vendredi 13 avril 2012

F.D. PROJECT:The Other Side of FD Project...Nocturna (2011)

"Frank Dorittke shapes a beautiful melodious universe which walks in the furrows of Mike Oldfield..."
1 Nocturna 71:15

You remember the last album of F.D. Project; Water and Earth? As a bonus track, the German guitarist/synthesist had inserted an extract of a long improvised title that he had played during a concert at Satzvey Castle on May 7th, 2011. The concert was presented as "The Other Side of... FD Project". Well this other side of Frank Dorittke is now known as Nocturna. And it’s this long composition, redone in studio, which furnishes Frank Dorittke's last opus on the Syngate label. Nocturna is a long minimalist carousel of more than 71 minutes divided into 5 parts that lot of twinkling arpeggios, choirs and breaths of astral synth torment throughout of a hypnotic spiral procession which feed of fine sequential movements. Strongly filled by influences of Mike Oldfield and Tangerine Dream, Nocturna goes down softly such as a pact with sweetness.
As a door which opens on its peevish hinges, the long polyrhythmic tunnel of "Nocturna" opens with tones of caustic and reverberating waves. The synth layers which roam in suspension are squeaking among the howlings of twisted metal, hiding some harmonious chords which make contrast to a heavy intro where metal engenders coldness. But far away we hear a delicate carousel makes swirl its chords of glasses, embracing a splendid ritornello which is not without recalling the strong influence of Mike Oldfield and his Tubular Bells on Frank Dorittke. Some dark and meditative synth layers complain, such as violins’ sighs, and caress this delicate floating spiral that a bass line with upward jolts comes to cover. From note to note, the intro of "Nocturna" prepares its first mutation. This bass line opens the ball to crystalline arpeggios which are only passing by, while the percussions shake a little this innocent waddle. This new rhythm in permutation accelerates the weakened flow of this soft oniric intro which swirls with more heaviness under good synth solos. The 2nd phase of "Nocturna" begins nearby the 22nd minute with a warmer approach. Morphic waves and choirs push a fine sequential movement to skip stealthily on an always circular structure. The rhythmic output is more fluid and melodic. Standing on neutral percussions it revolves under soloing synth breezes, which are not without reminding to me some nice melodious approaches of Tangerine Dream from the Schmoelling era, and some beautiful shimmering arpeggios in which the sparkling gets mixed harmoniously within angelic breaths. This delicate and somehow oniric tempo brings us up until the 31st minute point, moment where Frank Dorittke grabs his guitar. This 3rd segment is a beautiful unexpected passage which cuts the spiral magnetism of "Nocturna". It offers a strange structure of abstracted Western with chords of solitary cowboy which drag among limping sequences such as clogs badly adjusted under a sky pummeled by solos of a guitar as incisive as poetic which competes with a synth with aromas more and more influenced by Tangerine Dream.
We are at the 40 minutes spot and "Nocturna" starts changing skin like a snake on fire. A sequenced bass line emerges from the astral crystalline breaths. Its ascending movement takes back whirling structure which imposes the quiet rhythm of "Nocturna". More fluid, the twisted ritornello rolls its sequenced chords under ethereal breaths and prismatic keys. After a short black passage, crystal clear sequences dance below the paradisiacal breaths of a smooth synth. A synth which hears the sequences subdivided their keys and gets cling to this upward bass line which had evaporated earlier, while percussions beat down to draw a short rhythmic turbulence. And little by little the silence of celestial bodies is returning. The poetry settles down with waters which flow from nowhere and breaths forgotten in a musical labyrinth where shine floodlit keys. And the frank rhythm gets back. Hammered of sober percussions, it kowtows beneath iridescent winds and arpeggios which shine constantly around the permutations of "Nocturna". We reach the 58 minutes and the spiralling crystal notes draw arcs more fluid while the sequential movement opens wide its musical tangent, leaving its sequenced ions multiplied and crisscrossed, to bind itself to another bass line as much hesitating than as softly throbbing. From fluid to bouncy, the rhythm of "Nocturna" continues its accelerated permutations over a short period of time, ending its procession polyrhythmic in the airs of a slow morphic techno where the knocks of sequences and percussions are coated by a synth with perfumes of Vangelis.
Writing a long suite of 71 minutes without losing anything of its vital lead is an ambitious project that FD Project fulfills very well. Forgetting his guitars and concentrating more on sequences and musical effects of the synths, Frank Dorittke shapes a beautiful melodious universe which walks in the furrows of Mike Oldfield and his series of virginal chords which draws the main lines of his cult opus Tubular Bells. I liked it very much. This is nice Berlin School. Poetic and dreamlike, without clashes nor complexities, which flows like a beautiful soporific tale, keeping us well awake; eyes closed to daydream on the winds of the chimed spirals.

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 F.D. Project and hear some MP3 snippets, here is his website link:

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