30 Years Before opens with a short review of Harmonic Ascendant released in 1979. Beneath voice ochre of a silvered veil Robert Schroeder explains the hazards of an era where the creativity was the major stake in the conception of EM works, with as musical theme the fabulous intro of this cult track. Slowly we are moving towards the more modern tempo, but still as much suave, of Hypnotics with a sequence built on percussions and a hypnotic rhythmic bass where an E-guitar scatters its notes among a solitary piano and spontaneous avalanches of percussions; a trademark of Schroeder rhythms. Layers in loops, enslaved by veiled choirs, overhang this musical sweetness which is molding in a spatial approach. All You Can Dream increases a little bit the pace with nice E-guitar notes and with groovy style percussions which are enfolded in a wrapping synth and a nice sensual bass. Slightly stroboscopic, sequences encircle a movement which lulls between cosmic mood and down tempo on brief oratorical incursions from the German synthesist and a superb piano which is melting to an uncertain sequenced approach. Here, as everywhere on the opus, the synth espouses slinky movements and floats with a dreamy cosmic wandering reminding the first movements of EM. Percussions, little as arrhythmia pulsations, open Modifiers which roars of a caustic synth. Soon the movement becomes hatched and explodes on percussions which roll as a quixotic thunder in a sphere slowed by heavy synth pads. At around the 2nd minute point the rhythm becomes steadier on a good percussion play and a loud hiccoughing sinusoidal move, draped by a heavier synth. A track that is very near from The Chemical Brothers sound world (of which the Schroederian inspiration is evident) that has great punch and will make vibrating all dance floors, especially with its heavy reverberating bass.
Let it Flow makes in another register with a more unctuous and softer approach. Pulsations, bass and pulsating chords evolved on a tempo slowed down by an oniric and dragging structure. It’s beautiful, soft and sensual as only Schroeder can make with its synth sparkles that are surrounding as a finger makes wavy circles on calm water. The impetuous intro of Destination Galactica rolls with oscillations in cascades, enfolded by a catchy synth and encircled by a rotating sequence in a sonorous mould collided by percussions with strong randomly rumbling. It’s a long lively track with paces fractured by supple permutations of which synth layers fly over heavy hatched reverberations. A New Message is the pearl of pearls on 30 Years Before with a languishing rhythm on an E-guitar which frees its notes in the shade of a romantic nostalgia of which breezes are leaking away in sweetness of a slightly undulating cadence. Floating, dreamy and magnificently soft it’s pure candy for the soul and ears. Heavy and tribal hammerings merged to a sensual bass and a floating synth to liven sparkles as well as cooing percussions, here is the structure of Mood Control. The longest track of Schroeder 20th album exploits a hypnotic rhythm with brief cosmic incursions. Humming and hawing between space music and vitamined rhythms, Robert Schroeder encloses 30 Years Later with 30 Years After. It starts by a cosmic intro which is lighting by percussions knocking on cosmos doors, debauched by a suave and languorous coming out of a waltzing synth from which saxophone solos perfume the atmosphere by beautiful harmonious tirades. This is electronic poetry draped by mellotron choirs which teem marvelously on an opus which wants to be a splendid and poetic comeback from one of contemporary EM big names.
Sylvain Lupari (2009)
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