mercredi 29 juin 2011

MEMORY GEIST: Funeral Cavern (2007)

Obviously my musical tastes evolved since I began listening EM. At first, I liked sequences, rhythms and crazy synthesised impetus on complex and twisted structures. Over the years, and with the discovery of dark and ambient artists such as Ramp, Steve Roach and Ian Boddy, I ended up enjoying this musical genre a little bit difficult to tame. I recently listened to and chronicled Memory Geist’s Benthos and I noticed that my chronicle on Funeral Cavern was very thin and wasn’t very detailed. Thus, here is an improved version, further to my progress in this musical genre. Is it possible to create heavy ambient? An ambient music which goes out of the depths of a cave filled of giant stigmas, of which reverberations are smothering beneath a thick cloud of bat to floating spheres of influence, even graceful as the wings of a goose? This is the kind of sound structure that the new synthesist duet Memory Geist presents us.It’s back in 2006 that Bakis Sirros (Parallel Worlds) and Steve Law (Zen Paradox and Solitary Sound) form Memory Geist, a duet which specializes in music of atmosphere with dark and smooth layers of analog synths which floats in an oxidized ambiance. Shadowy Periphery is dragging us among its furrows to hollow atmospheres as if we fell in a bottomless pit. A descent where the dark breezes whistle in our ears at an ambient speed, as if our fall was made in slow motion. We perceive, among these heavy expirations coming from the cave’s walls, tinklings which ring in this slow downward whirlwind. Bells that are grouping together and sound a devilish Angelus in the entrails of a never ending hole which leads us to the corridors of Deepest Reaches. This is a long track in the sombre wanderings of diurnal winds that is adorned with some solitary chords of which resonances are getting astray in the curves of oscillations and thundering reverberations. Moved by the strength of its gloomy breezes, Deepest Reaches frees some filters of lightnesses which are immediately caught by the sinuosity of the slow atonal movements.
Funeral Cavern, the title track, offers an intro where bells resound in heavy sinuous corridors, sprinkled of ambient winds and black ambiances which progress as the migration of slain winds. This title track is a mix of the sanctified ambiances of Shadowy Periphery and the immense tenebrous immersion of Deepest Reaches, but with guttural ambiances where superb strata, almost astral, sway in a fauna of metallic and sucker pulsations, pushing back Funeral Cavern into its darker hidden recesses of its abyssal blackness. Heavy, ambient and very atmospheric, Funeral Cavern moves in the meanders of its underground labyrinth where some very deep cracks can filter a musical light, sieved very early by elongated reverberations and sumptuous layers from caves’ organs where reign an inexhaustible musical flora which is renewed in every descent as in every hidden recess.
Some Steve Roach, without tribal rhythms, and Brian Eno, without lightness, are the privilege of this long and slow subterranean descent that is Funeral Cavern. It’s an album of an ambient heaviness that could scare any claustrophobic. I found that length by moments, but at every time there was a mesmerizing musical iridescence that filled my ears. Certainly, fans of sequences will be taken by surprise by this calm ode, because the rhythm in there is totally absent. On the other hand, the musicale wealth coming from the circular pulsations and the crescendo of the wrapping analog synths manage to create an atmosphere of a surprising depth where we are easily taking away by breaths of den to thousand cracks but also to thousand perditions.

Musica Maxima Magnetica EEE48

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

Here's Memory Geist website:

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