jeudi 24 mars 2011

TANGERINE DREAM: Autumn in Nagasaki (2008)

Here is the 3rd of the 5th Atomic Season of Hiroshima. A musical tale undertaken earlier in 2007 and which should contain 5 chapters. And maybe Edgar begins to miss juice! Have you just an idea of how many singles, EP, DVD or concerts that Edgar released under the name of Tangerine Dream since the starting of this musical journey? Too many to be more precise because Autumn in Hiroshima suffers from an evident lack of inspiration, emotion, creation and vision. Even passion as we could hear on the first 2 chapters of this Atomic Seasons project. Yet it starts pretty good with Trauma and its metallic atmosphere filled of cold notes with a zest of oriental flavor which suddenly espouse the sequential structure of Song of the Whale. Froese exploits a dark and intriguing zone with metal synths which adopt a symphonic shape on good arrangements. At once sensual and haunting the tempo drags a nostalgic melody which explodes when a plane overhangs an apocalyptic horizon. The rhythm becomes heavier and embraces a strange steam of galactic western on nice orchestral arrangements. Trauma is a strong track which is melting into Reset and Awareness, two tracks with a scent of atomic gloom.
Atonic and metallic movements float on mellotron synths with vocal samplings of a linear sadness. If Reset is rather tepid, Awareness is of a cataclysmic beauty with the wonderful voice of Barbara Kindermann which floats such as a friendly spirit on ashes of Hiroshima. This first segment is by far the best on Autumn in Hiroshima. Novice and is following plunge us into the usual and laconic world of TD; synth with candy style vocals on a Froesianed pinky background with light rhythms marinated to usual floating specters (Stranges Voices, Mellow Submersion and Nothing and all). We can listen to this section in loops without noticing that we are turning around so much everything sounds so similar, except for the last third part that seems to emerge out from limbs so much the meshing with the spirit of the opus seems inconsistent. Insight and Omniscience are two good tracks in the TD spirit of the Melrose’s years.
In short, Edgar missed juice, inspiration, passion and finish. After a strong departure in Trauma, which has nothing to do with the rhythm, Edgar lost its link and does in Lap Top…Too bad because it’s was announcing so well. But does Edgar uses us to his musical inequality?

Sylvain Lupari (2009)
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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