mercredi 11 avril 2012

KELLER & SCHONWALDER: The Hampshire Jam (2012)

"The Hampshire Jam is a great concert with great sequenced base minimalist music, as only Broekhuis, Keller and Schonwalder knows how to create."

1 The Road to Liphook 26:35
2 Do You Remember the King? 26:18
3 Flow and Beat 16:59

Syngate: CD-R MRX2 (69:52)

Firstly released in 2005, as a111 CD-R edition, the 2004 Hampshire Jam concert became of the most appreciated bootlegs of the famous trio master of long minimalist structures. It was a very beautiful audience recording captured by Tony Sawford. These tapes were worked again and remasterised by Gerd Wienekamp (Rainbow Serpent) for the German label Syngate Records. And the final product is very good. In spite of some small distortions problems, when played high volume (and it’s really petite), The Hampshire Jam offers a better sound brightness of a superb concert where the improvisation served marvellously the long minimalist explorations of Broekhuis, Keller & Schonwalder with 3 long titles to structures rhythmic as captivating as lively. In fact this is some very good Broekhuis, Keller & Schonwalder. Poetic and energetic, the trio displays its longs sequential movements to foreseeable and fluid torrents which swirl constantly beneath layers, mist and solos of synth at both ethereal and spectral.
Some fine breezes and galactic tones in fusion introduce the first stammering of "The Road to Liphook". Warm and inviting, the synth breaths lull the stars of Orion while fine drops stigmatize this ocean of astral winds. Tablas percussions drum delicately. They patiently wait for a sequential line to spits its frenzied chords. They hop nervously, oscillating in wide hypnotic loops and drawing the main rhythmic axis that which will flow throughout the evolutionary phase of "The Road to Liphook". Mesmerizing, this rhythm in priori circular, caresses our senses. Covered which it is by short soloing laments and warm synth breaths, imprinted by sighs of nostalgias and mists of melancholies, it progresses of an attractive slowness on percussions and sequences which become more and more insistent. And slowly, at around the10th minute point, this rhythm hops. Always coated of breaths of tranquility, the sequences rebel against and take a latent impulse. Subdividing their strikings, they drum of a brisk rotary movement under the tsitt-tsitt of cymbals and the muffled pulsations of bass-drums, while dark choirs wrap this rhythm which swirls of its technoïd jolts. But these swirling sequences isolate themselves and sparkle as untied ions on an abandoned structure. A structure caressed by soloing breezes and which exudes the liberty of its intro when the rhythm takes back a last cadenced sprint to preserve jealously its sequences. Sequences which spin in a musical carousel beneath movements of percussions along with chiselled and twisted synth solos, leading "The Road to Liphook" to the borders of a morphic techno adorned of a suave electronic envelope that has never given up its original rhythmic structure.
According to the same precepts, "Do You Remember the King?" is wiggling on subtle manual percussions which pierce the veils of an intro bathed in an iridescent mist and enchantress flutes. The percussions multiply their strikings, becoming allied with sequences to wooden tones which quiver on a rhythm gleaming of technoïd effervescence, a little as a segment escaped from "The Road to Liphook". And as in "The Road to Liphook" the rhythm of "Do You Remember the King?" stays forbidden. Forbidden of explosion, it’s softly pounded by a mixture of sequences and indecisive percussions that caresses of flutes wrap of an oniric delicacy, while cymbals click their tsitt-tsitt and that synth waves spin in loops, converging towards this stationary rhythm in an intense linear implosion. Hoops of limpid sequences encircle this vast vertical movement which wriggles and gesticulates in all senses, freeing sequenced ions which lose their cohesions into some knocks of tribal kind percussions and these hoops of synth which coo under the soloing breaths, decorating a finale which embraces some soft souvenirs of the King’s digital era. The intro of "Flow and Beat" is one of dream. Some nice synth layers lull the solitude, accompanied by Arabian winds which drag a world of melancholy. These crisscrossed breaths weave a poignant poetic approach that some forsaken piano notes are wrapping by an aura of perdition. But glaucous pulsations forge themselves at far. They attack the serenity with aggressive cymbals and muffled pulsations, drawing the wild destiny of "Flow and Beat" which will stay of hammered rhythms for the next 10 minutes. Throbbing pulsations, spasmodic and stroboscopic sequences in diverse forms and tones, cymbals and insistent percussions; "Flow and Beat" is carved in a furious rhythmic alloy which will bend only of a weak harmonious nuance, whereas that a series of wavy piano notes and synth solos, as floating as incisive, wrap it with a harmonious layer. And it’s into the vaporous mists that the glaucous pulsations, the cymbals and the last percussions rollings that sounds the knell of "Flow and Beat" which fights for its survival but which ends to dies away after more than 12 minutes of furious sequential hypnotic loops.
Even in its minimalist frames the music of Broekhuis, Keller & Schonwalder is always evolutionary and sometimes explosive, The Hampshire Jam shows it amply. It’s a very beautiful album which is in the continuity of Music of the Machines where the crescendo of the sequential structures, superbly well supported by Bras Broekhuis' percussions, tergiversates to insufflate long moments of cerebral hypnoses. It’s a little as if the cross-bred rhythms of the trio always stayed prisoners of their hypnotic and melodic structures. And I believe that it’s what makes the charm of Broekhuis, Keller & Schonwalder. So, here’s another album of BKS to be added to your collection.

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 more and discover the musical world of Broekhuis, Keller&Schonwalder and hear some MP3 snippets, here is Manikin website link:

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