mardi 29 novembre 2011

CAN ATILLA: Live (2003)

'' Can Atilla's Live is an album where the influences of Tangerine Dream, Jean Michel Jarre and Vangelis merge marvellously...''

1 Torchlight 5:55
2 Arpeggiator 5:24
3 Underwater Moonlight 2:37
4 Dark Velvet 4:15
5 Whiteout 14:53
6 Marco Polo 6:00
7 Winterland 5:36
8 Dream Recorder 6:26
9 Abyss 4:08
10 Leonardo 8:43


Can Atilla’s Live is among the first CD’s of EM whom I chronicled. It was in 2003 and back then I took the decision to help at my best in the discovering the fascinating musical world of EM to my circle of acquaintances. This album had attracted me a lot, both by the great versatility of rhythms and by its furious structures where beautiful and enchanting melodies irradiated our ears on compositions which were similar to those of Tangerine DreamJean Michel Jarre and Vangelis; artists who are in the heart of the Turkish multi-instrumentalist influences. Thus here is one of my first chronicles rewrite and adapted to my current writing.
"Torchlight" opens with great pomp this Live from Can Atilla. A synth wave is rising and borrows a slightly dramatic tangent while percussions to tones of mist fall down to raise an introductory approach similar to the album Docklands from Jean Michel Jarre. Stimulated by these drum bombardments and by heavy synth riffs which are twinning their strikes, the intro progresses towards a beautiful fluid sequence which waves finely under floating mellotron layers, strange tribal lamentations, sighs murmuring Enter (Oldfield’s The Songs of Distant World) and hybrids synth breaths. In brief, it’s quite a whole sound cocktail before the rhythm becomes demonic with furious sequences skipping of a dislocated rhythmic which cross a spatial battle line to meet solos of a wild guitar à la Zlatko Perica and bind itself to pulsatory percussions, forging a rhythm which explodes between techno and synth-pop with loud boom-boom and circling tssit-tssit. Synth waves à la Jarre still scrutinize the horizon, making the bridge between "Torchlight" and "Arpeggiator" which is sculptured in the undulations of a sequential line and beat up by percussions strikings which forge a bouncy tempo. Other incisive strikings and sequences are grafted in this rhythmic skeleton, pounding a curt and nervous rhythm with a fine ascending tangent on keyboards riffs and chords which are not without recalling the universe of the Dream. It’s violent, hard and melodious. The celestial waves of "Underwater Moonlight" are crisscrossing beneath thunderous sound head lights to run aground in the explosive rhythm of "Dark Velvet" of which the stroboscopic rhythmic approach, which is a little similar to "Arpeggiator", sounds so much as the musical universe of Jarre. Especially with the solos and those now famous hand banging pulled out of The Magnetic Fields era. The soft intro of "Whiteout" calms things down a bit. This long title of 15 minutes is the highlight of Live. But the rhythm starts up again with solid pulsatory percussions which set an energetic and lively structure among which hyperactive and crisscrossed sequences as well as keyboard chords are extirpated out of reminiscences of Tangerine Dream’s 220 Volts, with incursions into more distant spheres of the Dream, in particular with a very nice fluty synth from the Stratosfear years. Unbridled rhythms and ethereal atmospheres are sharing the indecision and paradoxes of "Whiteout" in a magnificent musical canvas where sequences are moulded in the knowledge of Franke and meditative harmonies wake the ashes of Underwater Sunlight. It is very good and beautiful, in the point where we wonder if it’s not a title forgotten in the Dream Roots Collection.
"Marco Polo" presents us the hyper melodious and orchestral approach of Can Atilla. It’s a wonderful melody which flows in a delicious electronic bolero which has nothing to envy to the most beautiful symphonic serenades of Vangelis with Gregorian choruses, drum rolling and heavier percussions which roll under dusts of stars set up by a flowing bed of sequences. Delicate violins surges caress the soft crescendo which guzzles these fine crystal arpeggios, over sizing the very moving aspect of "Marco Polo" which sinks even more into its burning electronic bolero. "Winterland" sticks to "Marco Polo"s romance and melancholy with a soft piano which makes ring its notes in sighs of souls. A delicate guitar is moulding at these notes which are also embraced by a nice and soft synth among which fine solos and symphonic breaths stigmatize the delicacy of this other ballad from Live. "Dream Recorder" is powerful and leans on a heavy but slow rhythm with good percussions of which the strikings couple in the riffs heavy of keyboard which fall with crash. A beautiful melody is outlined with a piano à la Yanni. Its cheerful notes cavort on a structure weighed down by the addition of guitars riffs and tempestuous synth solo with curves and sinuous momentums. Floating in a hybrid atmosphere where seabed entangle to space borders, "Abyss" is an ambient title that wandering choruses and igneous synth layers dress up of an intriguing chthonian aura. One would believe to be in an apocalyptic one Black Mass, except that the sordid atmosphere diminishes to introduce "Leonardo" whose intro plunges us downright into the 220 Volt atmospheres. Sequences wave and merge in a fine rivulet of crystalline arpeggios, tumbling towards a heavy and curt rhythm. A rhythm which is carried away and fidgets nervously under an amalgamate of synth pads and layers as melodious as lively and of which tones awake souvenirs of Tangerine Dream and its multiple musical facets.
It is evident that I liked this Live from Can Atilla, I liked it at its release and even today. It’s an album where percussions, sequences and heavy riffs, as well as from keyboards than guitars, spit powerful and nervous rhythms on structures where inspiring melodies abound. Live is an album where the influences of Tangerine Dream, Jean Michel Jarre and Vangelis mix and merge marvellously without wearing shade to the musical signature of the Turkish synthesist who is very comfortable in forging even heavier and more furious rhythms while bewaring a door open for two wonderful ballads and good orchestral arrangements. In brief, it’s a powerful album without smudges which deserve amply a place in your record collection.

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

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