mercredi 9 février 2011

NATTEFROST: Dying Sun / Scarlet Moon (2010)

The more Bjorn Jeppesen’s career moves on, the more the Scandinavian synthesist amazes by the variety of its musical approach. Since his first notes launched with Absorbed in Dreams and Yearning in 2006 we felt that Nattefrost would be always different. Dying Sun/Scarlet Moon is an album full of musical unexpected developments where everything, except the predictability, is there. From techno pop à la Kraftwerk to lively synth pop, while passing by good electronic à la Jarre where long solos and cosmic atmospheres are darted by heavy rhythms, Dying Sun/Scarlet Moon is offering for all tastes. An album builds on 10 tracks filled of a disconcerting sound wealth where ears are constantly assailed by a multiplicity of sounds as heterogeneous as unexpected on structures that hook the ear, make tapping your feet and which are always in evolutionary mode.
Noisy explosions, where the metal is rubbing to felt, and vocalizes of robotics cherubs open the first measures of In Natura. Already our ears have difficulty to seize all the musical energy that comes out this colorful intro, as well as a humming sequential line of which chords skip and zigzag among pulsations and vibrations to static resonances. Streaks and strata, as foggy as metallic, glance through this coarse-ground rhythm, while nervous keyboard keys draw a melodious line on an ascending sequence which waves in a very composite electronic universe. In Natura wind on a fragmented rhythm with a hesitating sequential movement which seems to cavort in space, while percussions encircle this rhythm at once heavy and light where other sequences unfold nervously pushing In Natura in a rhythmic contradiction and a surprising musicality for a so short lapse of time, like the other 9 tracks which roll with a kind of delight on Dying Sun/ Scarlet Moon. Navigating between various rhythmic structures, Draconian begins with soft chords to tonalities a bit graves which resound and merge with a heavy reverberating sequence of which chords skip randomly. On a tempo hesitating between free jazz and soft techno, Draconian evolves under streaks and watered waves which criss-cross a bipolar structure where rhythms permutate between delicacy and heaviness. Music for the Man is an ode to Kraftwerk and Music Non Stop. The tempo is heavy, minimalism and vibrates on a beautiful fusion of sequences and electronic percussions. A very good track that is magnetic, quite as Music Non Stop, but with fine subtleties in electronic pads which undulate above this highly entertaining rhythm. Die Kinder der Erde is a heavy electronic track where sequences gallop beneath a thick cloud of synth to multiple layers and pads. It’s quite an electronic music piece that hides brief melodies astray beneath arrhythmic sequences and electronic percussions which twined an imperfect rhythm on very aggressive synth layers and wandering choirs. Very well and bizarrely lively, in the lineage of good Jarre, which is a robust influence for Nattefrost, and as in Close Encounter which is, on the other hand, more complex and progressive.
The Swan is a superb and completely charming melody that Nattefrost had revealed on Live Germany with sequences that collide violently on a very poetic synth singing a delicate melody which is transforming quite fast into an earworm. After an intro filled by heterogeneous tones, Seduced by Grief is liven up around a circular sequential movement of which minimalism skipping are leaking away on sober percussions. A hybrid sound universe where the sci-fi goes alongside to a delicate EM covered with suave synth layers and rippling mellotron waves glide above a light furtive rhythm, Seduced by Grief evolves with an implosion smothered by diverse melodious approaches. All the opposite of Ghosts from the North which presents a frivolous rhythmic on slamming percussions à la Jarre. Swirling and feverish rhythm, Ghosts from the North embraces the paths of a light techno with an ascending rhythm with fluid chords which spin in a rich sound fauna with ill-matched percussions. Heavy, vaporous and strangely ambient, The Dark Spell's intro honors its naming with a surprising mesmerizing structure which takes life on a circular sequential movement. Strummed chords of a pulsating and minimalism movement which slides towards a little more technoïd tangent beneath a charmer synth of which spectral whistles spin under a thick cloud of tones as electronic as crossbred. It’s a beautiful prelude to the very heavy and cosmic Close Encounter whose key point is unarguably this duel of brightness percussions. My Wake up ends with a kind electronic nursery rhyme built on harmless sequences, which roll as a rhythmic carousel, and a hybrid synth where cackling are wrapped of suave melodious layers. It’s a track as strange as crazy that fits so well to this very multi- colors and multi-sound universe which is Dying Sun/ Scarlet Moon.


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:

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