vendredi 10 décembre 2010

RAINBOW SERPENT: 8th Nerve (2005)

The more I’m listening Rainbow Serpent music and the more I discover an audacious duet which mixes skillfully the genres. Starting from the bases of the Berlin School style and while flirting with an atmospheric techno as well as a very contemporary and progressive approach, Gerd Wienekamp and Frank Specht propose in The 8th Nerve a musical adventure which goes beyond established standards with a sound approach of the most eclectic. Around 80 minutes of a music which flows without stops, with a diversity rich in sonorous surprises and rhythmic modifications dispersed on 12 tracks all so surprising, one of the others.
Audiogram starts this musical journey on a slow rhythm, initiated by a somber synth wave which rumbles in a dark cosmos. A suave rhythm which scrolls with fine loops spawning in a strange galactic world where metallic streaks and sweet zombiesc singing vocalizes lurch in a very eclectic sound fauna. Minimalist, the tempo ripple on fine sequences flanked by percussions with soft tap-dancing hits a little as not to wake this syncretic universe who lives under Audiogram pulsations. A languishing movement coated of beautiful and smooth mellotron layers which are briefly interrupted by metallic reverberations. This hypnotic intro of The 8th Nerve progresses slowly towards more frenzied and hatched rhythms with Mindmachine and its Kraftwerk approach. But a more contemporary Kraftwerk from which the rhythmic hits hiccough on edgy oscillations, in a world of words hardly audible that surrounds The 8th Nerve from start to ending. The rhythm is increasing on nervous and heavy percussions, embracing slightly a techno approach with a synth to mordant chords from which the bangings collide with a strange tone. Present everywhere on this brilliant opus, strange reverberations furrow Mindmachine pushing it towards a more ambient world, before exploding on heavy percussions and insane vocalizes in a finale of an undefined ethnic that is molding to Radiotrip and its Kraftwerk robotic voices. Radiotrip is felt of a vaporous heaviness which rolls on a sequence vitamined by minimalism jolts and sustained by circular movements of a metallic synth. Nervous percussions flanked this hypnotic tempo from where escapes beautiful Schroeder kind harmonious clusters, on a synth with chiseled solos. Winterlandschaft is leading us towards more ambient and atmospheric sectors of The 8th Nerve, with a sweet and serene cosmic approach. Crystalline arpeggios skip with a powerful clarity in a circular environment where weak lonely percussions and deviating mellotron encircle a structure which is liven up slowly, without ever bursting. A beautiful élan of cosmic tenderness which continues on the soft N-Tropical and its xylophoned keys as well as fine percussion movement wrapped of a nice ethereal mellotron. It’s like listening to a cosmic Caribbean lullaby.
Edge of Reality pursues this atmospheric quest with a strangely bewitching mood. An atonal intro, stuffed with riffs of a corrosive keyboard which drops intriguing resonances. Scattered percussions appear from this stellar tranquility, drumming undisciplined striking on a movement structured of a frail syncopated line which crosses a synth with howling layers and galactic spectral breaths. A strange movement very characteristic of the atmosphere which evolves around The 8th Nerve and which is ending in the soft galactic twilights. A movement that flows towards Third Ear which will charm you certainly with its pulsating increasing sequence and its acoustic guitar which mold an interplanetary romance on a honeyed synth and abstract percussions. A splendid track full of tenderness which waltzes in a musical universe torn between the duality of its guitar notes and riffs that crash into oniric sweetness. Planet Audio links up with a heavy atmospheric intro where strange tones pierce a dense synth veil. An odd and ambient waltz, as a cosmic flight in weightlessness, which wakes up with a fine sequence fed by hopping bass notes and scattered percussions with flickered cymbals which wave and gallop among metallic synth streaks, hydraulic drill tones and a vocoder which fills this cosmic fauna of an intense and rare sound richness. Retropolis opens with a corrosive synth which spits its ochre venom before embracing a hiccoughing rhythmic on a wavy bass line, adorned of a synth with lyrical loops and solos and of a keyboard filled by limpid harmonious arpeggios. A lively track wrapped by a nice mellotron pad which goes towards Pigborn and its galactic ethnic synth approach on echotic and tribal percussions, surrounded by a mellotron with fluty breezes which dance on a frantic pace and frenzied percussions. This galactic tribal dance is quieting down on the marvelous cosmic intro of See-Not Have, which slowly grows up on crystal clear arpeggios and sober sequenced riffs of a discreet keyboard, kicking away a sensual tempo which languishingly twists on solos from a somber synth. Another beautiful musical delight which throws itself into nebulas limbs of Noonsphere and its metallic squeaking of an eclectic universe which is the attribute of this magnificent effort of an EM band to be discovered absolutely.


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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