mercredi 25 janvier 2012

TRIPLE S: Poles (2011)

"A world of ice beneath a guitar on fire, Poles is a beautiful EM story which rides a more rock side"

1 Ninety Degrees South (11:09)
2 Erebus Ice Tongue Part I (7:10)
3 Erebus Ice Tongue Part II (6:22)
4 Shackleton Ice Shelf (5:56)
5 Mount Ellsworth (10:18)
6 Pole of Inaccessibility (16:32)
7 Aurora Borealis (7:12)
8 Arctic Finale (7:05)

To hear the cold moans and roars out and to feel its bite, its erosion and its explosions. This is all the atmospheric setting which surrounds this first album of Triple S. Formed by Erik Seifert, Max Schiefele and Josef Steinbuechel in 2011; Triple S concocted a concept album which describes the experiments and the wild lives on both poles and its extremes coldnesses with a music which is not at all the equal of the subject of their thesis. Poles is a beautiful album where electronic rock caresses the morphic sweetnesses of atmospheric approaches with a Maxxess in great shape who frees wildly his strings to sculptures riffs and solos which invade structures as oniric as quietly stormy.
A Siberian wind engraves frosty dunes, propelling particles of ices among solitary arpeggios which have the fragility of glass. Floating and melancholic, the intro of "Ninety Degrees South" sweeps the horizon with beautiful layers of synth which are resting on the ice floes of solitude, expiring hatched pantings which get lost in the crystal clear echo of the arpeggios of ice. Maxxess' guitar tears up this wintry tranquility. His scattered solos and echoing riffs light up fine percussions and awaken keys from lunar keyboards. Slowly the rhythm of "Ninety Degrees South" is rising with a delicate morphic approach, procrastinating between a floating tempo and its more percussive momentums just like the 7 other titles which dance and waltz on Poles. It’s a soft but firm rhythm which oscillates between a strong progressive rock and a cosmic rock where distorted riffs, lascivious solos and strong percussions with tones of metallic gases frame an eclectic sound fauna. After an intro where the crackling of ices converges towards twinkling tones, "Erebus Ice Tongue Part I" stumbles over a delicious electronic rock approach à la Code Indigo. A merger of acoustic and electric guitars floods our ears with a mixture of notes, riffs and solos as heavy as ethereal which interlace on a nest of twinkling chords. Sometimes heavy, sometimes fluid and slightly jerky, the rhythm remains catchy. Harpooned by slamming percussions à la Jarre  and flavoured of delicious hesitating and melodious chords à la Tangerine Dream, area Underwater Sunlight, it continues its progression towards "Erebus Ice Tongue Part II" with soft angelic vocals, before looping the loop with a finale to ambiances as much richer and intense as the introduction. The intro of "Shackleton Ice Shelf" jumps with the noise of the icebergs which crash violently on ice floes, offering a show of lunar desolation returned with aptly by the laments of a forsaken guitar. Max Schiefele's solos are bursting out of emotivity and float with the violence of the winds, accompany by morphic synth layers. It’s of a very poetic icy serenity.
Fine percussions draw the delicate chipped rhythm of "Mount Ellsworth" which is surrounded by a very electronic aura. Floating into Software and Pyramid Peak's spheres, the rhythm is finely jerky and decorated by electronic streaks which overhang the knocks of felted percussions before folding the loin over the harmonious solos of Maxxess. Afterward the rhythmic approach becomes more complex, lining up melodic phases which tire oneself out on others more jerky where synths and choirs compete with a more accommodating guitar. Built a little on the same principle, "Pole of Inaccessibility" offers a beautiful intro slightly morphic where notes of acoustic guitar glide over some weak pulsations. Streaks as much ghostly than iridescents shake the atmosphere while heaviness settles down, paving the way to a progressive rhythm which becomes predominant around the 6th minute mark. Heavy and slow, the rhythm is lascivious and skimmed over by beautiful strata of a spectral synth which copulate with solos of a morphic guitar. A guitar which becomes more aggressive by freeing riffs which roll in loops, accelerating a pace of which the rhythm is skilfully surrounded by layers and choirs of a hypnotic synth. More atmospheric and more claustrophobic, "Aurora Borealis" is unfolding as being in a state of weightlessness. The guitar floats like the waltzing stratas of Erik Wollo, forging loops which get astray in riffs and heterogeneous tones. Howler winds open the angelic heavens of "Arctic Finale" which shines with its superb celestial intro. Torn between its powerful impromptu rhythms and its ethereal ambiances, "Arctic Finale" is divided by its heavy percussions which fall and its twinkling arpeggios which flutter on a beautiful circular movement. But the heavy and slow rhythm takes the lead. For a few seconds it rages of its symphonic drums to then find shelter in the calm of the morphic strata of an oniric guitar and the crystalline arpeggios of a solitary keyboard to still bend under the knocks of the big drums and embrace a philharmonic phase just before ending in the winds of the cold ice. This is a wonderful track!
A world of ice beneath a guitar of fire, Poles is a beautiful EM album which rides serenely a more rock approach. The presence of Maxxess and his guitars bury his two friends that I find rather discreet, but the result isn’t less very good; it stays a pretty good album. Except that I would have like that the synths and eclectic ambiances of Erik Seifert emerge as much as the guitars and riffs of Maxxess. I have the feeling to hear a Maxxess album written by Erik Seifert, because we cannot deny the poetic touch here of the German synthesist that we hear and  feel all along Poles, an album which will please both fans of Mike Oldfield (The Song of Distant Earth), Code Indigo, Erik Wollo and Pyramid Peak. A good bunch of styles, we have to admit...

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:

* You can also watch a video of Pole of Inaccessibility (Radio Edit) by following this link:

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