jeudi 24 mars 2011

TANGERINE DREAM: The Endless Season (2011)

Ah this dear Edgar! He is capable of the best as well as the worst, while being very average at times. Thus go to know what takes place in the head of a serial composer! Because Edgar is well and truly a serial composer and as all which is make in serial, there are links weaker than others. But it is not the case of The Endless Season (Part Five from the Five Atomic Seasons). We have to be honest here and to admit that building beautiful melodies which are lulling on evolutionary and progressive sequences as well as on great guitar solos is not an easy thing. And which more is, this last chapter of The Atomic Season is filled with recollections with old works, as more recent, of TD. Like what the Silvered fox cannot deny its roots. Certainly there are things that annoy me, as this futile and excessive use of the artificial angelic voices and the light rhythms à la Iris Camaa (Wild Ocean of Blue Fate), but altogether The Endless Season is one of the rare solid works that Froese created in these last years.
At once felted and banging percussions flicker randomly in suspension. They float in a sidereal space where synth lines and isolated arpeggios draw a neo-apocalyptic structure. Flashback has enormous scents of déjà heard and is a perfect intro for The Atomic Season's last chapter which is full of long movements with flickering rhythms. The hopping and hesitating arpeggios of Devotion’s intro still dance on ashes of Flashback finale, promising of a nervous beat. But in place, a soft morphic guitar raises its solos which criss-cross an earth of desolation. Because if we want to be in Edgar’s context, The Endless Season is the one that closes this terrible devastating nuclear incident and Edgar makes it good; The Endless Season (Part Five from the Five Atomic Seasons) is drawn in the mould of melancholy, human pain and this sourness to live that seems to eat Edgar away since years. The guitar is beautiful and is dividing with fleeting synth solos which float as veils of mist above ephemeral arpeggios which go and come without modifying really either rhythms and or melodies. Except that in the end a soft synth flute appears from this confusion of harmonies, plunging the listener towards the very beautiful and sensitive Virtue of Hope. A delicate track, leads by a gloomy piano of which notes are leaking away in the sweetnesses of a synth with aromas of a flute imprinted of nostalgia. Curiously that sounds more as in the old English campaigns than those of Japan. But it’s soft and nice and among all these delicate arpeggios which join this ballet for sleepless are not without reminding the virginal approach on Legend. After its spectral intro Escape spin on its chords which roll such as a merry-go-round on good striking of percussions. The synth throws a vocal veil on this quite dramatic intro where the rhythm evolves in two phases; in carousel or in spiral which alternates on a synth of which hybrid breezes are mixing with artificial vocalizes. The Seven Barriers is one of the good tracks among The Endless Season; a kind of heavy electronic blues where both styles of guitars, that of Froese and Beibl, throw powerful and surprising solos which are entwining very well to discreet synth solos. A duel for guitars, particularly its violent loops which are linked at around the 5th minute, where percussion strikes are a little bit anemic and less omnipresent than this artificial voice which is, on the other hand, more bearable than on Winter in Hiroshima.
After a slow start where everything seems still, Logic of Intrusion shows a nice rhythmic ascent with its minimalism chords that drag the intro up to a heavier and bubbling rhythm at around the 2nd minute. The sequential movement is superb with its subdivided lines which create rhythms and harmonies with alternating striking of percussions, drawing a galloping cadence which quivers of a nervous rhythm and runs under solos of now and the vindictive and spectral synth. It’s a great track which allies progressive rhythm and harmony of a superb way while Shunyata whistles for a quite cute melody with breaths of an acuteness synth which sing on evolutionary electronic riffs of which the main permutation is making under the aegis of a very harmonious synth. Wild Ocean of Blue Fate is what gets closer to the very light TD of the 2000’s. Although I like the bass which stretches its notes and solos of guitars which throw an aura of mysticism, the sequential line of which the rhythmic chords are melting to a mix of weak percussions lack of punch and we lose interest quite quick. Breaching Sky pursues this light sequence line which increases the pace with good percussions. There are beautiful lines of synth there which overhang twinkling arpeggios and float like leaves falling of a tree, adding a spectral dimension in a track which progresses with good percussions and dramatic synth chords to be finally throwing into the heavy and powerful Morphique. One of The Atomic Season's very good tracks of which the strong liberator approach, on heavy sequencer and melancholic synth, is a superb conclusion to The Endless Season (Part Five from the Five Atomic Seasons).
Hat to Edgar! It is true that sometimes some of my reviews are not without irritating your numerous fafans, but it is necessary to return to Edgar what returns to him at full rights and The Endless Season (Part Five from the Five Atomic Seasons) is a strong EM album. An EM that Edgar Froese tries by all the means to make the most harmonious and the most accessible as possible. But such a bet is not without risks or without destabilizing the legion of supporters that follows creations of this icon of contemporary music. Certainly, there will be albums which are going to disappoint, while some we shall remind all the genius of this solitary character which still does it his own way.

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=14264

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