jeudi 26 mai 2011

REMY: This is not the End (2008)

Sequential variations on eery themes, This is not the End is a daring opus where EM crosses the obscures meanders of a progressive contemporary music on limpid sequences girdled by synths with flavours as apocalyptic as its choirs sound. This is not the End is a catalyst opus which will undoubtedly liven up your evenings of questioning and anguish for sure.
Return to the Dream opens on an abyssal intro. Frictions of strings from an imaginary cello animate errancies that gently float in a Dantesque cosmos. A dark ambiance of steel reigns over this hermetic droning sphere, shaping a world of paranoia which wakes up under the soft tinkling of a crystalline sequence, premise of an attracting hypnotic melody which flickers in the fog. Soft, soft! The movement borrows a dramatic tangent with orchestral arrangements worthy of a nightmarish thriller with fine synth streaks which wrap a much heavier ambiance. These
reverberating waves espouse threatening stratums, opening the door to a final which explodes of sensuality with a beautiful bass line, good percussions and a grumbling synth.
There's Something In The Air continues in this surrealist atmosphere. Strange sound circles mould an astral nebulosity where galactic choirs and ethereal breezes of ghostly mermaids grow in a suggestive atonal half-light world, stuffed of clattering and typist kind percussions. It’s a world of arcade games that sinks in the stratified softness of Because It’s Said and its intro felted of soft percussions and resounding waves which are crushing in oblivion. Gradually the tempo is liven up under a fine bass line and nervous fluttering metallic sequences. Awakening from its lifelessness Because It's Said accentuates a processional velocity before melting in a powerful chaos where feverish percussions are moulding to a zombiesc spiral sequence, a loud bass full of resonances and its submissive choirs. An exceptional musical theatre which reveals an audacity unique to great’s contemporary composers.
Those Days touches lightly an ambient shape which wakes up languorously on a kind of groovy jazz tempo with a synth sounding like an accordion that caught a cold. Superbly lascivious with its very musical synth, Those Days is smouldering of abstruse desires before sinking into the frenzied madness of The Great Escape and its rhythms/non rhythms game on boosted synths. A track which borders Klaus Schulze madness and which evolves in a very musical complexity, supported by a solid synth play and great percussions. Delirious and delicious EM that we unfortunately hear rarely! After these delusions we have the splendid You and I takes us out to daydream with its soft introductory sequence which undulates in the obscure corridors of Return to the Dream finale and its indolently sensual line. The Day Before we Die takes back this sequence with a more crystal clear approach. This intro is waddling on a limpid minimalist nursery rhyme surrounded by a synth with semi spectral and sharp breezes. This track could easily be a strange soundtrack of a virginal nightmare which takes back its choirs moulded of bewitching draughts and which charm beneath strikes of typist kind percussions. A beautiful finale imprints from the poignant prelude of Return to the Dream.
Remy’s 7th opus is a daring one, full of musical bounces to sequential similarities which astonish and charm so much by their unpredictability than their lyrical, even poetic, denouements. This is not the End is the kind of opus that we heard too rarely in this sometimes asepticized universe of redundancies that surrounds EM. Remy has this touch and ability to create great obsessive music that haunts and astounds on each listening! This is why he recalls me so much of Klaus Schulze.


Sylvain Lupari (2008)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream

Aucun commentaire:

Publier un commentaire

Remarque : Seuls les membres de ce blogue sont autorisés à publier des commentaires.