mardi 11 janvier 2011

PICTURE PALACE MUSIC: Curriculum Vitae I (2009)

Picture Palace Music is musical theater. A sound universe with expressionism textures which exploits dramas and melancholies of the19th century. A musical adventure rich in sounds images and innovative musicals imaginations which quickly became the trademark of this group as much mysterious as its naming. Curriculum vitae I - The Aside Ones - Music for Compilation Rates And Personal Data Sheets (What a title!) is an obscure compilation which is spreading out from the first musical drafts of Thorsten Quaeschning’ artistic project. If Somnambulistic Tunes and Symphony for Vampires seduced you, you will certainly be charm by this magnificent compilation. And if Picture Palace Music still says nothing to you, you are missing something incredibly big.
Curriculum vitae I is built on 14 tracks of a repressed violence where big guitars riffs roll in loops on mellotron synths and heterogeneous electronic percussions. After a very ambient metallic and intriguing Celebrating Fears Pt.1, Mandrake Flight jolts on fine percussions and a somber mellotron. Soft and ambient, the intro is only a prelude to a heavy guitar which spins in loop with a withdrawn ferocity, betraying the solitude of a soul in perdition. A magnificent track where the meshing of an electric guitar, intensely lonely, roars its solos in an electronic world, where we can perceive a soft TD synth mood mixes with slightly hatched percussions. A great musical piece that swindles the soul. Quite as Spreading Disease, although more lively with an inverted samba rhythm, which from time to time is feeding of piano and organ chords, on a catwalks pace surrounded by an even more ethereal guitar. Hatched litany on colliding percussions, Morgengrauen is a short, but effective, nervous techno wrapped of a mellotron membrane. Too short … Waving Goodbye, Waving, Waving Pt. 2 is an ode to solitude played by acoustic guitars. The kind of thing that we listen under the rain, thinking of our girlfriend or a close absent friend. It’s so beautiful! Schreck's „Non Vampiric...” livens up on a slightly jerked structure from which frees a very TD melodious approach on heavy guitars riffs which bite in loops. A light but effective title, quite as Day Or Wrath, although more sharper, and the honeyed Under The Golden Charm of whom we cannot escape the charm. Auerbach Night Club is a dislodged dance of which the initial stages are banging percussions on keys from a nervous keyboard. Sometimes minimalism, with ambient passages waffled of austere choirs, Auerbach Night Club borders the rhythm and the ambient over dense mellotrons which waltz heavily, hiding a flickering structure of which mellotron layers are cutting wings with magnificent orchestral arrangements.
Melancholic piano under an abstract rain, Powercutting is the beginning of a masterpiece of tenderness, passion and tearing that encloses this amazing album from Thorsten Quaeschning. Piano notes roll with strength under an ochre mellotron veil, filtering a magnificent melody which is dying of solitude. A short interlude just before the monumental Añoranza and its hesitating piano which pierces a twilight drills thwarted by tears of a mercilessly sky. Arpeggios become more biting, caustic and austere, hiding badly their disillusionments that fly away on a sequence weighed down by a bass line. A drama is going on; we can feel it and would just miss that we can’t see it. But Quaeschning’s keeping an eye on things. Añoranza evolves with a dramatic crescendo where broken piano notes, panting percussions and wrapping mellotron envelop this magnificent musical piece of an amazing romantic veil, of which a voice as well ethereal as spectral accompanies its finale up to her last breathe of lucidity. I’m writing it without hesitations; this is one of the most beautiful and poignant track I heard since a long time, if not of all my life except for Stairway to Heaven. This quivering structure, on a piano which tries to flee its pain and a biting guitar with desperate lamentations, is simply fascinating. Too much beautiful to be ignored! Añoranza falls into a metallic oblivion, the limbos, sieved by damned choirs of the august Mal du Pays. A heavy track fits up with a rich sound structure where choirs, trumpets and synth to metallic hoops perfume an air which floats in a paralyzed ether extending in the lugubrious Heimþrá. Wiedersehen’ intro appears as doves going out of hell. A superb ballad which put back emotions, piercingly devoured by the last 4 tracks, right at their places. But slowly the metallic groaning of a twisted guitar harpoons this tenderness which lives again beneath notes of a soft jazzy piano, before embracing a rhythmic with syncopated pulsations and a hemming bass which brings us to borders of an aural paranoia. A short track with diversified structures that shows all the creative complexity, as harmonious as anarchic, which animates this magnificent composer and musical visionary whom is Thorsten Quaeschning. Curriculum vitae I - The Aside Ones - Music for Compilation Rates And Personal Data Sheets is an outstanding work that will turn out into a classic in contemporary music.

Available at

Sylvain Lupari (2009)
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