vendredi 21 octobre 2011

BERTRAND LOREAU: Sequences (2010)



1 Séquence Souvenir (8:20)
2 Arc en ciel (5:32)
3 Cerfs-volants (6:43)
4 Rue Colbert (6:10)
5 Libourne 2005 Part I (4:21)
6 Libourne 2004 (20:02)
7 Libourne 2005 Part II (13:22)
8 Séquence Libre (4:50)


MUSEA-DREAMING

Bertrand Loreau is undoubtedly my sudden impulse and one of my most beautiful discoveries that I made these last years. The French synthesist knows above all how to shape melodies from a simple idea or a single note. As we can imagine, Sequences is an album based on sequential movements. Inserted in a nice artwork which depicts all of his melancholy, Bertrand Loreau presents 8 tracks composed between 1988 and 2005. Some are pure skeletons slimdown of their melodies whereas others line the melodious approaches of the musician from Nantes. Divided into 2 parts, Sequences is the reference to conciliated sequences and melodies. The first part gathers together studio recordings, which can be heard without overdubs, while the 2nd part is more melodious with extracts of concerts given in Libourne and Close Encounters festivals in2004 and 2005. A truly album of free or physical expressions, Sequences is a hybrid work where goes alongside with the beauty and nostalgia that live and divide Bertrand Loreau.
Fine pulsations hatch out and hop of an arrhythmic way. Like a free ballet, "Sequence Souvenir" flies away in a sequential maelstrom where chords flutter and crisscross, creating a strange melody fragmented by surprising outcomes and abrupt stops. An experimental melody nests on this long spasmodic structure where the sound ions spin, pound, succeed one another and crisscross in all directions according to stunning sequential movements, quite as the will-o'-the-wisp which is "Arc en Ciel"."Cerfs-volants" is very representative of its naming. Imagine a kite and its unexpected movements and you have the most beautiful description for this track. With "Rue Colbert" we enter in Bertrand Loreau’s melodious territories. Played live at Salle Vasse in 1988, it shows the clear attraction of Loreau for the electronic melodies in the style Tangerine Dream on Le Parc and Underwater Sunlight. A solid piece of music, "Rue Colbert" begins with hesitating sequences which move like cat steps to dance a good electronic tango. Dressed of its melody the track progresses with nice sequences and keyboard keys which swirl delicately around its sequential axis. The percussions fall and shape a mesmerizing and lively rhythmic accompanied by a synth to soft spectral breezes. We are not at the end of our surprise that strikings of xylophone emerge to boast a stunning melody which subtly increases its cadence. It’s an absolutely brilliant track, quite as "Libourne 2005 Part I " which is a wonderful, but a wonderful electronic ballad which spins as a silky crystal carousel. A monument of tenderness and electronic poetry, this delicate dawn serenade for stars is imprinted by a lyrical melancholic and an angelic sweetness. We would imagine being in the sky, in clouds, and on earth, in the ocean, with this soft and melodious aria which is undoubtedly one of more beautiful that I heard in the universe of EM.
And Bertrand Loreau continues to amaze with "Libourne 2004". A long musical piece of about twenty minutes, "Libourne 2004" is a suite of divine melodies where we feel the influence of Vangelis. An influence which is lying on this very nostalgic and dark approach that is the French artistic expression. Some soft strata of fanciful violins come out from a spatial introduction where rosaries of sequences shell under angelic cymbals. Eclectic winds reappear and fill a psychedelic approach to this track which starts a little as "Rue Colbert", but with a more developed musical envelope. The violins and hesitating sequences weave a dramatic and mysterious canvas that a soft serpentine of sequences crosses with a shimmered fluidity. Softly, and tenderly, sequences wriggle beneath muffled synth implosions and swirl such a bed song for melancholic to isolate itself and fade in the dawn of time. At the 10th minute spot another sequential movement appears. Always very soft it resounds like guitar strings that we pinch and sounds vaguely as a harpsichord. A brief movement which precedes another one more harmonious with violins strings that we scrape with energy and which, as if by magic, brings out a delicate melody with thousands of carillons which converge towards an ascending rhythmic where choirs and sequences tumble and ride in a musical mish-mash as audacious as harmonious. "Libourne 2005 Part II" strikes in full heart in the years of the Dream, Haslinger area. The intro offers a tender rhythmic where sequences crisscross in a harmonious canvas of which the flow is growing gradually to land in a superb sequential whirlwind that a fine bass line supports of a good musical depth. Sequences fly and spin, cross and overlap on a movement full of staccatos before landing in a great sequenced ride. A very good passage which leads us towards a solitary road and a more ethereal structure where a soft feminine voice demands sweetness and solicitude on a fine movement recalling us the borders of the splendid Legend. This is another musical piece full of new developments that we don’t get tired to hear. "Sequence Libre" ends this superb work on sequences with a track where glass chords ring with graver ones. It’s a nice mixture of tones which forges a melody in two parts.
 How not to fall under the spell of Sequences? I have to admit that it was on the tips of ears that I discovered this Bertrand Loreau's wonderful work. The 3 first tracks, being more an essay on sequences than purely melodious or musical plays, slow down the ardour to dive into this quintessence of sequential movements. However once this stage crosses, we are invaded by a musical world of charms and musing; Bertrand Loreau's wonderful world. With its fluids movements and surprising melodies sculptured in the twilights of solitary souls, Sequences is an inescapable. As much for fans of Tangerine Dream, Philip Glass or Vangelis. It’s a masterpiece where the genius of Loreau assails us full ears with an incredible conciliation sequences and melodies, which is not the privilege of all. A masterpiece? Yes, I’m sure about it!


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=14682


Here is the link to Bertrand Loreau website: http://www.bertrandloreau.com/fr/index.htm

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