jeudi 8 mars 2012

MOONBOOTER: World of Apes (2 (2011)

"World of Apes (2 is a wonderful collection of swirling rhythms and circular sequences"
1 tamed in Apeland 5:20
2 1985 4:38
3 the Message 5:05
4 Fukushima 5:49
5 Pershing Meets SS-20 6:20
6 Tschernobyl 5:35
7 fun fun fun 4:07
8 Epigone 7:03
9 Insanity (Sequencer 14) 6:09
10 Tik Tak Toe 6:05
11 Kismet in code 5:33
12 deserted 6:20
MELLOWJET RECORDS:
MB 1102

And the madness continues … Between his last opus about the agonies of nuclear and World of Apes (2 there was an incident of Fukushima nuclear power plant. And nowadays it’s the threat of a potential Iran-Israeli conflict that hangs above our heads. Indeed the madness continues …Like on his first volume, the rhythms of Moonbooter are wrapped up in ambiances so melancholic and full of restraints. Rhythms of lead wrap in envelopes of sorrow. But there is still some juice in the explosive rhythmic structures of Bernd Scholl who knew how so well to merge his energetic music in the ethereal moods of Berlin School. And World of Apes (2 is a wonderful collection of 12 titles where swirling rhythms and circular sequences from the noisy universe of the dance floors and upbeat rhythms of Moonbooter are trapped into transitory approaches to latent evolutions and to turns more oniric than feverish. Certainly that Bernd Scholl didn’t hang his sequences nor his pulsatory rhythms but he measured his energies to offer an enchanting EM where the soft techno and the upbeat live harmoniously within structures where the parallelism has of illusion only the bangs-bangs and the booms-booms which go astray in waltzing synth layers. Review of a surprising album of which we didn't expect in this way …...
The sampling of an American radio station during the years of prohibition opens "tamed in Apeland". And contrary to World of Apes (2, this last opus of Moonbooter is not flooded with sound samplings, Bernd Scholl wanted to leave more place to his music. To Moonbooter! Delicate felted percussions and an oscillating bass line introduce a soft rhythm while crisscrossed sequences roll like a carpet of balls, following the moves of keyboards’ keys and skipping under the iridescent synth stratas. Percussions fall and slowly the waltzing rhythm of "tamed in Apeland" swirls under foggy and hatched synth pads, drawing a mixture of soft disco and soft techno built on a sweet, dreamy and harmonious beat. "1985" pursues the slow rhythmic begin introduced by "tamed in Apeland" with an intro which gallops on the back of tones of gyrating suckers, pulsatory percussions and tsitt-tsitt cymbals. Feverish sequences start to wiggle. They gesticulate under synth layers which encircle a motionless but rapidly expanding movement. Other crystal clear sequences are add to this rhythmic pattern, dancing of their alternating strikings on a structure which tergiversate between the emotional impulses of its violins’ strings before exploding of a heavy pulsating movement. The swirling sequences and resonant pulsations of "the Message" plunges us into the unbridled rhythms of Moonbooter's repertoire. The tempo is powerful, pulsatory and hammered by heavy percussions/pulsations while feverish and hiccupping sequences are flogging a rhythmic structure which is spasmodic and hyper jerky that a vocoder covers of a cold robotic approach. "Fukushima" is a beautiful electronic ballad filled by a profound melancholic approach. The keyboard keys which skip at the opening weave an appealing oniric approach which goes beyond the percussions resounding softly with some sweet banging. The tempo becomes then fluid and espouses a stunning Asian approach with strange glaucous pulsations and chords which stroll in the furrow of a flute to meditative breaths while other gyrating chords oversize a melodious approach as poetic as creative. It’s very beautiful. It even loosens some scents of Tangerine Dream on their The Atomic Season. Flittering sequences appear out of harsh breaths and hoarse rumblings. They flitter nervously, as to escape a predator, while the intro of "Pershing Meets SS 20" takes shape like a tale of science fiction with its synth to tones which sound like apocalyptic sirens. It’s a superb intro which throws itself into a buzzing rhythm of a fusion of percussions and abstruse tones of vitiated and creased metal. The rhythm is hard and stroboscopic, swirling with the same pace as the sequences and percussions which go into all directions. That’s very good and it strips the painting of the walls, if walls hold on of course!
After a somber monasterial intro, where chthonian choruses are psalming in a sordid emptiness, "Tschernobyl" lives on lugubrious pulsations which caw on a latent circular rhythm. Melodious sequences, with a bit of Halloween influence in the melodic tune, are winding all around this rhythm which swirls limply and preserves a static envelope, prisoner of the wrapping synth layers to violin strings. The more we move forward in World of Apes (2 and the more we are stunned by this fusion of techno rhythms, sometimes a bit of trance, and/or the upbeat rhythms filled by the dreamlike approaches and the electronic impetus of Berlin School style. "fun fun fun" is a superb melody à la Enigma which charm on a slightly hopping tempo and pleasantly swirling, fed by celestial voices It’s totally attractive! The slow and furtive rhythm coming out of a fauna of heterogeneous tones, "Epigone" progresses through hoops of resonances and guitar riffs which roll in loops under enveloping violins. Slow, the intro explores an atmospheric ascension on an indecisive rhythm before melting in a heavier phase, chiselled by sharp sequences and harmonized by fluty breaths which preserve their ingenuousness in a rhythmic as heavy as static. Fine notes, as a solitary guitar, rock the introductory tranquility of "Insanity (Sequencer 14)". Impromptu sequences encircle the melody which grows rich of reverberating synth layers and others more melodious. Another line of synth is added. It guides the melody which undulates of catchy harmonious tune which leans on pulsating percussions, dragging "Insanity (Sequencer 14)" towards a curt and edgy rhythm where layers of synths and crystal clear chords merge their harmonies in a very beautiful melodious final. "Tik Tak Toe" offers a nervous and stroboscopic rhythmic structure which arches on a meshing of curt percussions and stormy sequences in which bind themselves to synth layers with tones of sirens. The rhythmic and melodious structures are alive and lively, overhung by a fusion of choirs and soloing synth waves while being encircle by sharps and iridescent sequenced serpentines which parade as fast as the pulsations bubble. "Kismet in code" espouses a bit the same structure but with a more lightning rhythmic approach while "deserted" concludes World of Apes (2 with this balladesque and melancholic approach which feeds the rhythmic soul of this last opus of Moonbooter's post apocalyptic rhythms.
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=14967

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