jeudi 13 janvier 2011

MORPHEUSZ: Days of Delirium & Nocturnal NightMares (2010)

Do you recall the punchy Derby!? Ron Boots's album in concert which gathered Harold van der Heijden and Frank Dorittke to the Dutch synthesist, giving thus one of the most powerful opus of 2009. Well MorpheuSz it’s this trio, enriched of Eric van der Heijden who assists Ron Boots on synths, giving even more strength, body, heaviness and musicality to a magnificent album which transcends the Berlin School territories to encroach heavily on paths of progressive space rock. It’s a powerful and striking opus that has no faults and which allies melody and complexity on structures as much ethereal as furious.
Between the Barriers or Reality opens Days of Delirium and Nocturnal NightMares with a beautiful line of synth which sways lazily in an oniric Milky Way. A synth à la Pink Floyd on Wish You Where Here that stretches its line in a stellar constellation stuffed with sound shooting stars. A heavy reverberation puts an end to this cosmic reverie and introduces a weak sequential beat which pulses with energy under the foggy breaths of a suave mellotron pleasant and jingles of electronic cymbals. Another sequential line hems with feverishness, filling the rhythm of Between the Barriers or Reality with voluminous subdivided pulsations which pound as a heavy bass beneath a sound sky stuffed with sinuous synth solos. Up to here Between the Barriers or Reality flows as a sulfurous space rock, but at the 5:20 minutes spot the rhythm explodes with Frank Dorittke's heavy guitar solos and Harold van der Heijden’s robust percussions which roll and hammer a hybrid structure as Klaus Schulze and Harald Grosskopf knew so much how to do it. Solos are shrill and run in loops beneath a cadence which waves with heaviness, merging marvelously the electronic and progressive art where solos of synth and guitars are entangling in an almighty musical fight. As in the finale of Daylight in a Nocturnal Scarescape which starts with fine waves of synth undulating with prismatic chords which sparkle in a cosmic oblivion. A brief intro before that Daylight in a Nocturnal Scarescape rolls on minimalism arpeggios which skip nervously. Arpeggios which sparkle and hiccup beneath deaf percussions surrounded of a syncopated line. The rhythm swirling on a circular movement, fed by stroboscopic hoops, Daylight in a Nocturnal Scarescape unravels among smooth and musical synth solos which remind nostalgias of Vangelis. Warmth solos which are bumping on robust incisive orchestrations, howls of madden choirs and unbridled percussions, propelling the second portion of Daylight in a Nocturnal Scarescape towards a more rock approach with heavy guitar solos which fly over a rhythmic with frenzied chords and sequences. Chords and sequences on boosted rolling movements by their feverish echoes, joining drum strikes which pound an undisciplined pace by the effects of dramatic tearing from brief orchestral strata. Prophecies of a Pagan is leading us into the dark corridors of Days of Delirium and Nocturnal NightMares with a foggy somber intro where weak and low pulsations of machineries resound around a lugubrious mephistophelic voice. A strange incantatrice and atmospheric intro that takes a kind of musical life with random strikes of a furious drum, strata of a roaring guitar and solos of a mellotron synth. An odd sonorous amalgam filled with duality, as melodious as atmospheric, which stagnates in a cosmic musical broth from where deaf and heavy pulsations of a bass line mold a cadence that goes in growing. Delicate arpeggios, à la Tangerine Dream on Tangram, emerge out of this intense sonorous magma where hatched guitar strata shape a cruel caustic world, but where warm synth solos bring a bit of musicality, depicting both paradoxes in Prophecies of a Pagan.
Sandman’s Journey Through Sanity stays the course of the musical duality undertaken on Prophecies of a Pagan. We can hear there a synth line whistling a soft melody which will obsess us throughout the evolution of this track that seems to come out of Frank D Project territories with its slow minimalist tempo à la Mike Oldfield. Solitary guitar notes are mislaying there among percussions bursts, sinuous reverberations and chords which deeply collide, vestige of an untidy sequential universe recalling Rainbow Serpent’s. A fine sequence, more minimalism, pulses a light cadence which clear among limpid chords, molding more and more this soft and innocent synth line. Synth solos fuse, whereas Heijden’s drum rolls and hammers a more sustained cadence. And quietly, Sandman’s Journey Through Sanity goes out of its hypnotic torpor to embrace a rhythmic divided by the drum strikes and a sequence which is more and more livened up. A synth spits heavy symphonic strata, leading the way to a rhythmic that bites to full teeth with incisive guitar solos and delightful synth solos which wrap this innocent and frail melody that came out from somber galactic caves of its intro. A very strong track because very different from what Days of Delirium and Nocturnal NightMares presents. Drowse at Dawn and Fearful Awakening are two tracks linked together but which have totally paradoxical universes. Drowse at Dawn evolves all in softness on a mesmerizing minimalist structure. Delicate arpeggios skip there, forming a cadence which finds its nervousness on the multiplicity of the chords skipping in loops. A fine minimalist and hypnotic sequential movement which flows as a prismatic stream beneath a sky shaded by a synth at once foggy and spectral which frees nebulous gas. The movement increases with the addition of finely hatched percussions and pulsations which mold a hypnotic pace where keyboard keys stroll with a jazzy approach. Skipping on a discreetly syncopated line, Drowse at Dawn sings under a sky covered by syncretic solos of a languishing synth and a foggy mellotron. A track which reminds me a bit the universe of The Who on Who Next and which continues its progression towards the stormy Fearful Awakening where heavy and almighty solos of guitars as well as crazy percussions burst out around robust solos of synth, bringing Days of Delirium and Nocturnal NightMares towards a finale which he couldn’t avoid. A finale models after this striking album which got to be the best in 2010. To say the least of what I heard until now. And this is Chapter One…I just can’t wait to hear Chapter II!


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 :

Aucun commentaire:

Publier un commentaire

Remarque : Seuls les membres de ce blogue sont autorisés à publier des commentaires.