vendredi 18 mars 2011

TANGERINE DREAM: Summer in Nagasaki (2007)

After Pinnacles, released in 1983, Edgar Dream fell in a heavy hyperborean coma. By leaving it to his sharply more creative colleagues, Tangerine Froese followed the wave of Poland and Le Parc without really knowing where he roamed or would go. More than 20 later and after several controversial works under the name of TD as well as solo works, Edgar Froese seems to have resuscitated by investing in an epic and historic work entitled Five Atomic Seasons, reminding Hiroshima and Nagasaki bombardments. Summer in Nagasaki is the 2nd musical picture of this cultural command from the mysterious and fabulously rich Japanese businessman Mr. H.T., surviving witness of this nuclear attack.
As on the 1st album of this series, Springtime in Nagasaki, the work has to last 54 minutes and it is with steps falling of oblivion that Climbing Mount Inasa's first notes resound on a melodious synth with uncertain breezes. The sequencer is stirring in a hypnotic spiral, colliding an air of déjà heard, on a progressive tangent. By tiny flakes, notes skip such as a crackling fire to swirl as a musical specter in thousand prisms. Fluid the melody is freeing to versed into an ambient passage with metallic felted sound effects where great percussions hammer a tempo of a haunting sensuality. By now the hearing is conquered and is letting lull by In the Cherry Blossom Hills which is melting melodiously to the opening track, while introducing us to the sublime Mystery of Live and Death. Edgar Froese creates a theatrical universe where the atony goes alongside to a dramatic structure with a mesmerizing minimalism. It’s a puzzling track by it unexpected ways, of which a superb passage in the 2nd part is not without reminding Stuntman with sequenced percussions which increase in cadence. An excellent passage, maybe the best of Froese since moons, which goes off slowly in melodious ashes of Dreaming in Kyoto Train. It’s a track which shows that Froese treats marvelously the melodious aspect without falling in its traps of easiness.
Aysumi’s Butterflies will please fans of TD last decade with a soft techno rhythm but with haughtiness mellotron lines. It’s a good mixture between harmonies of former days and a more contemporary beat. Percussions are harmonizing to synth moods fluids and its circular droning, giving a convincing blend without discomfort or false notes. This is soft techno with soul, something rarely heard on last TD. After the melodious Presentiment, 11-02 Am. plunges us into a static sound universe where choirs lull a light ambient oriental breeze on a hatched structure which gradually grows in rhythm. It’s a sonorous spark which is dying in the floating waves of the first bombs to have fallen.
Needs to return to Edgar Froese what returns to Edgar Froese. Summer in Nagasaki is a wonderful opus which is filled with this melancholic and harmonious sweetness which punctuated its young masterpieces such as Epsilon in Malaysian Pale and Stuntman. It’s a musical universe with rhythmic ambiguities, at once progressive and melodious on a canvas felted with oriental fragrances. We listen to Summer in Nagasaki as a dream, with an indefinite beauty by the breath of the imagination of a man who was absent for such a long time.

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: http://www.gutsofdarkness.com/god/objet.php?objet=10011

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