lundi 25 avril 2011

SPYRA: Invisible Fields (2003)

One of Wolfram Der Spyra great quality is being unpredictable. From a long time considered as a possible successor to Klaus Schulze, Spyra pooh-poohs of all conventions to offer very coloured works where the unexpected crosses brilliant flashes of this superb musician. Invisible Fields doesn’t flee of that rule. Spyra delivers an opus with an astonishing mixture between retro EM, with some nice analog heat, and a soft futuristic jazz ‘’à la’’ Blade Runner while passing by long waves of synthesized transmissions. In fact the only weakness in Invisible Fields is its too many sound directions and varieties to be appreciated in only one listening. It’s rather an album that we listen to it parsimoniously and which can be tastes and enjoys bites by bites, according the mood of the moment. You can also enjoy it, quite as I did, from start to end because of its high degree of ingenuity. There are tracks that are melting to all settings and senses, testimony of the immense talent that lives in the German composer, sound designer and synthesist.
Test Transmission begins with heavy booms and out of rails robotized vocal samplings à la Kraftwerk. It’s a dance floor track with heavy sequencers and bass on a ‘’hypnolunatic’’ tempo with great synthesized fluidities. Entropy Is Just has Seven Letter Word is a superb track with a very jazzy atmosphere that melts in ears. The tone, synths, percussions and bass are running on a sensual keyboard which is a prescriptive to a melancholy that we want it last forever. Then some great music touches us on the short but surprisingly seducing Three Players in an Artificial Landscape, an acoustic track where the flute is bewitching with an astonishing clearness. XyloCity is, in my opinion, the actualization of Berlin School style. Berlin School refreshed by a cosmic vision which oscillates between spasmodic floating waves and light minimalisms rhythms which progress with a proportioned ferocity. The 2nd part is more furious and bathes into a very libertine jazz ambiance where percussions awake a synth/piano with felted notes on a vicious bass. Quietly the tempo becomes blurred to slide a superb adagio of xylophone glockenspiels which resounds unctuously within ears. This first part of Invisble Fields is simply brilliant and will please to all fans of traditional EM, soft techno or ambient music. Bath, the epic part of Invisible Fields, plunges us in a corrosive ambient with a taste of metallic citrus fruits. Acid and enveloping, it begins on fluids of Martenot waves mixed with synthetic thunders with virulent sparkles. Quietly the movement is stabilized to float with an appeasing slowness, before continuing its way with through sonorous meanders as mysterious as untameable which depicts a paradox as well artistic as emotional. The soft Temporarily Not Available encloses on a tender melancholic touch this superb work of contemporary EM that we hear too seldom.

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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