mardi 5 juillet 2011

REDSHIFT: Wild III (2009)

Here’s Redshift’s 3rd  and last volume of the Wild series. As on the first two ones, Mark Shreeve concocts us a fabulous journey in time with live recording of the very first Redshift concert, as well as 2 unreleased tracks; one live and the other one in studio. It’s a stationary journey, because we mainly are in the first years of the band, but an intensive one with great live performances which let hear all the sequential spite of this group to chthonian harmonies.
Recorded in concert at the Hampshire Jam VII, in November 2008, Redshift 08 is an adaptation of the eponym track from the very first Redshift album released back in 2008. We find on it the same spirit and the same fusion between the ethereal ambient and the heavy rhythms of the original, but with an airier and a suppler approach. Fans of TD will be delighted to hear a spectral finale which contains the beautiful mellotron lines of Mysterious Semblance at the Strand of Nightmares. Shift to Blue is a new version of Blueshift which encloses the first Redshift. It’s a reworked version which suffered of a sequencer performance, during the concert. A problem corrected from the rehearsal recordings where Mark Shreeve mixed both performances giving thus a superb result. Beyond this problem inherent to live performances, Shift to Blue is shortened by nearly 20 minutes focusing much more on the sequential rhythmic approach which oscillates between the sweetness and the fury, on superb melodious synth layers and a divine mellotron which preserves the main part of the ethereal movement but without the soporific part of the 1st version. I do prefer, and by far, Shift to Blue to Blueshift that I found rather long on Redshift first opus.
Schlachthof-fünf is the last encore, and the missing one, of the2004 Eindhoven concert which gave us Toll. This way, we finally have the whole concert. It’s a wonderful track in the purest Redshift tradition which starts with scattered electric piano notes which float in an ethereal cosmos. Limpid, these keys are wrapped by spectral breezes and bizarre noises which may come from doors of darkness or dusts letting dragged by fallen angels who furrow the purgatory. From this oblivion in suspension is drawing a sound arc which is waddling as a devilish bed song, kicking away a sequence which roars out its heavy reverberations to introduce the booming guitar, with riffs of steel and howling solos, of James Goddard. Yet this is another great track which allies the fragility of spectres to big metallic reverberations beneath Goblins’ mechanical sniggers moulded in tempered steel. That’s some great Redshift there and the best track on Wild. A caustic breath opens the first measures of Broken World, an unreleased track written in 1996. The breathing is turning into dark choirs which float in between world, on a symphonic synth which filters a harmony that is very near the soil of Mark Shreeve on Legion and Assassin, there where psychedelic streaks penetrate this long dark intro and open the way to a sequential movement which hiccoughs beneath an austere synth. Broken World doesn’t explode. It follows a harmonious tangent in a dark universe, on sequences sometimes heavy and howling sometimes docile and peaceful in a harmonious musical paradox. A paradox that is the links between Mark Shreeve solo works and Redshift first opuses.
Wild 3 is a wonderful Christmas gift that every Redshift fans have to possess. And for those who still doesn’t know that band, it’s an excellent way to discover it because the English group cuts in ethereal lengths to exploit profoundly the heavy sequences which are the trademark of Shreeve and cie. Redshift 08 and Blueshift are two amazing reconstructions of Redshift early works. If it can offend some purists it’s going to please those who, like me, believe that the music has to evolve with its time and its gears during concerts. Mark Shreeve invites fans of the mythical group to a sound orgy which gets out of darkness entrails. You have to admit that it’s kind of hard, even impossible, to refuse such invitation.


Sylvain Lupari (2009)
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.