lundi 17 janvier 2011

MICHAEL NEIL & GRAHAM GETTY: Retrochet (2010)

Retrochet is a musical project which embraces the roots of Berlin School with modern-days technologies and communications. A synthesist having a vast experience of more than 25 years, Michael Neil touched all EM spheres from experimental to ambient while Graham Getty comes back from an absence of 17 years to presents the sequenced rhythms. Both began to compose an album without meeting each other in person. An album that would respect the Berlin School premices and would be made via Internet communications. It results in a surprising album filled of aromas of a Berlin School, forgotten and found again. Retrochet is more than an incursion that several artists undertook successfully in a musical quest to reproduce what Tangerine Dream had abandoned after Encore. It’s an opus of a melodious musicality on sometimes violent and other time balanced sequences which mold splendid structures at once ambient and ethereal. A perfect match between 2 musicians whose distance has never affected their complicities. Here is the album of 2010 in EM, here is Retrochet!
Tenderly violent Cirrus Strata waves with strength, such an ethereal locomotive on the rails of a quixotic sky. The intro there is soft and vaporous with its fine mellotron pads drawing clouds which float in a sidereal void. Some will hear soft ethereal atmospheres of Steve Roach’s desert skies, while others will hear these Tangerine Dream sequences on Ricochet. A short atmospheric intro perturbed by a powerful minimalist sequential movement of which chords wave with power beneath the breezes of a nasal synth. The rhythm of Cirrus Strata is loud and violent. It beats a furious and frenzied measure with sequencer chords which gallops and zigzag, such as uneven cascades, beneath breaths of a mellotron with chthonian mist that wraps of a strange electronic aroma this superb sequential fury. A violent movement with chords which skip and explode with a taste of freedom, deviating subtly and slightly of its minimalist axis. Explosive, the heavy rhythm of Cirrus Strata is blurring gradually, breathing sequenced fragrances of good old Tangerine Dream to merge in To Close my Eyes intro; quiet after storm. We still hear breaths of this nasal synth which form a delicate ethereal maelstrom with its synth and mellotron layers which invade a blue cosmos, filled of oniric sweetness. Breaths of flutes pierce this atonal waltz and revolve among states of minds of To Close my Eyes which is mainly poetic and sometimes dramatic. Schulzephonic moves on with breezes of a hybrid synth which sings behind a brilliance of twinkling arpeggios gamboling feverishly beneath an ethereal mist. Schulzephonic offers a sequential movement lighter than on Cirrus Strata, but unfolds in waving with tight chords which skip in a kind of echo where the multiplicity of sequential lines appears towards diverse tones. Chthonian choirs are delirious behind this curtain of mist blown by mooing and banging at once felted and metallic on a sequence sometimes violent and sometimes more subtle. A progressive movement which embraces, a little after the 7th minute, a sequential strength similar to Cirrus Strata’s which roars beneath the lines of a synth with spectral breaths, howling in a strange implosion of a diurnal fright.
Flughafen Tempelhof is deliciously mesmerizing with its delicate sequencer chords which skip and gambol among fine analog serpentines. A splendid minimalist melody which slowly is dressing with parallel musical suits, such as this reverberating wave, these delicate crystalline arpeggios which are dancing there and this hiccupping synth line. A melodious symbiosis which doesn’t stop dressing in tones until percussions pound a soft rhythmic, adding a more profound hypnotic dimension beneath a sky stuffed with analog eclectic tones. The movement is increasing and sequences modify a little their axes under songs of a somehow nasal synth, while Flughafen Tempelhof crosses its 1st portion to become heavier with more sinuous sequences which flicker heavily on laments of a synth with a nursery rhyme for a harmless cherub. It’s a great musical piece which leaves its traces such as earworms. Delicate, In the Realm of the Senses is a nice musical intrusion in the wonderful world of mellotrons. A charming flute is blowing its most beautiful airs on delicate waves of an unreal world stuffed with delicate and luxurious mellotrons pads which float on a delicate sequential movement that won’t be disturbing the morphic extent of In the Realm of the Senses. Spectral cooings illuminate Karl Marx Allee first measures. Echoing sequences are jumping here among slow and rippling strata of an ethereal synth, plunging this last track of Retrochet into a melancholic atmosphere. Pulsating percussions emerge from these waddling sequences and flickering cymbals to pound an ascending rhythm where random sequences skip in the shade of mellotron dark choirs and a synth with splendid melodious strata. The rhythm becomes heavy and the rhythm resounds as in Cirrus Strata on hypnotic pulsations, while the synth spreads superb lyrical and poetic layers. It’s another very beautiful track which gathers all the melodious, cosmic and disruptive elements which surround this magnificent album that is Retrochet.
Available in download on Musiczeit site, Retrochet is the best EM opus I heard in 2010. A great album filled with melodious tracks, even when quiet and ambient, that we will listen again and again over years to come, just like those TD classics. ‘‘Hats off’’ to Michael Neil and Graham Getty for such a great opus!

Sylvain Lupari (2011)
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=14115

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