vendredi 15 juin 2012

TANGERINE DREAM: Machu Picchu (2012)

"Even if the melodies seem cold and calculated, Machu Picchu is a nice album which has its numerous winks of eye at the great years of the Dream"

1 Caminos del Inca 10:00
2 Machu Picchu 5:32
3 Adios a Cusco 8:09
4 Tayta Inti 7:26
5 Rio Urubamba 5:57
6 La Piedra Intihuatana 8:14


If we trust the guide of press, Machu Picchu is a very personal work that Edgar Froese caresses since 2002. The work reached its creative paroxysm further to John Peel's death, famous disc jockey of the British radio BBC, who was one of the first journalists to believe in the potential of progressive and electronic music in the 60’s, of which Tangerine Dream. It's in Peru, near the crowned site Inca of Machu Picchu that John Peel breathed his last breaths, so explaining a title and an album which bears a little to confusion. Confusion because nothing lets perspire any kind of tribute to John Peel. The music being very far from the embryonic years of the Dream, and the ambience which surrounds Machu Picchu has nothing to do with the influences of an Inca world. But is it good? Hum... I believe so ... and here is why!
Machu Picchu, it's the dream became reality! It's Edgar's reincarnation in the musical temples of Tangerine Dream. Really that I hear some of you whistle? Yes! But there's a snag ...there is always a snag somewhere. Leaned on a sequential pattern which weaves galloping and oscillating rhythms from the Stuntman and Pinnacles years and embroidered in sober and calculated melodies in the coolness of Edgar Froese's angelic synths, Machu Picchu is a surprising journey through the labyrinthine meanders and antipodes of the mythical German group. Surprising, Edgar spreads a superb pattern of sequences to hundred rhythms and ambiences that synths with melodies overused in an imagination dried up by an excess of productions are covered, by moments, of a melodic coolness which calls back the Miramar and TDI years.
Like a finger touching the surface of water to draw gleaming waves, a note falls and awakens the lamentations of a synth from which the breaths crystallize some weak scattered chords. One would imagine being in a musical lake of Tangerine Dream where the timeless sweetness of Legend caresses our ears. A bass line drops its notes which float in suspension, awakening some souvenirs of Flashpoint, while rippling synth vapors are cuddling the hesitation. These notes align themselves and form a fluid sequential movement which waves under a pensive melody, leading "Caminos del Inca" towards its first sequential rebuff. It’s a brief moment of revolt before that the soft rhythm takes back its rights which will be scoffed here and there by short interludes that Edgar is watering of an ethereal poetic approach which goes up until the title-track. By far the weakest track on this last CupDisc, "Machu Picchu" sits on sober slamming percussions and melodic chords to the timbres of the Eastgate years that a chirping synth wraps of an insipid northern melody. Even if the duration is relatively short, its listening turns out long and boring. It's the only stain to Machu Picchu which recaptures the hair of creativity with "Adios a Cusco", dedicated to John Peel, and its bed of sequences from which the oscillating crystalline keys are dancing like a frenzied duet and are lulling a progressive tempo. A tempo which gradually carries at rhythm's length a soft and ethereal melody full of sweet breezes of silk and its electronic drift. "Tayta Inti" is heavier and darker. Its percussions shake nervous sequences with interrupted flows while the synths and its iridescent spectres chant a mesmerizing night-melody. As on all the titles of Machu Picchu, the rhythm is broken by interludes, ambient or floating, before the tempo spurts out again with a little more energy. If the synths seem to miss airs, or melodies, the sequencing is always bubbling. A bit intriguing, "Rio Urubamba" presents a beautiful harmonious approach with a so romantic and nostalgic synth blowing its perdition on a bed of sequences dancing in a spiral disorder. It's really a very beautiful title! "Piedra Intihuatana" concludes Machu Picchu with a galloping rhythm which walks with a spur gait on a good melodious approach. An approach weaved in the shade of a synth always so melancholic but fed by a filet of hope. The pace is steady and minimalist before hitting a quiet atmospheric chaos where the hesitation of the floating arpeggios proposes a good ambient moment, as it pours almost everywhere on this long romance of 45 minutes.
Always according to the legends that Eastgate tries to forge around Edgar, Machu Picchu was suppose to stay in the vaults of the old fox. It's his wife who would have incited our debated eclectic character to put this album within the reach of his fans so much she saw fit. And I owe admit that the advice was wise. Machu Picchu is a beautiful album. There are lots of winks of eye at the great years of the Dream. If melodies seem cold and calculated, the sequencing forgives this small gap with superb lines to hundred forms and rhythms. In fact, it's an album which allies the rhythms and melodies of the empirical years of the Dream to those lighter and colder of the Miramar and TDI years. I think it's a must buy for any TD fans...
Sylvain Lupari (June 14th, 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

1 commentaire:

  1. Thanks Sylvain, I hadn't really paid much attention to Machu Picchu but I've checked it out again now, very happy I did too!


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