rhythm with solos of synth which shape Arabic inspirations. Other track on static rhythm, Moire is besieged by percussions with tones as varied as its multidirectional striking, shaping a strange hatched rhythm skimmed over by lamentations of synth / guitars which scroll in loops, beneath a delicious mellotron aura. Edge of Nowhere follows with its languishing tempo and its plaintive guitar which spits eerie strata on a cadence held by metallic percussions and a discreet sequence with grimy poundings. A track with increasing tempo and dark atmosphere which dips back Inner DiN towards its dark paths with the very beautiful and somber Aurora who floats with its mi angelic and mi devilish ambiance with its wandering choirs which glance through fine crystalline arpeggios. It’s a superb ambient track just before the ardent Arc-Angel and its nervous sequences which are stirring in solitary before sinking into the chthonian and hyper sequenced world of Arc. Troubadour continues the exploration of the fervent rhythms beneath an avalanche of notes which tumble down towards a languishing and very lyrical synth. This is a nervous track, with a hiccupping rhythm and a heavy pulsation, which oscillates between the techno and the disco, chewed by a rebellious synth with Martenot and spectral waves which spin innocently in a hammering rhythmic. Elemental concludes Inner DiN on a beautiful and heavy melodious approach with a dramatic side. The rhythm it’s heavy and fascinating with movements of percussions beneath a sky streaked with synth layers which illuminate a procession with chords and sequences at once limpid and dark. Sequences and chords which unfold as condemned persons walk towards the green line.
Pearl is a musical box fills by magnificent jewels of a music to the antipodes of the growth, as personal as artistic, of a musician who had accept to get out of the cozy harmonious paths of Outer DiN to create a more progressive and innovative contemporary EM. More than a musical box, Pearl is the witness of this splendid growth of an artist whom some people saw passing by without really attaching the importance which was due to him. In Pearl, you have the opportunity to correct yourself.

DiN 36

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=14034

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