dimanche 22 janvier 2012

SBRIZZI FaBIO: Evangelum Secundum (2011)

"Evangelum Secundum is dark and abstruse with dishevelled and moiré rhythmic structures"
1 Annuntiatio (4:14)
2 Bethlehem Anno Primo (8:04)
3 Jesus in Templo (11:26)
4 Canae Nuptiale (4:24)
5 Beatitudines (4:20)
6 Seminator (2:21)
7 Granum Senapi (2:20)
8 Qui Sine Peccato est Primum Lapiderm Mittat (4:11)
9 Lazarus Amicus Meus (3:02)
10 Qui Bibet hanc Aquam Nunquam Sitiet (11:16)

INDEPENDANT RELEASE
Here is another strange album to land in the EM cd racks. Except that Evangelum Secundum is more progressive and more experimental than electronic, even if completely made from synthesizers, sequencers and mellotrons. Sbrizzi FaBIO's last opus goes back in 2006 with the superb Comunicare, an album which demonstrated all the talent of composer and sounds sculptor of the Italian synth man. An album more theatrical than musical, more poetic than melodic where every title hides a dimension more claustrophobic than paradisiacal, The Second Evangelic is a somber album which is rather difficult to tame. The rhythms are there tortuous, uncoordinated and roam in any direction, framing unfinished melodies which die the in hermetic breaths of heavy mellotrons, builders of unbridgeable sound bulwarks with intense movements of violins and cellos which bury choirs to thousand intonations.
"Annuntiatio" begins with lugubrious synth layers which float such as the wings of old organs above the scattered strikings of wandering percussions. Without precise rhythm, the rhythm is in constant tugging against the heavy melodious approach of the monasterial synth layers which restrain as much the percussions as the scattered notes of guitars. This impression of rift between rhythms and harmonies is the cornerstone of Evangelum Secundum's complexity and continues on "Bethlehem Anno Primo" which flows with beautiful fluty winds singing under the knocks of a sequencer bass chords. The rhythm is heavy and a bit threatening. It waves lazily by following the course of sequences and hatched chords which shake the temples of the hearing with curt bangs, scattering to the four winds angelic choirs and bells. Dark winds ring carillons which awaken a soft angelic choir. The intro of "Jesus in Templo" livens up then of a fluid movement where sequences hammer a circular rhythm which espouses the whirling of the carillons. The atmosphere becomes dense and stifling with dark choruses which hum among momentums of fanciful strings which hatch the structure by brief hit of bows. "Jesus in Templo" sinks into a maze of uncoordinated rhythms and ambiances where mellotron and sequence are engaged the fight of the stigmatization under the stars of the carillons before stifling in this strange mixture of cellos and flutes of which the calcified lamentations roam among lost chords. A furtive sequence appears from the foggy limbos of "Canae Nuptiale" to run with the uncertain chords of an oniric synth. A beautiful dance of time follows with sequencer keys which surround the breaths of a dreamy synth, entailing "Canae Nuptiale" towards another disrupted rhythmic.
"Beatitudines" is a beautiful ambient melody where birdsongs are fitting marvellously to the ethereal movements of mellotron choirs and layers. Only drawback; the finale which is very abrupt. A phenomenon that we observe on too many titles on Evangelum Secundum. With their sequences which skip and crisscross under curt knocks of percussions "Seminator" and "Granum Senapi" are two short titles with rhythmic structures which are quite similar. Heavy and violent rhythms, full of retained which are bound in somber melodious approaches where beautiful synth layers flitter among the heavy strikings of the notes of piano which resound among electronic tones, violins and floating choruses. "Qui Sine Peccato is Primum Lapiderm Mittat" present a nice structure of which the progressive rhythm evolves in secret on a beautiful synthesized crescendo. The drums of slaves' galleys bear the weight of a synth which subdivides its tones, creating a theatrical melody with a zest of drama in it. With its lost breaths and its fake notes of a quixotic harp which ride a sequence with wide wave-like loops, "Lazarus Amicus Meus" is a beautiful electronic melody moulded in the glass and the breath of angels. The rhythm is delicate and the synths set free a soft ethereal aroma with a beautiful envelope of mist. "Qui Bibet hanc Aquam Nunquam Sitiet" embraces a more orchestral tangent with synths fill by symphonic breaths. Piano notes drag among those from guitars, while a strange rustle accompanies this slow processional agony. It is a long complex track eroded by dramatic and orchestral musical elements, uniting the Episcopal universes of Vangelis and the theatrical one of Jean Pierre Thanes where the rhythm gets lost in its reflection, depraving short and sweet melodies abandoned on the surface of remorse.
Closer to the Italian progressive movement than the usual electronic structures, Evangelum Secundum is a dark and abstruse album with dishevelled and moiré rhythmic structures. There is a stifling atmosphere in this album full by rhythms and melodies broken and scattered in a claustrophobic production. It results from it in a strange movie or theatre music which has the mesmerizing visceral depth of Goblin and its delicious Suspiria. It’s an album which is very difficult to tame and which can seem frustrating in the first listening because of these rhythms and scattered melodies. But if you have the bold to try something unusual and quite audacious, Evangelum Secundum will be as high as your waits. Just one remark to Sbrizzi; it would be nice to remix Evangelum Secundum cause the way most of tracks end is quite annoying. It’s like listening to MP3 on cheap format...But the rest is quite good!

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: http://www.gutsofdarkness.com/god/objet.php?objet=14836

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