mardi 24 avril 2012

ERIC Van Der HEIJDEN: Dal Segno (2011)

"I adored the harmonious and emotional depth which goes out of this splendid album!"
1 Signature of Signs 1:36
2 The Inner Self 8:59
3 Feel 5:40
4 Sign of Life 8:11
5 Joy of Being 8:27
6 Beyond the Dream Lies Universal Love 13:01
7 Dal Sagno 8:28
8 The Journey 18:26

GROOVE: GR-182 (70:43)
The first time that my ears crossed the melodious electronic world of Eric van der Heijden it was with Da Capo, from the album of the same name released in 1998, that the band MorpheuSz (group for which Eric van der Heijden is part of) reworked on the album From the Forgotten Rooms of aLonely House. I had found that very beautiful and hyper melodic, with a net influence for the orchestral structures of Vangelis. Dal Segno is made in the same mould. It’s an album as intense as poetic with dreamy and melodic structures which abound and form some very beautiful ear worms around superb electronic ballads.
Dal Segno means The Sign. The sign is the universal language. And the universal language could be the one of music. To say the least it’s the nature of the text recited by Caren Weisleder over the floating mists of "Signature of Signs". This ethereal intro leads us to "The Inner Self" and its dramatic and symphonic breaths of synth which sing on beautiful modulations from a misty synth. Mists which float adrift on violin clouds, bringing down a rain crackling under the thunders of cymbals. The movement is of an angelic tenderness. Cradled and propelled by iridescent breezes, it glides towards the melancholies of an electric piano of which the notes fall as tears in the middle of a fine whirlwind of a dreamlike rain, drawing a nostalgic melody which charms the choruses singing on heavy orchestral modulations. This evasive melody continues up to the bells of a cosmic angelus, introducing "Feel" from which the morphic sweetness ends the delicate poetic trilogy induced by the first breezes of "Signature of Signs"."Sign of Life" offers the first rhythmic movements of Dal Segno with a line of bass loosening its fine pulsations which beat a delicate measure around a series of three keys to tones of felted wood that some sober percussions frame with delicate strikings. Everything is of sweetness. The synth layers divide their harmonies between tears of violins and wandering choirs, whereas those arpeggios with felted ringing draw a smooth melody impregnated of a mysterious veil. Always delicate, the rhythm increases a bit its cadence under the soloing breaths of an extremely harmonious synth which borrows the skin of a solitary saxophone. The piano notes which penetrate the introductory mist of "Joy of Being" draw a beautiful melodic line that a fine synth switches into a soft whistling to mold a more ethereal mood, giving an air which sounds so much like Mike Oldfield's melodious Foreign Affair. Percussions which click silently, a fine slightly hopping bass line and cymbals with a soft samba tempo assure the rhythmic portion which remains always delicate, while the synths and piano forge a contemplative melody which gets into tune with a more livened up and even more melodious 2nd part.
"Beyond the Dream Lies Universal Love" shows all the melodic influence of Vangelis over Eric van der Heijden. The intro is dark and frees a solitary piano which lays a wonderful meditative melody. Progressive riffs and felted echoing percussions add a balladesque depth to this track which evolves in a soft boleric crescendo à la Chariots of Fire. The harmonic line is soaked of a dramatic as well as romantic approach with a 2nd very musical part where the notes of a dreamy piano are flowing on a rivulet of prismatic sequences, while the synth is tearing the lyrical ambience with breaths which cry on the strikings of more increasing percussions. By far it’s one of the most melodious titles on Dal Segno with the title track which is to tear any armor of indifference and of which the superb strummed melody roams on an absent rhythm. The intro of "Dal Segno" soaks in a cinematographic approach with its soft pulsations which buzz with delicacy around crystalline arpeggios which drag with the solitude in the heart, depicting quite well the meaning of the expression of a lost soul. And the rhythm espouses another crescendo form with percussions to resonant strikings and sequenced riffs which bind themselves to the hatched violin strata, exploiting marvellously a philharmonic approach for a title which dresses constantly its tenderness of poignant musical elements and of which the finale is to cut the emotionalism with its glass arpeggios which ring on a sequential movement which dies out in the forsaken echoes of the dreamlike ringing. The metallic synth breezes which jostle the intro of "The Journey" throw us in the futuristic spheres of Blade Runner. A piano with solemn notes pops out and weave a melodic procession that other piano notes chisel of a high-spirited approach, drawing a fine whirlwind of notes with piercing ringing. This ritornello goes astray into intriguing pulsations while "The Journey" borrows a musical corridor more mysterious than harmonious with a synth which throws aphrodisiac sighs. Groans which roam between two moods and which are accosted by Frank Dorittke's guitar to be then harpooned by the percussions of Harold van der Heijden, propelling the soft melodic approach of the intro in a heavier rhythm where the solos of synth and guitars are trading the evasive lines of a spiral melody.
I adored the harmonious and emotional depth which goes out of this splendid album from Eric van der Heijden. Dal Segno is not a complex album, nor of Berlin School one. Far from there! But it’s an album of a surprising musical wealth where melodies weave beautiful ear worms which sing and charm on much diversified structures. From ambient to melodic, while passing by a long title with strong influences of the Dutch electronic movement, Dal Segno is the total antidote for those who miss Vangelis. It’s very beautiful and magnificently poetics. Eric van der Heijden cradles our dreams with superb strummed melodies of which the sweetnesses are devoured by beautiful orchestral arrangements and delicious crescendo as dramatic as harmonious. We cannot allow passing a so beautiful album. For those who love Vangelis, of course, and also Mike Oldfield and as well as Bernd Kistenmacher.

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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