jeudi 26 mai 2011

REMY: i-Dentity (2011)

WoW! This 11th festival from Vic Rek’s Ricochet Gathering held in Berlin between October 15th and 18th, 2010 will have made a whole noise. After the superb Let it Out! from Bernd Kistenmacher, there is Remy who’s offers us his portion of concert given to this festival. It was a while since that we haven’t heard something new from Remy. In fact we have to go back in 2008 with This is not the End. And the waiting was worth it. I-Dentity is an album of change for Remy. He who liked sieving his works of a veil imprinted of mysteries he offers in I-Dentity an album to progressive rhythms which respects marvellously the basic idea of this festival where the Berlin School style popularized by Tangerine Dream and Klaus Schulze was for the honour. But in the evolution of the 4 tracks, 5 if we take the downloadable version at MusicZeit, we feel the mysticism of Remy’s works resurfacing, so much and so that fragrances Exhibition of Dreams appears here and there, making of I-Dentity a hard-hitting album stuffed with a sulphurous mix of genres.
It’s with a fine carousel of glasses arpeggios that I-Dentity opens this live event. Destination: Berlin - Part I unfolds with a parade of a bit timid and uncertain arpeggios which sparkle with the clearness of a glass xylophone. Chords swirl with a light gap in harmony and a delicate variation in intonations, beneath the breezes of a synth from which hybrid sonorities remind soft nostalgias of a solitary saxophone. This soft minimalism glass melody loses its hopping arpeggios in the warm breaths of a wrapping and comforting synth to plunge us into the musical uncertainty which wraps Destination: Berlin - Part II. The opening offers spectral waves which roam and wave above a fragmented rhythm. A rhythm waving in cascade which goes, disappears and returns beneath a musical sky invades by heavy mists and fine ghostly oscillations. In fact it’s Destination: Berlin - Part II rhythmic pattern which appears by fragments and which is exposing entirely around the 7th minute by a mordant guitar, a warm lyrical synth and technoïd kind percussions. Whereas ghostly synth solos pierce the rhythmic ambiguity, Bill Fox's guitar solos spin in loops on wild percussions. We attend to a duel synth / guitar on a heavy and hypnotic tempo which quietly deviates on orchestral synth pads. Pads which float and oscillate such as in the hallucinatory world of Exhibition of Dreams (Lunascapes), evolving with a beautiful dramatic approach and threatening chords which pound a hypnotic beat beneath the screams of a guitar thirsty for juicy solos and furious percussions. Some nice synth layers are winding around fine nasal arpeggios. Destination: Berlin - Part III’s intro is tinted with a romantic that has only an equal in the dark melancholy which surrounds the works of Remy. Fine pulsations emerge out of this slow synthesized maelstrom where nice and shrill synth layers hoot in their solitudes to give way to the nervous tempo which wriggle of a mixture of pulsations and percussions to metallic resonances. Hypnotic, the tempo remains still and is joined by nasal chords that hit such as quacks of a cold duck while pulsations of any kinds feed this vertical rhythm where fine and suave synth solo hang on to it with a certain lasciviousness. At around the 11th minute the rhythm becomes more mordant with clearer and incisive beatings. Synth solos continue to pierce this rhythm a bit chaotic in which the reminiscences of a certain Klaus Schulze abound with an incredible exactness in the musical structure.
In facts, Destination: Berlin - Part III is a remarkable track which espouses as much the contemporary approach of Remy as its roots and influences of Klaus Schulze and his unique Berlin School style. This is a track that fans of Schulze are going to highly appreciate, whereas Destination: Berlin - Part II is going to please Tangerine Dream fans. I-Dentity, the title track, was conceived with the Internet technology and the collaboration of Francis Rimbert, Gert Emmens and on synth and sequences and Erik Wollo on guitars. That gives a lot of rhythm and synths solos which start rather slowly with a minimalism line of which bass chords evolve stealthily on a fine choir wave. Another line appears and its more limpid chords cavort around the lead one while the multiplicity of synth lines to variable sonorities continues. Mysterious, I-Dentity undulates on its arpeggios of glasses surrounded by slow enveloping waves when the drum falls and hooks a more frank and chiselled rhythm that a line of bass bites of its warm notes. At mid-term the rhythm breaks. Crystalline arpeggios, which ring as xylophones’ chords, are isolated and only the drum completes this dance of glass while a suave synth gives a second breath to I-Dentity which becomes subtly more languishing. The track forks of onto an arcade amusement tangent with an array of electronic heterogeneous tones which invade a rhythm become more mordant and agile beneath a fusion of hard-hitting synths solos. Solos substituted by Erik Wollo's guitar which makes a superb duo with a synth to crystal clear chords while I-Dentity pours towards a little technoïd tangent à la Tangerine Dream, completing thus the identical elements of the Berlin School evolution. Available in a downloadable format on MusicZeit site, Vulnerable is the equal of bonus CD that use to come with most of Remy’s releases. Written for his show on the E-Day 2011 festival, Vulnerable is a long and beautiful track which begins by an oniric and melancholic piano. Delicate, notes are as much sober as shrill and are wrapped with a fine synthesized mist while the constant progress of Vulnerable brings it towards heavy and tortuous roads. A style so familiar to Remy, especially with those splendid stratums with dark organ tones that recall so much a dream told some years ago. 
We don’t get used easily to Remy’s work. Mysterious and mesmerizing, the music of Remy sometimes dives into complexity, otherwise perplexity and I-Dentity doesn’t escape this rule. As much melodious that he is, Remy remains a complex being whose personality transposes on his compositions, making the charm of music that we discover listening after listening. I-Dentity is as height as Remy best work. It’s a work that embraces various retro Berlin School phases while keeping this key of influence for Schulze’s digital era works and this touch of madness so characteristic to Exhibition of Dreams. With such a cocktail it is evident that I-Dentity is an album to get because it depicts marvellously the evolutionary identity of the Berlin School EM style.


Sylvain Lupari (2011)
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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