lundi 21 février 2011

VARIOUS GROOVE: E-Live 2010

As every year Groove label hosts its E-Live festival. In parallel, the Dutch label produces that features unreleased material from the bands invited to perform at this annual festival which attracts its legion of fans. In 2010 E-Live presented a guests' brochette with styles of the most contrasting, going from pure and heavy Berlin School (Air Sculpture) to a more rhythmic EM (Nattefrost) while caressing the fragrances of a more aggressive and psychedelic music (Picture Palace Music) as well as a delicate cosmic ode (Mark Jenkins). The result is a stunning musical collage where Ron Boots made an ingenious mastering work in order to inserted and coalesced different styles in an EM album, where the contemporaneousness of the genres is dressing quite well on an entire opus. E-Live 2010 is a nice album which seduces so much by its diversity of kinds that by its numerous rhythmic developments.
Nattefrost opens the ball with Near UFO. This old 98 composition starts with a threatening synth wave which spreads heavy ethereal layers. Ghostly pads float with fine modulations, just before that the synth sings a melody hung on analog years. The rhythm is weighty with a heavy sequential movement of which chords gallop ardently in a cosmic echo. Heavy and rhythmic, Near UFO embraces quiet spatial breezes before re-biting the rhythm of a staggering race under the aegis of a beautiful synth with lyrical solos à la Jarre, filled by a sweet vaporous fog. A big synth pop which precedes Picture Palace Music’s psychedelic electronic rock and its curt guitar riff which is dawdling in oblivion, feeding the furious rhythm of Help Murder Help 2010. A track that we find on Fairy Marsh Districts, it raises this compilation with its heavy and incisive approach nearer the roots of psy rock than purely EM, on a dark and bedazzled rhythm unique to the Picture Palace Music's musical world. Following this loud psy rock Mark Jenkins is introducing us into his ingenious musical world with The Ceremony of Innocence. A track completely conceived with an I-Pad, The Ceremony of Innocence is a delicate cosmic ode where the delicious voice of Alquimia is in delicate contrast with Arthur Brown’s grave one. An ambient track, structured on suave strata of a discreet synth and an array of cosmic tones, The Ceremony of Innocence is of a strange oniric beauty. Picture Palace Music returns charming our ears again with a quieter track where a piano drags its heavy melancholy through many whispers. Midsummer’s Morning follows admirably well the poetic paths of The Ceremony of Innocence.
Air Sculpture’s Exploration Drive worth alone E-Live2010 buying. A very good track of nearly 20 minutes, divided by an eclectic ambient passage, which begins with a delicate sequential movement of which chords skip and are frantically stirring on a hypnotic linear movement. Incisive, these hybrid tones sequences are flying over by a synth which frees beautiful nostalgic breezes among gurgling and caustic breezes as much psychedelic as spectral, recollections of Air Sculpture’s audacities. And it’s through this dance of a sequential multiplicity wrapped by a synth with brief charming flutes and emotive pads that Exploration Drive progresses up to the doors of a cosmic void, where heavy twisted pads to slow and sinuous synth reverberations hum in a metallic atmosphere. A brief ambient and corrosive passage from where escape isolated sequences which eventually mold a nervous rhythmic, supported by a beautiful bass line, propelling Exploration Drive’s last portion of a nervous and chaotic rhythm which beats an arrhythmic measure surrounded by a synth with breaths and melodies tinted of musical memories. After a track that complex and progressive, Picture Palace Music’s Array of Fading Flowers comes to add a more melodious side with this track from Symphony for Vampires. Array of Fading Flowers is molded in a hybrid rock with a synth-pop tangent gnawed by the dark and very medieval universe of this wonderful PPM album. Nattefrost encloses this E-Live2010 with another heavy track sequences which pulse, skip and collide beneath a synth to undulatory breezes. In as Forgotten Time (deZeptive remix) is a more contemporary Nattefrost with a synth-pop cadence on a nervous and jerky rhythm, embraced by furtive keyboard keys and a very robotic vocoder. Sequences are heavy and skip in harmony with e- percussions to give a good punch at this synth pop track filled of light electronic savors.

GROOVE UNLIMITED: GR-170

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: http://www.gutsofdarkness.com/god/objet.php?objet=14193

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