samedi 24 septembre 2011

PAUL ELLIS: The Last Hiding Place of Beauty (2009)

1 The Unveiling Ravenous Evening 17:12
2 The Last Hiding Place of Beauty 16:17
3 The Note, The Walk In The Rain And The Umbrella 16:04
4 The Hydroelectric Spinning Heart 10:27

Groove | GR-158 (CD 59:59) ****
(Mix of ambient and sequencer-based EM)

Quietly, Paul Ellis carves out a solid reputation in the wonderful and complex universe of contemporary EM. “The Last Hiding Place of Beauty” (what a great title) is already his 11th work. First of all, let us greet this splendid artwork which presents an opus sculptured in the musical poetry where the Canadian synthesist draws from his vast musical experience to marinade all the styles with a rarely exploited philosophic sweetness.
"The Unveiling Ravenous Evening" presents a folk intro from the medieval era with a beautiful acoustic guitar supported by a soft fluty mellotron. It’s a delicious intro which gets lost early in a mixture of drummed pulsations and percussions which skip and flit nervously with a synth with harmonious chords rolling in loops. Enchanter, "The Unveiling Ravenous Evening" progresses on fine modulations of a beautiful bass line which drops long and sinuous reverberations increasing a crescendo fed by circular chords and more nourished percussions. It’s a harmonious ascension on a structure slightly in the shape of bolero where the sequencers, the synths, pthe ercussions and the pulsations gather themselves in order to forge a melodious gyrating movement. At around the 9th  minute the rhythm hiccups feverishly on a more nervous and hatched structure where the chords flicker to dive into beautiful synth impulsions which are besieged by slamming percussions and harmonious synth lines which cross in a superb rhythmic crossroads. A passionate passage which eases, guiding "The Unveiling Ravenous Evening" towards a more serene finale. After a short atmospheric intro, "The Last Hiding Place of Beauty" is a more boiling track which navigates on a nervous sequencer, switching on a synth to twisted reverberations. The rhythm beats to the measure of fines and hopping sequenced percussions on an electronic structure reminding me the first works of Jarre, but with a sharply more progressive touch. Arpeggios flutter nervously while the sequencer encircles the movement of a charming heaviness, leading the structure on a hypnotic, vertiginous and aggressive crescendo which explodes of a rhythmic to climbs parading in loops. It’s a very good track filled with energy on evolutionary sequential movements and a synth which follows the cadence, assisted by nice sound effects which attract the hearing.
Some nervous scribble on paper opens the misty and atmospheric "The Note, The Walk in the Rain and the Umbrella". It’s an intense musical novel which hears on a pleasant fluty and violined mellotron, waltzing slowly in a cosmic oblivion and under a fine rain and a dense veil filled with a cosmic mist. Slowly we dive into a more progressive musical universe, with a beautiful bass line which bites and dandles an always ambient structure where fine loops of guitars mould a solitary harmony beneath a cloud of ringing glasses. This fragile harmony is dying in the breaths of a forsaken mellotron and fluty laments which roam under a drizzle and stratas of quixotic violins, adding a nostalgic touch which pursues on the strings of an acoustic guitar on the opening of "The Hydroelectric Spinning Heart", another track where the progressive/electronic fusion is magnificently polished up by mellotrons to flutes and magic violins. But the peace of mind of the intro is jostled by a rhythmic to oriental flavor with a light festive tempo fed by drummed percussions and beautiful bass line of which resonance of notes is molding to tones of bells. Very melodious, the synth is also very lyrical and its melody is joined by a lovely piano which espouses its rhythm. "The Hydroelectric Spinning Heart" embraces a hesitating passage where the rhythm sways between atmospheres, before the percussions resuscitate him and reactivate a piano which flow its last notes on a heavy and lively tempo, streaked of layers of a spectral guitar and a joyful fluty synth.
In “The Last Hiding Place of Beauty”, Paul Ellis creates a stunning musical journey where rhythms have several faces. From purely electronic to sharply progressive, the music evolves according to the imagination of his author which suits to the spirit of its title. I was enchanted and amazed by
The Last Hiding Place of Beauty that I rediscovered by listening to his last opus, From out of the Vast Comes Nearness
. Showing thus that the music of Paul Ellis survives its time and deserves amply to be known by a vaster public. A public who likes sequences, rhythms and melodies covered of a fascinating musical fauna.
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
: http://www.gutsofdarkness.com/god/objet.php?objet=12218


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