Maurice Theme begins this work to well felt paradoxes with a very orchestral approach. Violins float and are enlacing with a fragile emotionalism to slowly waltz in a dark cosmos. A rolling of symphonic drum is breaking this softness, like a heavy cosmic wave which strikes the cliff of a grazed planet, throwing the soft synth waves of Maurice Theme in the very harsh intro of Consciousless which presents a start with strewed acute eclectic tones and galactic impulses. We perceive here cogs and spaceship engine noises among a din of caustic and metallic sonorities which tear the silence of celestial bodies. That’s an intro rich in colourful tones which eventually quieten down to offer quietude atmospheric as in a shape of a sonorous unconsciousness where delicate layers find softness while floating adrift with sweet breezes of synth which perfume the ambiance of saxophone, oboe and cello tones while crossing their quixotic chords beneath celestial bodies and diverse ringing. Some strange twinklings that resound as well under soft strata than assorted sound elements before finishing their resonances into languishing philharmonics pads. Treysa II pursues this cosmic ode with soft orchestral synth surges which embrace singings of locust from another universe and fine xylophones striking which resound beneath erosions of rippling metallic strata. Two parallel universes which overlap, the one in a delicate harmony and the other one in a rustic and cranky universe where bird chirpings and morphic sweetnesses exploit the paradox of the movement which wants to be as celestial as infernal. A slow movement constantly twitched which is ending in calm and is sprawling until Wale Im Bergwerk and laments from whales which sing in a universe of psychosis and an ambiance more cosmic than aquatic stuffed of delicious synth pads which cross timeless tickings.
These out of times tick-tocks are continuing over Orange Toad’s intro, a little as if time found again its importance in an intro where pulsations cross voices as childish as grown-ups which whisper a psychosis on more accelerated mechanisms of the timeless watchmaker. But a soft flute wraps this race against time where hissing and discreet, but dark, choirs are delirious in a morphic softness liven up by a fine pulsation but embellished by the suave clarinet of Eric George which criss-crosses the roads of isolation and solitude on the very moving Eric Theme and its very beautiful clarinet breeze which floats in a cosmic silence. A silence that continues in the mechanical breaths and layers of Helium Soft morphic synth which doesn’t succeed to smothered whispers of dementia of an enslaved solitude and which is linked to fascinating and eclectic metallic breaths of Die Blinden. If the intro is acrimonious with all these sound effects that squeak and such as twisted metal sheet, the suite is a soft morphic ballad always papered by heterogeneous tones. But sounds and breaths that mould a mixture of tenderness and anger where beauty remains caustic but of a fascination which has only an equal to the psycho psychedelic perception proper to the paranormal cosmic and universe of Spyra.
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