lundi 5 mars 2012

UWE RECKZEH: Subsesizer (2011)

"Those who miss the days Exit and Trans Harmonic Nights by Peter Baumann, throw an ear to this album"
1 Kontiki 10:35
2 Subsesizer 12:32
3 World Without Rules 8:47
4 Heat Voyage 6:33
5 Friendly Jack 9:19
6 Second Give 6:30
7 Bingen Return 7:13
8 Oceanview 15:37

The limpid glass ringings which start "Kontiki" are switching shapes into superb sequences which collide and resound, molding the fascinating chaotic rhythm of the introductory track of Subsesizer. The rhythm hopping and staggering beneath the weight of these sequences to variable strikings and hybrid tones, "Kontiki" displays its 10 minutes with beautiful variations in its movements. Variance as harmonics as minimalists which crisscross or thread their way through between lines of synth with melodious soloing tunes as well as in a panoply of parallel tones of which solos float with a mesmerizing spectral approach on a rhythmic structure as subtle as delicious. Strongly inspired by Tangerine Dream, the universe of Uwe Reckzeh floats in this era where Berlin School was in full transition; be at the beginning of the 80’s but with little melodic zest for the vintage years. Subsesizer is his 8th opus. An opus molded in the rhythm much more than in the melody. An album where sequences and percussions throne on beautiful melodies which point their harmonies with a strange limpidity for a musical ground fertile in hard-hitting rhythms. And according to me; it’s Uwe Reckzeh's best work yet, because for very first time the German synthesist peels his compositions by elaborating long structures with rhythms as much variable as minimalist. Compositions always so catchy, but more complexes, where he lays his heavy and resonant sequenced structures into superb mixed-up rhythms where hang very beautiful melodies molded in his memories of Tangerine Dream.
A dense coat of iridescent mist covers the intro of "Subsesizer". Shimmering arpeggios pierce this swaying fog, digging up pulsations which cavort in the echo of these arpeggios of glasses. Complex and creative, the title-track of Subsesizer is molded in a fascinating rhythmic diversity flavored of hard-hitting reverberations. Sequences of glasses and others moving forward stealthily beneath discreet subdued choirs and percussions falling heavily draw the embryonic pattern of an evasive rhythm. A rhythm which looks for itself in this long intro and which finally blooms a little after 4 minutes under fine hypnotic pulsations which pulse under sequences and circular reverberations. From then on, the rhythm of "Subsesizer" is a sequential inversion and inter-phase shifting where sequences swirl, percussions resound and cymbals clink on a harmonic circular and oscillatory rhythm which goes up and down such as a hypnotic sequenced carousel. The hopping of the crystal clear sequences which enlace to the drum roll of "World Without Rules" plunges us irreparably into the musical universe Peter Baumann and his Trans Harmonic Nights. These sequences, which are nervously strummed there, and the synths a bit symphonic, which free brief harmonious solos all along the track, weave a musical universe so near that one would believe to hear a track stemming from sessions of recordings of this mythical album from Peter Baumann. "Heat Voyage" is a very beautiful electronic melody which begins on increasing sequences. The rhythm is arched on a meshing of pulsations, sequences and percussions, shaping a structure with slow oscillating loops with fine incursions of keyboard chords with tones a bit honky-tonk. Pleasant, the synth gives birth to melodic solos as well as some very nice iridescent mist which surround them, freeing poetic filets which hang to beautiful twinkling harmonies. Simple but very catchy!
After an intro with a bit of innocence, the rhythmic structure of "Friendly Jack" unfolds under heavy resonant sequences of which the successive keys, and sometimes deviants, draw long snakes which oscillate through synth pads and layers with a strong
Tangerine Dream flavor It’s a long track with fine variances in its structure where the short solos of synths and the percussions add an interesting depth while moving it away from its minimalist plasticity. The pulsatory rhythm of "Second Give" plunges us straight out into the universe of Exit and the Network 23 track. It’s E-rock, hard-electronic and very punchy with good percussions and nervous sequences while "Bingen Return" presents a more melodious structure with sequences of glasses which sparkle and espouse deaf pulsations, encircling a wave-like rhythm disrupted by percussions and synth pads. A lovely veil of poetry covers this rhythm which sometimes skips with more insistence. It’s a synthesized poetry where iridescent mists wrap symphonic breaths or words while the rhythm alternates between its strength and reflection beneath nice breezes of ethereal choirs. A long track with shape-shifting and evolutionary rhythmic figures, "Oceanview" begins with melancholic notes which draw dreams under the tears of an oniric flute. A heavy sequence bumps this meditative fragility and guides "Oceanview" towards an ambivalent rhythm where the heaviness remains a prisoner of this poetic vulnerability. A spectral aura floats around the sequential movement of which the flow dithers between the fall of more jerky keys or the restrained of more juicy and slow ones as well as the addition of echoing percussions and their strokes a bit felted which smother under the veils of flutes priestesses of wind poetries. And the abstruse movement of "Oceanview" continues its progression on a structure in constant tugging where the rhythm stows with a melody which goes astray in the mazes as much atmospheric as rhythmic where the melodious reminiscences of Baumann pierce our ears.
Minimalist and melodious, rhythmic and oniric, Subsesizer navigates on the ambiguity of its rhythmic structures and its harmonious approaches. One of the big strengths of
Uwe Reckzeh  is his art to mold sequences which subdivide and crisscross to draw deviants, heavy and catchy rhythms to whom bind melodies sometimes contrasting. And on Subsesizer the synthesist of Nordrhein-Westfalen digs deeply and takes the time to exploit his rhythms and to melt his melodies on them. Melodies which sometimes accord and other times clash but which constantly attract the hearing and the amazement, the sign that we are in the presence of a very beautiful album.

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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