vendredi 18 mars 2011

TANGERINE DREAM: Springtime in Nagasaki (2007)

Is it about another Tangerine Dreamian legend? However the history surrounding Springtime in Nagasaki will have what it takes to make TD fans gossip and fantasized for the next decade. According to press guide; a fantastically fabulously rich Japanese businessman would have contacted Edgar Froese in order to ask him to compose a work divided into 5 acts to commemorate the 2 Japanese cities which received an atomic bomb in 1945, Nagasaki and Hiroshima. Each opus has to have a maximal duration of 54 minutes and be in limited edition. The mysterious sponsor would have studied in its 2 cities and would have been a resident of Hiroshima during the bombardment. In spring and summer, he lives in Nagasaki while in autumn and winter he lives in Hiroshima. At 83 years old, this strange character dreams about a 5th season that would be eternal. Real or not, it’s an excellent prelude to a very intelligent and interesting 1st opus offered by Edgar since ages.
It‘s with a crash to symphonic flavor, stuffed with intermittent percussions that starts the 1st part of Springtime in Nagasaki. Navel of Light explores a more atmospheric side with a slow rhythm which progresses on soft and light sequences. The synth is suave and smooth, throwing nice violin strata which exploit a spectral sonority on a beautiful line of bass. It’s a dense and atonal sound fauna with asymmetric percussions which wind around a wave-like movement, fed by orchestral strikes as we find on Purgatorio. The 2nd part offers a melodious theme on a virtual Koto, with thoughtful and nostalgic notes, lulled by a hazy synth with raucous choirs as on Madcap Flaming Duty. A nice sequencer moves this astral idleness in spreading a tempo with a syncopated sweetness, fed by rasping laments and more seducing choirs. The 3rd part renew with a floating ambiance where crystalline notes move modulations on a soft wave-like sequence and a flamboyant percussion play. Surprising percussions and other sequenced with a bass which flows in cascade and celestial voices on a progressive but light rhythm.
A hopping sequence, fed by percussions and sound effects as flighty opens Persistence of Memory. Fluid the tempo is hatched on a movement with insidious curves where a nasal sax (or is it one harmonica?) crosses uncertain choirs interwoven with echoing and scattered guitar notes creating a melodious cacophony. It’s a strange track on an uncertain structure but which that hook the attention. By moments one would says a James Bond theme on acid. As much surprising as delicious, it’s melting on a 2nd part flooded by a synth with floating and captivating strata. Beautiful celestial voices are rising over this synth density filled of uncertain rhythms and sonorities. This is a heavy part with static modulations where we cross portions of Vivaldi on hybrid laments. There is a lot of studio work on this track which calms down with a nice melodious piano, carried by a melancholic nasal sonority at the depths of a cavern to 1001 drops which resound as aggressive piano notes to be molding to reverberations of a guitar with saxophones tonalities. As I wrote earlier; it a whole work of studio on this part. A strange nuance which lights passions and dies on chords of a cold guitar before being reborn on a furious rhythm tortured by great synth solos as well as solid percussions which hammer a galloping rhythm, hardly stroboscopic, beneath an avalanche of furious synth waves. A 3rd infernal, too short, track which goes off in a wet cavern.
Readers of Guts Of Darkness know how critical I can be over the works of this legendary trio that stopped being itself since the last 25 years and I must say that Springtime in Nagasaki is a long time awaited TD opus. It’s a strong opus with ambivalent movements on strange structures where the rhythm crosses the atonal, even cacophony, with an unsuspected depth. Percussions play and sound effects are sublime, whereas Persistence Of Memory's sound avalanche is of an attraction that has an equal only his originality. There is no fan who can be disappointed by Springtime in Nagasaki and let’s hope there will be copies left for years…but you know what? I’m pretty sure about that!

Sylvain Lupari (2007)
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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