mardi 5 juillet 2011

REDSHIFT: Turning Towards Us (2008)

The last Redshift studio album goes back in 2004 with Oblivion. Last, recorded during the Hampshire Jam 5 festival (2006), was the last English group work. A title which slightly throws a bit of confusion: was it Redshift last opus? No, it was rather a change of direction. Such as snakes, Redshift changed skin but always maintained its appetite for huge, powerful, slow and heavy rhythms. The deaf hammering that made our hearts shivered will always be there and even after Last.
It is on the opening of The Love of Nature which pounds in a maelstrom of sound effects always so gaily-colored. Is it a new approach? Not really! We don’t get Redshift out of itself. So The Love of Nature still hesitates over heavy drones with Redshiftian sound effects. A threatening shade over flights this track, like a chain dragging on sidewalks. Heavy and echoing pulsations, the ambiance is darker than ever. Cymbals are coming around… and bang! Big drum on a heavy tempo with a synth throwing solos as a guitar does. It’s some loud and weighty electronic rock that is hiding in a lugubrious and floating finale as Redshift accustomed us to. The Last Thing we See, just like Happy Hour, proposes an ethereal and oddly serene context for Redshift music with a fluty passage as those mellotron ones in TD’s 70’s. Clan is heavy, but of an overpowering heaviness à la King Crimson, with superb solos which tear a dense and dark sound mass. It’s a structure which varies its rhythms on sometimes innocent passages and sometimes passages without pity for the ears. There are superb passages where a guitar spits out infernal riffs on a violent synth and sequences rolling in cascade. The ears work hard to catch all this sound bubble which scatters its heaviness through briefs softer passages. It’s a huge and heavy track as Turning Toward Us which starts in the purest Redshift tradition.
Heavy and threatening wind which howls like metal in pain. Dark and angelic chorus fly over devastation which sticks to mind. The world of Redshift is sordid and nuances its colors and emotions from its sequences and synths. Moreover a fine sequence emerges candidly from this blackness to forged a counting rhymes à la Friday the 13th, but disguised in the morning purity of a Machiavellian way. The sequence waves of an intriguing minimalism while the echo is multiplying its tempo. A new tangent is taking shape, approaching the hypnotic nervousness in a misty dark which oscillates on a slinky mellotron. Darker than intense, Turning Toward Us progresses in a pulsating and droning universe with a marvelous Eastern paradox which is degusting thoroughly the ears. It’s a great track exploited with smoothness which astonishes by its evolution and reaches a form of serenity, always as dark, in a final as lugubrious as its intro.
Redshift opens a new way to EM with a heavy and musical EM that has a good touch of progressive. A daring turn, Turning Toward Us is the most darkest and reckless opus from Mark Shreeve’s band while having a more musical approach than Redshift earlier works. It’s resulting in a dark and progressive EM which is sounding very near to King Crimson dark area but with a higher musical level. That’s great Redshit, maybe the best to date and definitely a must have to any Redshift fans and also fans of dark and progressive music.


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

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