mercredi 14 mars 2012

MORPHEUSZ:Garden Gnomes and Goblins (2011)

"Here’s the album by where the story of MorPheuSz began"
1 Garden Gnomes and Goblins Part 4 (15:50)
2 Garden Gnomes and Goblins Part 2 (10:34)
3 Garden Gnomes and Goblins Part 9 (10:55)
4 Garden Gnomes and Goblins Part 1000-1 (15:11)
5 Garden Gnomes and Goblins Part 7 (5:33)
6 Garden Gnomes and Goblins Part Who Cares!! (5:58)
7 Garden Gnomes and Goblins Part Pizza!! (13:56)
               GROOVE: GR-185

Here’s the album by where the story of MorpheuSz began. Guest to give intimist concert on July 17th, 2010, Ron Boots received the support of his long-time companions, Eric and Harold van der Heijden. During the process of the rehearsals an invitation is thrown to Frank Dorittke. But MorPheuSz wasn’t still born. It’s during this concert that the quartet noticed that a chemistry settled down between them and it’s after this concert that MorPheuSz was born. Garden Gnomes and Goblins makes reference to this concert given in a garden. It’s the very first work of MorPheuSz who merges an EM to a progressive and psychedelic music where the improvisation is in the foreground on structures where atmospheres are subjected to good Arabic tribal rhythms
An ambiance of submerged cave floods our ears from the opening of "Garden Gnomes and Goblins Part 4". Keyboard chords and guitar notes drag their solitudes there, among dark winds which ululate along the hollow walls and scattered percussions which sound as wounded hoofs. Between its pattern of mystery and its intellectual uncertainty, "Garden Gnomes and Goblins Part 4" strolls in search of a rhythm, misleading its sound textures and composite tones which moo under the stammering of timorous tams-tams. And these tams-tams awake a soft rhythm filled by perfumes of Orient that a soft Mellotron wraps with a psychedelic balm, conferring to "Garden Gnomes and Goblins Part 4" a more progressive approach than electronic where keyboard chords exchange a lunar melody with notes of a dreamy guitar. A sequential movement, like those Indian tams-tams, hopping under reverberations which caw of a sinister air livens up the introduction of "Garden Gnomes and Goblins Part 2". Percussions with scattered strikings and riffs of guitars accompany this uncertain rhythm which will be flew over by superb synth solos. The percussions play a predominant part on this title. They fall and roll such as avalanches on a structure which becomes tightly wrapped up by very good synth solos and layers of mist, throwing a more electronic veil to a title which breathes just as much the psychedelic and progressive atmospheres à la Ashra, in particular with the guitar riffs which scratches the back of the howling winds a little after the 7th minute. The more we move forward in Garden Gnomes and Goblins and the more we feel the electronic vise tightened the artistic values of the quartet. Thus "Garden Gnomes and Goblins Part 9" espouses a mesmerizing dreamlike structure with slamming percussions, twinkling arpeggios, dreamy ethereal guitar riffs and choirs/ mists which wrap a slow contemplative tempo, a little as on "Garden Gnomes and Goblins Part Pizza!!". The keyboard chords roam on this dreamy structure, floating here and there and embracing harmonious notes of a guitar which run in loops on a silky road.
With its very orchestral intro à la Vangelis where violins weave impulses of affection and synths mold impulses of melancholy, "Garden Gnomes and Goblins Part 1000-1" pours into our ears like a splendid and lyrical Arabic procession. This is 15 minutes of pure happiness where tribal percussions and fine bass pulsations lay the foundations for a supple and exalting rhythm, while synths draw sieved and dreamlike veils of Orient and their thousand and one nights, numbing senses and weakening feelings on a lascivious cerebral dance. It’s especially very beautiful and very poetic. After a very atmospheric and ambient "Garden Gnomes and Goblins Part 7" with its riffs and chords of guitars which surf in the shadow of synth layers, "Garden Gnomes and Goblins Part Who Cares!!" follows with a very gloomy approach where notes of an electric piano stroll with a scent of sadness on an ambivalent structure, supported by toms-toms percussions and riffs of a solitary guitar. Hollow winds draw the introduction of "Garden Gnomes and Goblins Part Pizza!!". They lift dusts of stars and awake tribal percussions which resound as all throughout Garden Gnomes and Goblins. Ambient and wrapping, the layers of synths float as shadows of prey above the strikings of percussions which go astray in this absolute tranquility. And quietly the rhythm is rising. It’s heavy and slow, such as a cosmic blues where the brief guitar solos are encircled by narrow layers of a morphic synth while the percussion strikings dig the difference between the ambient mood and the morphic rhythm.
Timid and retired, the quartet is experimenting its orientations and atmospheres throughout Garden Gnomes and Goblins; an album which addresses to fans of an EM which have a penchant for progressive music with a zest of improvisation well structured. As for me; I quite like this soft raid into the Arabic tribal ambiances. It’s very sensitive and poetic, especially for "Garden Gnomes and Goblins Part 1000-1", by far the best track on this opus. Harold van der Heijden's percussions are delicious while the synths weave sieved rustles of a stunning poetry for a live performance. It’s a beautiful album which establishes the beginnings of the excellent Days of Delirium and Nocturnal NightMares and which shows above all the authentic chemistry between these 4 knights of electronic.

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:

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