jeudi 24 mars 2011

TANGERINE DREAM: Winter in Nagasaki (2008)

Fans of TD (and God knows that there are still so many left) avoid reading this chronicle. It could be harmful for your pecuniary, cultural and fanaticism health…Humm… I don’t really know! I quite like Edgar. In fact there was a time I was totally mad about his creations. Except that sometimes he reminds me of an old musical poet who hangs to his composition style without too many convictions. A musical Leonard Cohen who, if he still has beautiful texts (in this case music), he is short of breathe or imagination. And in EM, being short of breathe or imagination in music doesn’t forget. We easily go into the New Age moods. The line is so thin between harmonious EM and New Age. So, you see me coming unconditional fans of TD, or I might say Edgar Froese? May the strength be with you! The strength that still makes you believe that all what Edgar does is brilliant, because it’s not. In fact, not at all! I heard laudatory comments on this 4th chapter of The Five Atomic Seasons’ series. I even read that it was the best. Wow, I must have been an idiot because I don’t think so. In fact, am I the only one to noticed that Edgar broke his basic idea by creating a series of 5 CD which would last 54 minutes each? Am I the only one of the fans (yes, yes I ‘m still a fafan!) who sees and who hears what Edgar does and composes? Because Grandpa Froese is sleeping on his last two seasons.
After 2 rather promising first seasons, the one who was once one of the big composers of EM seems to be bored to death in trying to fulfill his creative obligation. Winter in Hiroshima is of a dullness to sleep on the tail of a monkey. Divided into 9 tracks Winter in Hiroshima is unfolding in a long single musical act. Nearly 62 minutes of supple music where nothing is really creating. Some warm dishes that sound like the Melrose years and when there is something interesting, as on the languishing Togetherness and its very tortuous guitar as well as on Insiders and its furious rhythm which is stirring on highly nervous sequences and is embellishing with infernal vocals, there is this damned feminine voice which always repeats the same tune, ever and ever, relegating the music deeply in background. What is really the idea behind this? A vocalized intervention which turns around in loop around each 18 seconds. Ouach! How boring and long! As for me it removes all desires to listen deeply so much it’s annoying and insipid. And it goes, goes behind everything. And remark here that we don’t miss that much. Nothing to rock the house or to write to his mother here. Vaporous synth, apathetic chords, well dressed and lined sequences that fit together just so that everything matches easily. That smells New Age at full noses with a sweetish structure which weakens in every vocal breathe. We swim in full Melrose period with a line of honeyed track which lulls to sleep and which aims towards the insipidity. Mushy tracks that sound like if the patriarch has to be sick of it. I didn’t like it at all, but not at all! And this damned voice that goes on and on and which is so annoying in a point such as I was not able to hear Winter in Hiroshima more than 3 times. I think that says it all. Me who makes a point of honor to listen at least 5 times each CD before writing a review, I wasn’t able to pass number 3. Well, enough said about Winter in Hiroshima!

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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