lundi 28 février 2011


The next E-Day will be held on April 16th 2011 and, as in each occasion, the Groove label will produce a CD composed of unreleased tracks offered by the artists invited to this festival. On May 22nd 2010, this intimate festival which is annually held in the city of Oirschot in the Netherlands welcomed some big names of the contemporary EM with David Wright, Erik Seifert and Free System Projekt. A newcomer, E.R.G., completed this musicians' array for this 5th edition of the E-Day festival. Once again the organizers, Kees Aerts and Ron Boots, knew how to ally a contemporary EM, and even progressive, to music closer to the roots of Berlin School while brushing the harmonies and melodies which know how to get the attention of an already conquered crowd but not dupe of any kind of products. A magic music festival of which Groove puts us in appetite with a CD which is a faithful reflection of what the present spectators were lucky to see.
Helped by his walk-ons and friends Andy Lobban, Niel Fellowes and Nigel Turner-Heffer, David Wright offers us a track which depicts marvelously his very poetic and harmonious musical universe. A superb melody which oscillates between the universes of Moody Blues and Pink Floyd, Code Indigo’s meeting point; Gaia is waking up with fine hesitating pulsations which embrace delicate hits of percussions. An intro with a tribal flavor covered by notes of an acoustic guitar which scratches among musical prisms and nice mellotron violins, irradiating Moody Blues’ most beautiful melodious approaches. On a delicate rhythm, Gaia is adorned with its most beautiful musical assets with notes of a melancholic piano and with a harmonious keyboard, before the electric guitar throws a suave veil of romantic sweetness. It’s a nice ballad, more progressive than electronic, tinted of a maudlin romanticism with its quixotic violins which transport Gaia beyond the doors of the dream and its whims. Cern presents us Erik Seifert's sibylline universe, there where the melody and harmonies go alongside to the musical strangeness of the German synthesist. The intro is dark and glaucous with its spectral winds which blow along the walls of a cave buried in a halieutic universe. A mysterious voice, hardly audible, pierces an aquatic veil filled with sinuous reverberating waves from where escape hesitating twinkling arpeggios. Arpeggios which skip and are subdividing to dance on an anamorphosic structure where reverberations cross scattered percussions. Slowly the hiccupping rhythm of Cern is settling down with more solid percussions and keyboard keys with hybrid tonalities. Quavering chords which sparkle nervously in a heavy musical corridor divided between two rhythmic approaches and duped by heavy twisted reverberations. Asturiana is a too short track where a soft acoustic guitar courts a synth with Theremin waves. It’s a nice, but curious I may say, spectral ode that hooks immediately on feelings.
With Free System Projekt’s Day of E, we enter into the delight of the Berlin School musical subtleties. A long track of nearly 25 minutes, Day of E begins with all the charm of the transcendence that we find in the EM universe. Sonorous boiling hatch and shape a strange hypnotic pulsation which bubbles under the waves of an old caustic synth. Monastery voices clear the abysses, immersing us of a melancholic tuneful coat in the furs of old Schulze, Irrlicht or Cyborg eras’, whereas a soft oniric flute is dragging us in the musing of Tangerine Dream. A slow morphic intro which borrows a somber path filled of sinuous breaths at around the 10th minute point, the lead of a nice cadence besieged by a sequence to frenzied wavy-like chords. Although soft, the rhythm modifies subtly its structure while keeping its hypnotic constancy such a train crossing a sequential road covered with a synth which mixes its fluty and violin lines. A nice and soft Berlin School, typical to Free System Projekt's backward style, Day of E has all the necessary ingredients to please fans of Tangerine Dream and from ‘‘la belle époque’’. Eden to Chaos (Corrupted Time Mix) encloses this album with an approach closer to hard progressive rock than EM, a little as Gaia but with much more fury. A track which allies all the fineness and the romanticism of David Wright, while exploring a more powerful tangent, even violent, Eden to Chaos starts with a soft atmospheric intro where David Wright's piano throws its melancholy on a latent rhythm which grows slowly, such a train looking for its cruising speed. Ambivalent and constantly caught up by the notes of a gloomy piano, the tempo of Eden to Chaos is in continuous permutation embracing more balanced passages and diving into heavier and more powerful structures, as those that we find on good and solid progressive electronic rock.
From progressive electronic rock to good old Berlin School, while passing by rich atmospheres and a more contemporary EM, E-Day 2010 is an excellent way of cajoling the various styles of modern EM. There is music for all tastes in this excellent initiative of Groove which makes every effort, year after year, to foam the beauties of a music which has borders only the limits of our imagination. It’s a very good album, well balanced and structured which is beyond the standards of a single album of various artists.

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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