vendredi 23 septembre 2011
1 Overture 5:53
2 Belief 11:16
3 The Traveller (Part 1) 10:24
4 Silent Conversations 7:53
5 Sinfonia Senza Percussione (Part 2) 15:09
6 Sinfonia Senza Percussione (Part 3) 9:42
7 MMIX a.D.11:18
8 Requiem 5:58
Recorded during various concerts given at the Grote of St.Bavokerk between 2007 and 2010, within the framework of the annual bookmarket, The Great Church Trilogy respects Remy’s signature with a music imprinted by mysticism and mystery. It’s a very nice album with ambiances and atmospheres as much nocturnal as cosmic; it floats between our two hemispheres as music to contrasts of poetry without words. Music forged inside a world of fantasies, to 1000 dreams from an insatiate dreamer by the power of its illusions.
Recorded during the very first concert, on November 10th, 2007, "Overture" and "Belief" are 2 tracks which are linked and drag us in Remy’s heavy nightly atmospheres. A big tenebrous organ with layers floating such as spectres at night opens "Overture". They fly and roam with fine modulations, supported by a delicate movement of a bass line. A bass which drops more edgy notes, guiding a spiral of crystal clear and twinkling chords swirling as a carousel of glockenspiels among heavy and low metallic pulsations. The synth is as much lyrical as dramatic and weaves a sinister ambiance with layers and pads which float and sigh around tones of organ from darkness. The introduction of "Belief" is garnished of those hatched puffs which breathe furtively, crossing more ethereal synth pads which move with a bass line to muffled pulsations and fine crystal clear arpeggios. An intro moulded in the shadow of "Overture" but which becomes more musical with a progression in the rhythm, initiated by fine percussions which slam under discreet synth solos. Recorded the year after, on November 15th, 2008, "The Traveller (Part 1)" is a good minimalist work starting with heavy drum rolls which free fine zigzagging waves and a soft romantic piano. A piano from which the series of minimalist notes moulds a beautiful night-melody which turns and which misleads more melodious notes in the course of a tenor’s fat voice and discreet ghostly breezes. Very beautiful, this synth voice permutes into delicate romantic and spectral breezes. She floats over a piano with more harmonious notes and fine percussions, of which the arrhythmic beats increase the intensity of "The Traveller (Part 1) ", whereas fine teetering solos float and sway on the soft union of voices and piano to fine minimalist gallop. After the wonderful "Silent Conversations" (see EoD), "Sinfonia Senza Percussione" pushes us even more in the night owl’s blackness of Remy who takes an a little more cosmic tangent.
The 2009 concert has to be postponed because of the birth of Remy's son. In place, recordings were broadcasted in the Grote of St.Bavokerk. These recordings were replayed in concert during the performance of November 13th, 2010 of which the next tracks were performed. A symphony without percussions, "Sinfonia Senza Percussione Part 2" comes out under a cosmic sky where sparkle stars as in the beautiful analog years of Klaus Schulze. Streaks and threadlike synth layers to tones of violins float besides plaintive solo which roam among the discreet singings of a cosmic choir. Far off, we hear fine crystalline arpeggios coiled as a fine wave-like spiral. Arpeggios which cross other limpid chords, drawing a light sequential movement revolving under suave violin strata and solos of a synth always so dark. This delicate spiralled impulsion dances under foggy layers of a synthesized violin which also frees fine twisted solos, guiding this cosmic track towards the entanglement of "Sinfonia Senza Percussione Part 3". It’s a track as much ambient, but without sequences, where notes of piano roam among cosmic winds and hootings, creating a surrealist ambiance for a melody which tries to pierce a fossilized veil. Superb, "MMIX a. D." swirls as the carousels of those good old musical boxes, taking back a bit the sequential movement of "Sinfonia Senza Percussione Part 2". Except that here it’s more intense with crystal clear chords which spin more deeply while evolving on an ascending tangent. A mellotron synth frees a soft iridescent mist and strings of a quixotic violin caress the rotation of this beautiful sequenced spiral which is accompanied by a discreet choir and fine slamming percussions / pulsations which swirl and flit around this very good circular movement. And then choirs, violins and percussions are winding and hammering with more vivacity, whereas that long and sinuous fluty synth solo replace the fluty winds to plunge "MMIX a. D." in a powerful rotary rhythmic which lessens in the breezes of a finale which espouses the intro of "Requiem", a slow and ambient track where a piano releases its notes among dense strata of a powerful mellotron synth.
Once again Remy offers us an album where harmonies and melodies survive to structures at once dark and romantic, where choirs and fanciful violins throw veils of mysteries which suit so well the architecture of medieval structures as those of the Great Church of Haarlem. There are wonderful ambiances and melodies around The Great Church Trilogy, an album which gets a bit closer to structures of his famous Exhibition of Dreams and plunges us into a universe filled with a romanticism with all the colors of an unlimited imagination.
DESERTED ISLAND MUSIC: DIM 002 / 11101-2
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: http://www.gutsofdarkness.com/god/objet.php?objet=14638