mardi 31 juillet 2012

PERGE: Dyad (2012)

"Beyond the compositions which seem stunningly getting out of studios that Tangerine Dream has hid in a parallel universe, Dyad remains a superb album"

1 Temple of Trajan 6:47
2 Drusenfluh 2:41
3 Schesaplana 7:45
4 Zimbaspitze 9:21
5 Vorder Grauspitz 8:00
6 Naafkopf 10:49
7 Sulzfluh 1:38
8 Falknis 5:23
9 Dyad 12:18
10 Sassauna 12:31

PERGE MUSIC (CD 77:18) ****½

There was a time when the legend spoke about it. With years this legend, as the souvenirs, faded to fall into oblivion until finally the first notes are brought to our ears with the introduction of "Temple of Trajan". The legend in question is this famous concert that Tangerine Dream would have given on the night of January 31st, 1981 during the eclipse of the sun and the moon of the “Dyad” planet under the big tent of the Dröing stadium. A concert in another space-time where each note seems to be moved in time and where every melody walks beside the one written for our time-space. Delicate, "Temple of Trajan" walks in the furrows of Quichotte Part I opening, better known under the title of Palace of Dreams. We feel a more melancholic Schmoelling who brings nuances in his notes, reflecting marvellously the fragility of the parallel universes that Tangerine Dream rode without scruples. By the way, you believe in this story?
Perge is the new idol of social networks which flirt with EM, more specially the music of Tangerine Dream. Except that you should not be carried away by this wave of fanaticism and think that Perge is only a carbon copy of Tangerine Dream. It’s far beyond a simple imitation. Consisted of Matthew Stringer on synths, piano and guitars as well as Graham Getty on sequences, Perge is simply paying tribute to the mythical Berlin trio in the most electronic and most melodic skin that is, the one of Franke, Froese and Schmoelling. And “Dyad” is a concert imagined and played live in studio in the full respect for the electric concerts of Tangerine Dream during the 80-81 years. And throughout this imaginary concert, the listener is downright plunged into the universe of the Dream with 10 compositions which are the mirrors of titles as electrics as Undulation, Force Majeure or still Silver Scale. Mirror because the compositions of “Dyad” are molded in known and especially unknown territories of the mythical German trio, a little as if the Stringer/Getty duet had drunk in secret in a horn of plenty forgotten during this famous concert at the Palace of Trajan before to land on the other side of the mirror of our space time in a splendid bootleg which has nothing to envy to those that we already known.
After a bridge forged in a very musical synth in "Drusenfluh", the stormy sequences of "Schesaplana" entail us in an undulatory rhythmic whirlwind forged in sequences of which the curt flow draws a convulsive rhythm which gallops with a contagious frenzy beside percussions with minimalist jingles. This rhythm which is astride of the metallic plains of the Dream on Force Majeure is carefully coated by a synth with the fragrances as much orchestral than melodious, bringing the best of both worlds known of Tangerine Dream for this era. Respectful of the structures for the rhythms and ambiences which furnished these legendary concerts, Perge alternate the hard rhythms and melodies with "Zimbaspitze" which starts with an atmospheric intro before embracing a melodic rhythm and ends by a heavy rhythm bathed of luxurious synth solos. Molded in the ashes of Calymba Caly, "Vorder Grauspitz" flows with more fluidity without for much denying its origin. After an intro charmed by the fluty breezes of Tangram, "Naafkopf" is sinking in a heavy and circular rhythm which swirls all around the melodic skeleton of Tangram with thundering sequences and synths intensely lyrical and heartrending. One would believe to hear a first sketch from a key title of Tangerine Dream and his new musical orientation back then. "Sulzfluh" and "Falknis" offer us some unreleased work with a slow rhythmic evolution which starts from the twisted and reverberating breaths of "Sulzfluh" to land in the heavy undulatory rhythms of "Falknis". Rhythms which are sit on sequences with arrhythmic palpitations encircled by percussions slamming in the harmonious and metallic breezes of silvery synths. "Dyad" is a résumé of every rhythmic and harmonious approaches of the Dream of the years 80-81 with agile flittered sequences and heavy synths to iridescent membranes from which the apocalyptic breaths die in a finale filled by Tangram / Quichotte fragrances. This title which merges harmonies cooing on marbles of lead crowns an enchanting concert that the magic of today restores for us with a striking encore coming from the emblazons of Silver Scale in "Sassauna", where Matthew Stringer pleases the absent crowd by a guitar solo with mordant riffs.
No Perge is not Tangerine Dream, even if we believe in it firmly so much the fiction catches up the reality. And that the purists as well as the die-hard fans are in agreement or in disagreement, Tangerine Dream will continue to live through the cult that his fans dedicates him. Whether it is through works filled by absent subtleties or others downright more direct, the magic of Tangerine Dream will always be of use as rampart to artists who judge that his phases were abandoned without everything was exploited at most. That’s the reason for being of Arc, Free System Projekt, Arcane, René Splinter, Redshift, ['ramp] and how so many others. The difference with Perge is that core attacked is the one of transformation between two periods where the musical signature of the Dream radiated of a wind of revival in a style which wallowed on one's laurels. And only at this level, “Dyad” is a success. Beyond the compositions which seem stunningly getting out of studios that Tangerine Dream has hid in a parallel universe, “Dyad” abounds in a music which misses cruelly to the fans of a period that we would have wanted timeless. It’s a superb album inspired with the biggest of the respects for a cult trio who gave us so much in so little time, that it’s just normal to think that there are leftovers somewhere in another galaxy. I invite you to read Matthew Stringer's reflection about “Dyad” on the Perge Facebook page:
https://www.facebook.com/pergemusic
Sylvain Lupari (July 31, 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=15377

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