samedi 22 octobre 2011

BERTRAND LOREAU: Morceaux Choisis (2011)

1 Chuchotements 1:51
2 Soli Tune 3:16
3 Pour le Dire 2:13
4 Le Grand Voyage 13:37
5 Appel Intérieur 4:36
6 Pour Arnaud 4:02
7 Harmonie d'un Jour 4:20
8 Irisationd Part I 4:34
9 Irisationd Part II 3:24
10 Souvenir de Jeunesse 18:08
11 Pour Arnaud Part II 2:42
12 Frottements 1:32
13 Si Loin 4:19
Arpeggios of glasses hesitate to waltz in the unknown. Pushed by the winds of a quavering flute, they form a delicate glass ritornellos and whisper "Chuchotements" which flows as a river of pearl. Morceaux Choisis is another Bertrand Loreau's intimist work. After Sur Le Chemin, Réminiscences and Sequences, the synthesist of Nantes opens again to us the road of its interior and memoirs with 13 tracks written between 2006 and 2011. Very versatile, Morceaux Choisis shows the influences and a mood of Bertrand Loreau with tracks of an always enchanting sweetness and others more electronics, in the Berlin School genre. It’s a delicious mixture where Vangelis and Schulze meets in the heart of Trans Harmonic Nights' sessions (Peter Baumann) to end up in the oniric sweetnesses of a piano in the steams of Erik Satie.
"Soli Tune" continues on the call of "Chuchotements" to stroll as an aria on solitude. Keyboard keys espouse tones of a hybrid guitar where sounds of a harp blend to those of a piano to jazzy moods. Roaming in a dark night, they parade. Sometimes melodious, sometimes gauche. They parade in an uncertainty beneath pads of a fluty synth and a fine melancholic mist. Soft "Pour le Dire" flows into our ears with the same tenderness, but with more musicality, than the short opening track. It’s very good and delicate, as all these melodies that we find over Morceaux Choisis and Bertrand Loreau's previous works. I think among others of "Appel Intérieur" which turns upside down the soul with its crying flute on a bed of mist. This is a track which does its effect as the very melancholic "Pour Arnaud" and its crystal arpeggios crying the loss of a friend. "Le Grand Voyage" shows that Bertrand Loreau is capable of an extremely audacious and progressive music while staying melodious. Glass arpeggios to tones of xylophone spin. They are collided by a mixture of percussions, sudden chords, flute breezes and synth impulses. We are immersed by an influence of Vangelis, Opera Sauvage area, and Klaus Schulze, Dreams era. Twisted and incisive solos wave above this minimalist procession. High-pitched solos, sounding as laments of a solitary saxophone, escort this ascending structure of which the furtive rhythm is inlaid by dark keys which move stealthily. It’s a slow parade which swarms with a new life after the 6th minute, whereas crystal clear arpeggios turn up. More numerous, they dance and skip nervously on this minimalist cadence, before ending their journey on a dishevelled structure moved by synth and mellotron winds.
"Harmonie d'un Jour" plunges us into Berlin School structures with a clear influence for Tangerine Dream and mainly Peter Baumann era. The track waves shyly with sequences which undulate like on Sorcerer. But what strikes the most is the melodious envelope. We would definitively imagine being in Trans Harmonic Nights session with these twisted solos, riffs and harmonies which get free from it and feed a cadence which increases subtly. It is a real delight for nostalgic, quite as "Irisationd Part I" which offers a more nervous tempo with sequences alternating with more vivacity, under the aegis of metallic percussions and especially of these fabulous singings of synth which coo under a fine mellotron mist. "Irisationd Part II" offers a similar structure but with a more jazzy synth, more crystal clear and nervous sequences and electronic effects. "Souvenir de Jeunesse" encloses this Berlin School immersion with good sequences which shape an undulatory and hypnotic movement. Like an eternal march, sequence steps move and cross other ones, which are more hard-hitting and curt, in a mystic mist. The synth wraps this good sequential and rhythmic amplitude of cosmic impulses and soft shivering solos. The percussions fall and weigh down this hypnotic minimalist procession which grows rich of crystalline arpeggios sparkling among beautiful pads of an exhilarating synth. The tempo gets subdivided and enters within spheres of permutations, watered with sharpened and spectral solos, guiding the sequences of "Souvenir de Jeunesse" towards a foggy finale. After this wonderful intrusion in the Berlin School, Morceaux Choisis ends with 3 splendid tracks played on piano. These are tender jewels of tenderness and melancholy where Bertrand Loreau amazes and charms with a surprising dexterity.
As for me Bertrand Loreau is a treasure hidden in the world of the music. Musical, poetic and electronic, Morceaux Choisis solidifies my perception with a finely elaborated music where the composer and synthesist of Nantes shows off a surprising knowledge by handling styles which overlap in a surprising harmony. Whether it’s melodious or progressive Berlin School, electronic melodies or classical music, Bertrand Loreau weaves beautiful musical paintings which touch inevitably our feelings, the mark of a great composer.
Available via PWMDistrib

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

Here is the link to Bertrand Loreau website:

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