lundi 11 juillet 2011

AWEN: Shadows (2005)

Here’s Awenson very first album. Released in 2005 under the name of Awen, Shadows got quickly a big praise from the critics among fans of vintage EM style. It’s an album quite difficult to tame with 5 long structures more ambient and atmospheric than sequenced. Structures that abstract and with musical fragrances being situated in the experimental years of Schulze. Certainly there are more intense moments where the rhythm displays a heaviness which is quickly weakened by metallic strata and soporific synth layers perfumed of silvered ether.A slow eroded oscillation introduces Paradise Lost’s first humming. A cosmic ambience is settling with a very spectral synth full of which Martenot waves are moulding to celestial choirs singing in a galaxy filled with stars. Sparkling stars, as Schulze liked making them shining with his use of analog sound effects, on tom-toms which trickling away its stratified pulsations to forge a linear sequential line pounding of an indefinable rhythm. An acid track to psychedelico-cosmic implosions of the 70’s, of Paradise Lost soaks in a broth imprinted of statism all the way to the 10th minute. There were a wave-like line of bass brings some heat with an ascending undulation which winds a universe stuffed with cosmic sound effects and sinuous twisted solos. Witche’s Trance is a powerful track that starts with a heavy atonal synth veil from which layers seem to come from a distant crack in time. A heavy sequential line with nice oscillatory curves is piercing the mystery to bring Witche’s Trance intro in a powerful undulatory movement that recall Tangerine Dream’s obscure Rubycon. Hypnotic with its minimalism sequence which spins on the same pattern, Witche’s Trance leaves its metallic synth breezes to embrace sulphurous solo which spin on a rhythmic structure in permutation. A structure livened up by nervous cymbals and sequenced percussions that leads us through a powerful psychedelico-electronic frenzy with great reminiscences of Tangerine Dream from Rubycon to Force Majeure years. Atonal, Armageddon moves by its movements of synth which cross various musical phases. A long line of spectral synth hoots discreetly among fine oscillations and cosmic effects to multiple eclectic tones. The swiftness of the synth breath permutes in a heavy industrial droning from which the roaring of the hatched circles modifies the structure of a linear movement waving of its slow fluctuations. Armageddon progresses gently with its threadlike astral layers which float idly in a synthesized broth from where are freeing solos of quixotic organs to spread an oniric sweetness which glides in a pleiad of static white noises and slow silvered layers made from the iridescent musicality of Klaus Schulze.
Builds according to the same precepts, Dark Light is nevertheless warmer with its synthesized approach more musical than caustic, although the heterogeneous elements of silvered streaks are always omnipresent, in particular towards finale. But it’s a long dark and cosmic track which begins by a suave synth breeze hooting among tones as caustic as cosmic, including astral gongs which resound around delicate modulations being transformed into delicious solo. In spite of quiet inherent to its naming, Chamane is a duel between serenity and anxiety. A long 22 minutes track it starts with a distant light wind which is shaping to keyboard pads to move backwards and forwards in a mysterious ethereal mist. It’s a soft introspective procession which is quickly swallowed by resonant metallic hoops which hem in loops. And throughout its evolution, Chamane will borrow the astral charms of Armageddon and Dark Light to confront them with an odd aggressiveness to synth layers and streaks with tones of bellicose metal. It’s a long journey in the lands of Irrlicht and Picture Music but with a steel sonority that sometimes can be annoying. But a little before the 17tth minute spot, a delicate dangling impregnates by a synthesized charisma too absent in Shadows comes to wheedle these ears a little fatigued by this very cold and abstract sound incursion, showing that Joël Bernard can do much more than sclerosis abstract music.

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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