jeudi 17 mars 2011

DEAD BEAT PROJECT: R'Evolution (2011)

Here is another interesting surprise coming from the English label AD Music. Dead Beat Project is French musician Olivier Goyet’s project and in R' Evolution he presents us an opus strongly influenced by the mysticism and the esotericism of the Arabic tribal world. It’s an oniric musical journey in the country of 1001 nights where ambivalent rhythms are strongly inspired by the musical universe of Air and Daft Punk with a suspicion of Jarre and strong allegiances to classical music, seen the subtle orchestral arrangements which surround these11 tracks that fill this first work of the French synthesist. There are wonderful pieces of music in R' Evolution. Beautiful musical pearls which nest within a very good album to strange ramifications with a world where breezes of darkness criss-cross random rhythms of a diurnal romanticism and apocalypse flirts with the down-tempo as well as suave angelic melodies.
And There Was Light begins this Dead Beat Project's first opus with a somber wave of apocalyptic synth which frees his lightning strokes. A sinuous line which undulates among breaths and rustles of wandering souls as well as a circular sequence which escapes its twinkling chords. And There Was Light doesn’t move. It displays fleeting rippling synth line which becomes entangled while hooting such as wandering specters encircling an atonal apocalyptic movement. A little as if we were buried under a ground with corridors conducting towards the light, fine deaf percussions liven up a low down-tempo where fine crystalline arpeggios float among sinuous synth waves. Mitosis (Haunting Fluid) remains dark and is impregnates of a anguishing heavy atmosphere on a movement which is living up with more punchy percussions and a fine line of bass. A brief ambient passage settles down and synth layers are entwining whereas tempo is gaining its suavity accompanied with a melancholic piano. Sacred Rite is melting to Mitosis (Haunting Fluid) with a fine metallic rain of which drops fall in echo on scattered percussions which try to instill a tempo. A chaotic beat which pierces an artificial sizzling, showing the very cinematographic touch that Olivier Goyet uses to coat his music. Gradually the beat is forming on manual percussions and metallic sounds of Caribbean Islands which shape a suave sensual tempo with Middle East flavors. Flutes sing a joy sieved of worries on a languishing beat, a promise of 1001 nights as threatening as charming. Awakening is an adorable lullaby for imps whose delicate arpeggios sparkle under the spell of a caustic synth. A beautiful ballad for sleepless which livens up with fine Tablas percussions and which embraces a nightmarish tangent with strange panting of a feminine voice. Sighs breathing which beneath a sinuous wave of a resonant synth that brings us near Lucid Dream and its heavy drops which fall with brightness, accompanying fine crystalline arpeggios and breaths of desire of this apocalyptic mermaid which showed on Awakening. Brilliant, Olivier Goyet paints this music piece of a fine mellotron line such as a solitary violin that makes snivel its notes a fine torrent of arpeggios with a thousand of brightness. It’s a very beautiful piece, morphic, poetic and always caustic which is stretching up to the opening of To the Rhythms of the Moons.
Clear and curt strikes draw To the Rhythms of the Moons’ jerky tempo. Percussions bang beneath a fine veil sieved by a lugubrious synth which floats above drummed chords of a hiccupping sequence line, while embracing more spectral synth waves. Navigating between a weakened rhythmic, dark and melancholic arrangements To the Rhythms of the Moons caresses a brief ambient passage before the hesitating rhythm come back to feed all of R' Evolution ambiguity. Checkmate presents a futuristic electronic intro, as sonorities of an artificial breathing apparatus, from where a synth line with reverberating waves ripples in ascending loops. A suave down-tempo beat settles down with chords which pound a staccato and unreal movement beneath a phonic of radioactive slizzings. The sequence shapes a nice melody which hooks in this strange maze of striking and percussions with hits of anvils. A melody of which the tone permutes under a subtly syncopated line and orchestral arrangement which wrap Checkmate of a strange ghostly choir. It’s a nice track, as mesmerizing as its rhythm and that brings us until Revolution which is in the same mould as Sacred Rite but heavier and more techno. After the atonal breaths of Aftermath which criss-cross a valley where howling of a slow death are hearing on slow percussions and bewitching rustles Renaissance is livening up with fine percussions in the shape of rattlers of which the echo resounds among sparkling arpeggios and a line of limpid chords which sparkles Arabian tribal orchestral arrangements, like in the tale of 1001 nights, which goes with an accelerated growth until the sonorous ecstasy. Fine and delicate arpeggios sparkle on Innocence opening, drawing a delicious lullaby even more complete than on Awakening and Lucid Dream. Here are three wonderful tracks of an oniric and poetic sweetness which fit very well to Olivier Goyet's charming world. New Vision intro sounds strangely as Jean Michel Jarre’s Calypso. But fine Tablas percussions deviate the rhythmic axis towards a more languishing tempo. A tribal tempo of an Arabic world, which seems to have so much influence on Olivier Goyet, and which becomes luxuriously more musical with a palette of tones such as these piercing flutes, wandering choirs, sitars and the other sonorous sweetnesses which haunt constantly our ears.
I enjoyed a lot this strange meshing of the genres which is the music of Dead Beat Project. Without breaking anything nor innovating, R' Evolution is a beautiful album which one listens to with fascination, so much there are unexpected outcomes and surprising musical forms. I like this down-tempo and ambient fusion which circulates a little everywhere, as I like these small innocent lullabies which unfold beneath lines of subtly devilish synth. Yes! It’ very charming album which amply worth the discovery and which let glimpses a beautiful future for Dead Beat Project.


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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