mardi 8 mars 2011

CREATE: We Live by the Machines (2010)

It’s from the massive use of the new technologies in communications that Stephen Humphries, the man behind Create, drew his inspiration for the conception of We live by the Machines. An album with tortured feelings and structures torn between the dark world of Ramp and the caustic universe of Air Sculpture, We live by the Machines respects the robotic and cybernetic of technological revolutions with minimalist and hypnotic structures which are flying over by glaucous and spectral atmospheres where Create iodized synths criss-cross valleys of a world obnubilated by machines’ evolution.
Portal is a typical incursion into the mysterious and dark universe of somber Berlin School. A long track where minimalist structures prevail, Portal begins its slow spectral deployment with an intro stuffed with eclectic sonorities. A fine synth wave pierces the emptiness, swaying and criss-crossing in a landscape where songs of whales clear in a mechanic electronic universe. Breaths of synth, sometimes jerky and sometimes morphic, become entangled in a heterogeneous electronic sonorous fauna where spasmodic serpentines fall of oblivion to feed a strong mystery atmosphere. A sequence with alternated strikes emerge from this dense metallic veil towards the 4:30 minutes point. It cavorts and is waddling beneath gyrating waves of an apocalyptic synth and the thick mist of a nasal mellotron. The minimalism and pulsating rhythm of Portal evolves with more edgy chords and the addition of another more crystal clear sequential line at around the 7th minute, giving more relief to this quite robotic sequential mechanism that a synth line with crystalline chords makes more melodious. The first synth solos fuse. Solos with the sound mark so unique to Create which unfold in loops and are winding around this stealthy rhythm roaming in jolt beneath a dense metallic mist. This rhythm continues its minimalist march until the 15th minute, there where the sequence is isolating itself and enters into a somber mephistolic zone filled of chthonian choirs which hum beneath this intriguing mellotron fog, whereas another more crystal clear sequence dances there awkwardly until the finale. These erratic rhythms which progress surreptitiously in dark atmospheres are the basis of We live by the Machines’ minimalist structures. Certainly there is the title track, We live by the Machines, which is a kind of an electronic groovy-loopy-reggae, a little in the style of Weird Caravan whom we find on Klaus Schulze’s Dig It. The tempo skips on a good bass line with notes that wave heavily. It’s rounder and softer, less digital it abounds of nice pads of a slightly jerky synth and suave fluty breezes.
Fanfare of Dreams brings us back in Create caustic universes with a sequence which moves furtively. Heavy, hatched and resonant chords progress of a surreptitious step beneath somber twisted solos and a fine line which swirls such a crystal clear merry-go-round confer to Fanfare of Dreams a sinister and devilish approach worthy of a good suspense or horror movie. Those who enjoy the glaucous and minimalism universe of John Carpenter will be charmed by Fanfare of Dreams, quite as the mysterious and spectral Somewhere in the Distance. Running out of Time is a long atonal movement where strata and breaths of spectral synths hoot around a hypnotic tick-tock. Held by this only rhythmic movement but livened up by the impulses of a synth with hybrid but rather strange sonorities, Running out of Time brings us near the strange introduction of Search and Rescue which is not without recalling Tangerine Dream’s wanderings and spheres of influence from their psychedelic and even Force Majeure era. Little by little silvered breaths dissipate to make room to this mystic mist which wraps the core of machines in We live by the Machines, whereas a pulsation molds a first rhythmic draft. A rhythm that will be subdivided by another more limpid sequential movement, zigzagging chords and others strummed ones under the aegis of synth solos as much twisted than threatening which chisel and criss-cross this perpetual mist which reigns everywhere around We live by the Machines, as this mist coming out from explosions which drew the end of time in Terminator.
Faithful to him and even if his tracks are long minimalism explorations, Create always remains so mystifying as the bite of its synths. A meeting point between Ramp and Air Sculpture, We live by the Machines is an album of EM which flirts with a dark and biting Berlin School style with a beautiful apocalyptic approach. If it’s true that some musical structures are stretched, on the other side synth solos with silvered spirits which are spattering resize the caustic approach and the cynical glance that Create throws on the evolution of a world which always seems to spin round and round. We live by the Machines won’t be a disappointment for Create fans, but an overture for those who like dark and minimalism music and still don’t know Create’s musical universe.


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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