samedi 25 février 2012

SOLAR FIELDS: Until We Meet The Sky (2011)

"Until We Meet The Sky is a subjugating work which will seize you from the first listening"
1 From the Next End 9:18
2 Broken Radio Echo 3:55
3 Singing Machine 6:55
4 After Midnight, They Speak 3:40
5 When the Worlds Collide 6:33
6 Dialogue with a River 10:06
7 Forgotten 3:15
8 Night Traffic City 9:53
9 Sombrero 5:45
10 Last Step in Vacuum 9:11
11 Until We Meet the Sky 5:01
12 Epilogue 5:15

Solar Fields is the musical project of the Swedish synthesist and sound designer Magnus Birgersson. Since 2001, with the release of Reflective Frequencies, Birgersson built himself a solid reputation, while bringing together an increasing number of fans, in the spheres of psychotronic ambient EM. Until We Meet The Sky is his last musical project. It’s a strangely fascinating album which saw its first ideas germinated during the 2011Australian mini-tour. Ideas which expanded much further and took a more musical shape during a subsequent journey in the icy territories of Ireland. These two contrasts of continents depict marvellously the universe of disparity which surrounds this 10th opus of Solar Fields where the sometimes apocalyptic atmospheres cross superb angelic arias on spheres of influence fed by free and undisciplined metallic electrons which hang their threatening shadows in a universe stigmatized by metallic waves. Iridescent waves which smother and surround fragmented and isolated tempos, eat away by melodious approaches as melancholic as meditative. Until We Meet The Sky listens to it as a long astral procession with phases which are crescend and are tighten into astral nothingness proper to Magnus Birgersson's imagination. And that's the reason why he wanted to approached it as a long and unique track, a project that he cherished for a very long time, that he cut into 12 phases which get tangled in a somber musical set where the tempos and melodies born and die from their ashes.
The influences of both continents embrace each other in a filiform synth wave which surrounds the silence. Somber oscillations are emerging there, feeding the discreet pulsatory circles of "From the Next End" which swirls with the delicacy of shadows among choirs and their whispers of intergalactic paranoia, murmuring in a fauna of white noises. A fine down-tempo adopts the pace of the weak oscillatory perception of an intro condemned by a thick fog. Swirling with a mesmerizing lasciviousness, it insufflates a parallel life to "From the Next End" which receives the rhythmic offering by freeing well here and there some crystal clear notes, but without ever giving way to the slender possibility of exploding, not only for a single moment. With its notes of piano roaming in an atmosphere of gloom, "Broken Radio Echo" espouses a very melancholic approach. A little as to contemplate the ruins of a city which breathes hardly under a fine acid rain. This movement of apocalyptic greyness continues beyond "Singing Machine" and its plaintive synth layers which overhang an intro calcified by an injection of carbonic fluids. It also precedes a subtle crescendo which cuts the debate ambiance/rhythm, with a fusion of percussions and pulsations which resound like a hypnotic tribal trance of which the echo of the strikings harmonizes with a synthesis of choruses and iridescent stratas to wind around a thick cloud of eclectic tones, highlighting the notes of a piano forgotten in the bitter vapours. Rustles, gases in fusion and tones of metal in mourning cover the very somber and atonal "After Midnight, They Speak", of which the misled piano notes of "Broken Radio Echo" accompany the cracklings of another galaxy. Cracklings which throw themselves into the intro of "When the Worlds Collide" and its fine bass line of which the deaf undulations awake synth stratas which adopt the same forms. Forms with UFO’s tones which exhilarate and catch the interest to plunge in a delicious down-tempo of which the hesitating rhythm is flooded in a bath of video game tones. Terrific the rhythm of "When the Worlds Collide" tergiversates between the sensualism of Massive Attack (Mezzanine) and the one of Gary Numan's robots, swallowers of orgasms. Everything is eclectic and metallic, except the feelings which go against reason of a title at the appearance so cold but which hides so much emotionalism. It’s a big favourite which takes refuge within the limpidity of the twinkling chords of "Dialogue with a River" and its delicate intro where the reflections of the sun on a river feign a bed of sparkling arpeggios with the innocence of its purity. A big droning cloud perturbs this tranquility, modifying the axis of serenity which hangs over "Dialogue with a River" which falls for a short, loud and spasmodic rhythm built on curt percussions of which the strikings bruise the auras of the howling elfs.
A slow prelude to the superb "Night Traffic City", "Forgotten" pursues this promenade under the bridges of a city in ruin where we hear a downpour crackled among the resonances of a multitude of hoops of which the echo is fading into an anonymous synth wave which leads towards a brief indecisive rhythm. And it’s in its drizzle that the sloppy rhythm of "Night Traffic City" is waving, fitting to the fine pulsations/percussions and melodious chords of a keyboard to hybrid tones. The melody is beautiful and catchy. The rhythm is sunk into vaporous ambiances with felted cymbals and this fusion of metallic percussions/pulsations which sound like radioactive gases. And the flow is of an oscillating strength of 3.5, 5 being the maximum of the zombiesc trance debility. But there is always this ambivalence in the rhythms and harmonious fluids which makes everything fleeting, fragmented or in constant evolution. And it’s Until We Meet The Sky's pattern. Magnus Birgersson is using each hidden recess and every possible moment to create a diversion and give a new direction to each of his titles. So the rhythm of "Night Traffic City" goes under a long tunnel and loses its transmissions which gradually get back with a powerful crescendo; angelic choirs, flickering cymbals, heavy bass and lines of a dramatic synth. The whole clears up while the rhythmic structure espouses a new tangent, in conformity with the entire dimension of the bipolarity of rhythms and melodies which teem within the heart of Until We Meet The Sky. It’s a great track! "Sombrero" plunges us into very dark ambiances with its chords of piano and keyboard which resound in the nothingness, before making us startle by falling with strength in a rhythm as unexpected than sharp. The floating hoops of "Last Step in Vacuum" incite us to join Morpheus’ arms. A delicate rhythm forges up through an angelic mist. Wooden percussions pierce the suave celestial violins, awakening an echoing tempo which is arching on good pulsatory percussions and drawing the lines of a stunning futuristic melody which is lulling between 2 universes. Angelic choirs wrap this tempo, preventing any leak of this stunning crescendo as much deeply moving than disconcerting. Because what follows will remain engraved in your ears for a very long time. "Last Step in Vacuum" is the long and delicious harmonious prelude which collects every available note to feed our feelings and kink our soul in the heavy rhythm and the surreal melody of the title track. If we haven’t the shivers of our emotions, if we don’t force back a tear and if we don’t switch off the candlestick of our torments by feeling the percussions hammering the beatings of our pulsations and by hearing the spectres roar with pain and desolation on a rhythm heavy, lascivious and so much harmonic of "Until We Meet the Sky" which crumbles beneath the weight of heart-rending streaks, it’s because that we already are in the Sky. Moreover, the winds of ether and metal which talk on a contradictory way on "Epilogue" are there to remind it to us.
Until We Meet The Sky is a subjugating work which will seize you from the first listening. Perplex and meditative, Solar Fields weaves an inexhaustible sound imagination where tones explode from everywhere, surrounding rhythms and ambiances prisoners of a fascinating poetry from a parallel universe. The snippets of melodies which roam here and there, hanging on to rhythms which born and fade in moods of apocalyptic ruins, are the equivalent of the works of a poet in search of light. It’s another jewel from the Lyon label
Ultimae Records ; a label which doesn’t stop amazing me, both by the quality of its works and by their artistic presentations. This label found the means to merge the electronic art. To merge the ambient and techno by presenting cataclysmic works which jostle the current of EM. Exactly like Until We Meet The Sky jostles all structures with a remarkable work which breathes of a new kind of ambient life. Hat to you Magnus Birgersson!
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:
* If you want to know a bit more about the sound world of Solar Fields, you can visit his website here:

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