jeudi 30 décembre 2010

PRZEMYSLAW RUDZ: Self-Replicating Intelligent Spawn (2010)

It’s a bit difficult to tame Przemyslaw Rudz’s musical universe. A sound world full of paradoxes where the Polish composer and synthesist is delighting in introducing there a multitude of tones as eclectic as electronic on musical structures in constants permutations, and this no matter their lengths of time, in soft atmospheres sometimes cosmic, oniric, morphic and intensely rhythmic. Self-Replicating Intelligent Spawn is the last part of a trilogy begun in the end of 1999 with Summa Technologiae. A trilogy taking pattern as each of the first 2 albums was released and which tells the story of mankind during 21st century. A 21st century EM tale and a surprising album where, as its icon Jean Michel Jarre, Przemyslaw Rudz destabilizes his listeners with an astonishing variance of styles.
Stroll Along the Paths on a Chip opens Self-Replicating Intelligent Spawn with tablas and congas percussions, adorned with some hissing cymbals. Piano notes add a night club melodious dimension with a zest of lounge tendency. A line of bass is detaching and waves with strength, surrounding itself with heavy felted pulsations and interrupting this suave jazzy intro, plunging Stroll Along the Paths on a Chip into a more electronic atmosphere. Keyboards and sequences keys sparkle and skip, molding a stormy and nervous pace which jumps up with good percussions whereas that a synth with brief melodious breezes and twisted solos assumes the melodious portion. Stroll Along the Paths on a Chip hooks instantly the hearing, quite as the very nervous and livened up The Race Towards a Knowledge with its hybrid solos and its roaring rhythm as well as the technoïd and heavy Short Message to Tomorrow which would peel off a dancefloor while bringing us to dreamlike territories with its romantic refrain and symphonic synths. Short tracks which are interlacing between more audacious ones as Neuronal Disorders Inside a Silicon Brain, a track that wears well its naming with its hyper syncretic intro which scratches cerebral cells. Enormous caustic synth strata tear linens of a cosmic oblivion to stimulate nerve-cells of a latent schizophrenia. They roar with their metallic magnetisms between the pure stillness and a disparate melodious movement which tries to pierce this heterogeneous wall. Behind these syncretic sound panels with heavy reverberations, we perceive a dramatic effect being drawing. A tempo takes slowly shape at around the 6th minute with a fine sequence with subdivided chords. Chords which are subdividing beneath a sky stuffed of intriguing reverberations and sound serpentines disentangling such as pearls of a broken necklace. A strange tempo nests in the hollow of a nervous, but static, structure which sways on a long motionless circular movement. A long cosmic and static bolero, Przemyslaw Rudz is dressing it quietly on a melodious pattern percussion which redoubles one’s efforts on powerful reverberations and strident silvered streaks, before that foggy mellotron pads and a hopping warm bass line try to make us forget its long eclectic intro.
The 20th Century Dark Echoes still plunges us into a duality as rhythmic as harmonious that furrows the works of Przemyslaw Rudz. The rhythms in constant permutation, the initial tempo begins with a wooshy pulsations sequence which crosses another, more ephemeral and militarized. A wave of synth mist glides above this tempo that percussions hammer in a dysfunctional way, a little as in the finale of Neuronal Disorders Inside A Silicon Brain. And the imperceptible complex universe of Przemyslaw Rudz takes place in our ears with pleasant synth strata which fly over a cadence in constant permutation under warmth streaks reminding the musical universe of Jarre on Les Chants Magnétiques. At around the 6th minute, synth solos float and are embracing themselves in a firmament filled with a mellotron mist and serpentine streaks, plunging the finale of The 20th Century Dark Echoes towards a abyssal musical world where a heavy organ draws a somber dark line, while a delicate sequence dances there in secret. An intro, extremely musical long, introduces us to Giant Leap for Mankind. A light and celestial wave floats among reverberations and stellar streaks which disentangle in a musical decoration so much morphic than psychedelic. A long intro where the recollections of the first cosmic albums of Kitaro with a very Floydian floating synth, are feeling at ears tip. At around the 9th minute, a cosmonaut voice that we too often heard emerges out of this morphic intro, moving forgotten rhythmic ashes of Short Message to Tomorrow with stormy and nervous sequences which are colliding. Sequences which skip without really shaping a cadence and which undulated with a heavy floating synth as well as samplings of Japanese guitars. More than 5 minutes farther, a bewitched minimalist rhythm hammers our eardrums, seconded by a syncopated sequential line which is agitating on a synth with twisted solos and an array of cosmic electronic laments. An infernal tempo which warms up even more with a heavy line of bass, wrapping Giant Leap for Mankind's finale of an infectious heat. Home Again concludes with a magnificent hybrid ballad. Piano notes are getting astray at high tide while Home Again progresses to embraces a swaying line of synth. A stunning poetic union which goes towards a soft hypnotic and chaotic with strange sequential chords that are coming out of a cold duck throat. Przemyslaw Rudz dresses Home Again of a surprising sound and rhythmic variety, unique to his style. So notes of piano, sober percussions, a warm line of bass, tinted keys as a xylophone’s and a suave saxophone send Home Again in a sulfurous musical world where the minimalism allows this dreamlike poetry which lulls the cortex of the unloved and tortured ones. I adore this track!
Self-Replicating Intelligent Spawn is as complex and tortuous as Cosmological Tales, but we feel this evolution and this desire to seduce which liven up the creative instinct of Przemyslaw Rudz. If the album presents a little more difficult passages than others to tame (Neuronal Disorders Inside A Silicon Brain, The 20th Century Dark Echoes) it hides some great tracks that show that EM does not stop evolving and amazing; two of the most great artistic qualities of Przemyslaw Rudz.

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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