samedi 14 janvier 2012


"Retrochet III seems to be a new step in the progression of Michael Neil and Graham Getty"

1 A Trip across the Marshes at Midnight (12:18)
2 Monolilith (10:09)
3 Flow (8:29)
4 Sky Racer (12:16)
5 Alienice (4:12)
6 Table Mountain (10:40)

There is a music, its story and its influences which we never get tired to listen to. The one from Tangerine Dream's RicochetEncore and Stratosfear was the spearhead of a musical movement then in full boiling with the addition of hard and powerful rhythms which shook the morphic and psychedelic envelopes of cosmic synth layers. A little as in an unfinished dream, the duet Michael Neil and Graham Getty forces time and its whims by pursuing the exploration of a fascinating musical territory that has no borders. Retrochet III is not only a suite of the superb musical series begun in 2010, but it’s also the proof that illusion has limits only what we do not want to see, nor to hear.
It‘s in a nice fusion of the hypnotic rhythms of Retrochet I and the more psychedelic ambiances of Vol. II that "A Trip across the Marshes at Midnight" kiss the musical fragrances of Stratosfear. Fine fluid sequences skip with delicacy in an intro stuffed with cracklings and metallic gases. Switching shapes into drummed strikings, these sequences shake the layers of a suave ethereal flute while the rhythm of "A Trip across the Marshes at Midnight" trades its lightness to embrace a heavier phase trapped in the slowness of waltzing envelopes where morphic mist and spectral flute awaken the reminiscences of a forgotten world. Navigating on fluid and progressive rhythms which crisscross under a sky multicoloured of strata as poetic as atmospheric, this first title of Retrochet III lays the foundations for an album where the astral melodies stick to structures which travel easily through ages. "Monolilith" runs away with a more incisive rhythmic approach. Michael Neil and Graham Getty search the missing links of Encore with heavy but fluid sequences which run at full speed in beautiful floating envelopes. Rolling between its reverberating lines and its chloroformic arcs, "Monolilith" follows a progressive rhythmic tangent with a fine variation in the power of its sequences which obey to the variable strength of a synth from which heavy hootings, ghostly streaks and iridescent mists set an explosive eclectic cocktail ablaze. After this explosive title, "Flow" flows into our ears with a wonderful poetic approach where sequences and pulsations crackle such as anaemic popcorns with the force of their restraints under the layers and mists of an oniric synth. It’s a floating and meditative title coming out of limbs and which is a superb mixture of Klaus Schulze (Blackdance and Picture Music) and Michael Stearns (Chronos).
Espousing this blend of ardour and restraint of "A Trip across the Marshes at Midnight", "Sky Racer" begins with an oscillating chaotic waltz before entering a sequential phase to wide ascending undulations. This repressed rhythm is wrapped in morphic spheres with a synth asleep by ethereal mist which frees iridescent lines, throwing a poetic paradox on a title which looks for the slightest desertic plots of land to set its rhythmic approach in fire. "Alienice" dips us into atmospheric and psychedelic ambiances with layers and waves of synth to tones as confuse as puzzling. It’s a short experimental title which precedes the jewel of Retrochet III; "Table Mountain". Superb sequences with bass and felted tones skip with grace in the opening of "Table Mountain". Like a magical ballet they form a stealthily dance which is crisscrossed by sequence line filled by more direct oscillations. This chassé-croisé sequenced is a tasty musical find which amazes and enthrals, but we ain’t heard all of it yet. A synth throws a melancholic veil of mist and a superb melodious approach, adding an indefinable beauty to this poetic approach which will delight the fans of Tomita and Philip Glass. It’s of a stunning beauty! And so "Table Mountain" continues its dance of winds with this wonderful mixture of innocent sequences lends to sacrifice themselves in the morphic layers of a poetic synth for the biggest pleasure of our ears. This is incredibly beautiful and I have the same shivers which caress my spinal column after the 12th listening.
Retrochet III seems to be a new step in the progression of Michael Neil and Graham Getty. Even if the duet soaks up by the delicious atmospheres of the Ricochet years, he explores more personal ways by offering compositions and structures which stray from reminiscences of this period from which the uncountable musical veins ask only to be exploited. And it is the strength of Retrochet III. More than a sequel which risks to be short of breath, Michael Neil and Graham Getty display their arsenals of melodic poetry to instil some great progressive electronic odes which have nothing to envy to their sources of genesis.

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

* Available on MusicZeit

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