jeudi 3 février 2011

PYRAMID PEAK: The Cave (2010)

A little less than 2 years after Evolution went out Pyramid Peak gave a concert in the cave of Dechenhöhle on Octobre2009. For the Peak it wasn’t their first attempt in this cave as he already left there his musical imprints in 2002. And since then the German trio returned 2 other times in order to let his music haunted the corridors of this tourist attraction for the town of Iserlohn. In spite of the high degree of humidity of this cave, Pyramid Peak finally succeeded to controls elements in order to present a pretty decent recording of this show, except for some distortions problem on Underground Movement which, in my opinion, fit very well the sonorous perversity of the track. Although The Cave is a concert under the ground, the music played represents quite well the ambivalent universe of the Peak which embraces as much the cosmos as the depths of an earth in fusion. Here’s the album that was the biggest seller of Syngate catalog in 2010.
It’s all in softness that Range of Sound begins. A long track divided into 2 segments which carries well its naming, so much it’s a feast of composite tones. The whole thing starts with an ethereal intro where synth waves undulate while sparkling among an array of synth breaths with celestial aromas. Notes of harps are getting astray in a cosmos that looks like an Eden in formation and we can think of Jarre and his famous Fishing Junks at Sunset as well as Ramp for these heavy intriguing atmospheres stuffed of strange murky tones and heavy subterranean reverberations which disturb this feast of harmonies where slow synth strata à la Axess float among tearing and metallic streaks. Out of this din to the crossing of 2 worlds emerges a fine sequential movement of which chords drum in an alternation movement under a dark sky filled by fine firedamp explosions. The musical universe of the Peak is deploying with its synths to multi- colors layers which fly over a more and heavier rhythmic, livened up by electronic percussions with metallic resonances. Rhythm well settled, synths spread their multiple tones going there of long sinuous strata which waltz among brief spiraled streaks, more silvered strata and melodious layers in suspension, while scattered percussions burst here and there adding depth to Range of Sound rhythmic, which is already well fed. Towards the 17th minute the tempo is calming down gradually, diving Range of Sound in a somber atmospheric passage where vocal samplings rise over a multicolored musical universe filled of multiple electronic tones. We float adrift, between Software and Tomita, before the clear rhythm of Pyramid Peak wakes up with its crossed sequences which collide with sharpness to form the magnetic rhythmic universe of the Peak. A languishing rhythm with a superb duel percussions and sequences, under romantic synth strata which recall the poetic universe of Vangelis. Always so hesitating as its sequences and shrill synth pulsations, Range of Sound rhythm breathes hardly under this universe of multiple sound colors. But it breathes and will go until its last breath of these so omnipresent and multi-sonorous synths smother of their syncretic metallic breezes.
Underground Movement is more violent and offers different structures that are totally in the opposite of their evolutions. First of all, a swarm of beautiful synth layers unfold and swirl such a twinkling spiral at the opening of Underground Movement. A strange coiled ballet where other chords lull the movement embellished by a soft mellotron pad. Monastery choirs wrap the intro of Gregorian chants, a somber choir where voices of women and men become confused around twinkling layers and a fine line of bass which frees muffled symmetric pulsations. Such a carousel for Epicurean choir, the intro of Underground Movement spins under a caustic sound universe before choirs float in oblivion. A brief moment of calm before sirens of synth tears the silence, accompanied by multiple sequences which jump up fervently on a structure which hiccups of a jerky movement. The progression is harsh and Underground Movement is seized of a furious sequential movement of which chords skip and collide under streaks of metallic synths and fluid chords which seek to harmonized this powerful movement with a soft catchy melody. Underground Movement is intensifying and becomes heavier with a corrosive synth and frenzied sequences which strum wildly an infernal rhythmic stratified by heavy strata, liturgical choruses and chords which unravel such an inverted spiral. A furious rhythm which is quieting down, towards the 16th minute, with a long atmospheric passage where scattered rhythms and huge silvered synth breezes hoot in a grotto closer to stars than the ground. A long ambient movement which is awakening with a soft sequence à la Peak, watered by delicate solos. Beautiful solos which float in suspension with fluty and melodious essences that striking of electronic percussions light of a good melodious cadence. It’s the beautiful peace after the almighty storm.
It’s good to hear some nice Pyramid Peak. Although quite different with its structural approach build on 2 long musical pieces, The Cave joins the lineage of the musical magic of Pyramid Peak. It’s a very nice EM album, faithful to the musical imprints that the Peak leaves since Ocean Drive. Except that this time the magic of Pyramid Peak is surrounded by a mysterious musical aura where sequences at once soft and stormy that always serve as assizes to superb electronic melodies immerse into a syncretic musical universe papered of metallic sonorities which overhang these wonderful synth solos unique to Peak musicality. Languishing solos and melancholic strata on ambivalent rhythms. Yep! When I say that it’s good hearing some nice Peak!

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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