lundi 5 décembre 2011

VOID: Avoidance (2011)

''Void's Avoidance is among the best of 2011''

1 Avoidance I 15:55
2 Avoidance II 7:30
3 Faded Away 6:13
4 the Dark Ages 10:41
5 st.Anthony's Fire 6:29
6 Avoidance VI 13:39


INDEPENDANT LABEL

It’s not because it’s call Void that it’s empty. Okeno! Avoidance marks the return of Void, after an absence of nearly 15 years and an only eponym album released in 1997. And it’s a very good comeback for Danyo Romijn and his musical project Void who presents a wonderful album. It’s a rather surprising album wrapped in an artwork which is inspired by Matthias Grünewald’s painting of The Temptation of Saint Anthony of which all the ins and outs are outlined all the way through Avoidance. The Dutch synthesist offers 6 well balanced titles which enlace in cosmic atmospheres à la Jarre where rhythms are lit by good heavy sequences which skip and pound in a clashing symmetry with parallel lines which crisscross and steal into dark and foggy atmospheres. Ambiences as chthonian as cosmic stuffed by melodious approaches, moulded in synths as dreamy as vindictive. Prepare your ears for a pleasant surprise that persons, but persons expected. Here is Void and here is Avoidance!
A synth wave imprinted by a profound melancholic approach opens "Avoidance I". It undulates in an intense mist of sadness, awakening a delicate piano which splashes the universe of its dreamy notes of which the uncertainty glides among somber reverberations. We hear in the distance a heavy sequential movement which waddles in the powders of resonances, increasing gradually the step to end towards another sequence to ascending chords. It’s in a universe of mist and under the twilights of synth blades which frees discreet but curt orchestral arrangements that the rhythm of "Avoidance I" gets loose from its intro abyssal heavy. Sequences are heavy and juicy. They skip and pound in an uncrossed ballet and irradiate a rhythm of lead which progresses towards good strikings of percussions. The rhythm is more incisive. We recognize in it the influences of pulsating and drummed sequences of Jean Michel Jarre, typing a rhythm which moves with firmness underneath this mist with sinuous movements and good solos of a very aggressive synth. The movement eases at 8:39, embracing a lunar phase from where escapes this delicate wave of piano which spreads its notes with a black romanticism in a cosmos streaked by outer space sound effects. It’s a bewitching passage of a strange quietude which goes out of its morphic envelope with heavy sequences of which slow and resonant oscillations are joined by this piano, sounding the knell of the tenderness and diving back "Avoidance I" towards a harsher rhythm. A rhythm bowed on electronic percussions of which the systematic strikings are buried beneath good melodious pads and superb solos. Indeed it’s sounds like some good Jarre. "Avoidance II" flows with more sweetness. A warm sequential movement waves of its fine chords which skip in a beautiful harmonious cohesion. Heavy pulsations resound and wrap this suave movement of a strange chthonian aura of which mellotron layers strengthen. We are in a dark and murky universe, in the crossroads of Ramp, Redshift and Tangerine Dream, with this mesmerizing procession where the progression is supported by fine percussions and more nervous sequences which pound under fluids harmonies and a splendid layer of this fascinating Gothic mist. Fine crystalline arpeggios clink to shape the delicate suspended melody of "Faded Away", which floats with a dark serenity in a universe filled with pulsations and rippling waves of a synth to rotary movements.
"the Dark Ages" slow intro seems to come out of an intergalactic, or abyssal, Western with its synth lines which confront their tones in a desert of mist. The ambience is breathtaking and livens up with heavy pulsations which shape a slow oscillatory movement, waving in the shade of a synth hybrid lamentations à la Redshift. Besides everything perspires the sordid universe of Redshift on this great title where the latent growth evolves in a hollow atmosphere with sinuous layers from a synth of mist which throws an aura of dark mystery on this title waving of its sequences as limpid as smothered and in the shade of superb intriguing solos. After a short intro fed by somber twisted breaths, "st. Anthony’s Fire" spits sequences with parallels layouts which are joining and crisscrossing in a furious and weighty rhythmic approach. Sequences and sequences again; fat, juicy, crystal clear and resonant. They jump, pulse with frenzy and collide in an aggressive electronic ballet where the symbiosis is not really planning. Gratifying "st. Anthony’s Fire" of a heavy rhythmic from which the wide oscillations are snatched by synths which adopt their curves. Synth lines which flit about, wave and buzz furiously around this sequential shambles, forging just as much beautiful melodious approaches than long loops panicked by so much sequential indiscipline. Incredible! This dark and boosted ambience continues on "Avoidance VI" which closes this last opus of Void with a sequential approach bombarded by pulsating sequences which permute with as much subtlety as ferocity on a more intense rhythmic than "Avoidance I". Synths are as much violent as sequences can be murderers. They spit weighty solos, shrill loops, melodious hatched pads and boiling intersected lines to tones of unchained spectres which interweave a structure in constant rhythmic rise, leaving room to this swaying chthonian mist which floats and wraps this rhythm of which variations are as well aggressive as melodious. It’s stunningly intense and heavy. And guess what? The whole ends in an odd delicacy. A little as Dracula playing an enchanting lethal melody on piano, while his beauty waits for the final bite, nailing definitively one of the heaviest and darkest albums of 2011.
Ouf!! With its slow and explosive rhythms, its heavy and evolutionary atmospheres, its furious and noisy sequences, its incisive and melodious synths, Avoidance is the surprise of 2011. It’s an unexpected album of an artist, coming from that we didn’t expect at all and which busts full in our ears on structures as delicious as twisted. That’s what Avoidance is all about. It’s a smoking mix of somber rhythms and atmospheres build in the influences that Danyo Romijn takes away from contemporary works of Ramp, RMI and Redshift to mix them to those more classic of Jean Michel Jarre and Tangerine Dream. Such a cocktail can only give an excellent album which will know how to seduce all fans of EM. Highly recommendable!


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=14768

*If you want to know more about Void and hear some MP3 samplings, one visits his Website here: http://www.danyo.nl/void/
You can also view the whole lbum on You Tube by clicking the name Void...

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