lundi 9 avril 2012

KELLER & SCHONWALDER: Red (2012)

"Red is a wonderful opus of a surprising sweetness with progressive and evolutive rhythmic and harmonic structures."
1 Red One 32:07
2 Red Two 14:44
3 From Red to Green 20:22

Manikin | MRCD 7095 (67:13)

Oh does it feel good to hear some new stuff from Broekhuis, Keller&Schonwalder! Not that the Repelen odyssey wasn’t good. Far from it! But I was quite in eager to hear the suite of Orange and, especially, Blue. And the wait was worth it. I'm not mistaken by writing that Red is the best work of the trio since moons. More melodious and sharply more poetic than Blue, Red presents 3 long minimalist structures where the Berlin trio honours its reputation of masters architects of evolutionary musical structures with interchangeable rhythms which are exchanging some permutatives melodies as lively as oniric.
Percussions fall with crash. Their curt and loud knocks awake a latent iridescent synth wave which makes dance circular chords to introduce this long minimalist river that is "Red One". From then on settles down a bed of sequences which teems under different rings and tones on a delicate movement with fine permutatives nuances. We have the feeling that the rhythm is starting to galloping, yet it hardly moves. Pecked by the knocks of beaks of sequences which chirp and buzz finely, the rhythm skips slightly under warm and morphic synth layers. Layers which crisscross and skim over this ambivalent rhythm which fidgets without knocking down its structure and which quivers without disturbing its melodic path. A rhythm divided between its oniric sweetness and its chaotic jumps, linked to this sequences/percussions union, which deviates subtly from its bewitching hypnotic axis towards the 15th minute with a more ethereal passage. A short passage where the percussions always hammer the insistence but where sequences get out of breath, pulling "Red One" towards a bi sequential rhythmic structure with a pulsatory line and another more harmonious one, drawing a melodic rhythm wrapped of an electronic mist, of resonant cymbals and swallowed by great synth solos. We easily let ourselves lulled by this passage as much rhythmic as morphic, but the cymbals which ring far off announce more unbridled percussions which accumulate more and more, falling very hard on a finale which resists this assault of the electronic skins before taking back its hypnotic rhythmic course.
More aggressive, "Red Two" falls for a caustic intro where Tabla percussions and alternate strikings sequences emerge to weave a surprising clanic rhythm which pulses of a frenzied pace under the howling layers of black metal. Only vestige of this corrosive intro, a line of bass makes buzz its heavy notes, while the tempo of "Red Two" becomes milder with synth layers more dreamlike  which wrap a rhythm always very active and captive of its tribal percussions. And it’s the charm of "Red Two". On a mixture of electronic percussions, drawing tribal rhythms, and a line of bass to buzzing notes, the rhythm of "Red Two" bursts under a scarlet sky where solos and harmonious breezes of synth are bickering the tranquillity of spaces and melancholic mists in some rustlings of creased metal which roar parsimoniously, displaying all the splendour of the melodic paradoxes from minimalist structures. "From Red to Green" comes to put the final touch to this superb album of Broekhuis, Keller&Schonwalder, which is solid from start to end, with an ethereal intro where floating choirs roam in astral decors. A beautiful strummed melody appears from it. Letting go its nostalgic and harmonious notes in the eye of a prismatic and metallic whirlwind, the piano hears some keys skip with verve to mold a nervous sequential line. A fine melody follows, to nest in the hollow of a spasmodic movement. A movement which accentuates its rhythmic crescendo, with sequenced riffs and more insistent percussions, that some suave twisted solos embrace of their spectral twists making forget the piano notes which got lost in an amplified rhythmic structure. This curt and bouncy rhythm, pushed by splendid howling solos, gets back in touch with the harmonious ashes of its nostalgic piano notes which reappear out of the iridescent mists of an intro that we had forgotten on the dreams of this heady minimalist procession.
Can the minimalist art become annoying? The question pops out each time that our ears are confronted with minimalist structures which flow as long quiet rivers, shaken by some harmonious torrents. Well not! To say the least, not the music of Broekhuis, Keller&Schonwalder which is all in nuance and of which the fusion of sequences/percussions brings an unsuspected rhythmic depth to a decaphonic work. Red is a wonderful opus of a surprising sweetness where the rhythms, and this no matter their forms, are of use as cradles to melodies as enchantresses as morphics. Rhythms and melodies flew over and flogged by twisted and corrosive synth solos. Synths imprinted by mists and chthonian choruses. In brief, all the melodic universe of real good minimalist Berlin School! I adore!

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=15102

* 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: http://www.manikin.de/

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