mardi 17 juillet 2012

SYNC24: Comfortable Void (2012)

"Comfortable Void is a real journey into the soils of oblivion, there where the mists of Blade Runner float around morphic down-tempos rhythms"
1 Comfortable Void 7:08
2 Inadvertent 7:00
3 Dance of the Droids 6:38
4 1N50MN14 7:05
5 Nanites 7:58
6 Sequor 8:48
7 Something Something 7:26
8 Oomph 10:58
9 Wake (live edit) 9:48
10 There Is No Spoon 8:56


A rippling synth line comes to wrap the radioactive cloud of tones which introduces the title-track of Daniel Segerstad's 2nd solo album, the man behind SYNC24 and also Carbon Based Lifeforms. This wave which purifies the sizzling dusts of the intro embraces some delicate pulsations, guiding "Comfortable Void" towards a soporific down-tempo daubed of a fascinating line of percussions to tones of locusts which hiccup on the same lunar spindle as the melodious synth lines turning in loops in an enchanting psychedelico- morphic cover. Built around 10 titles with rhythms and ambiences wrapped by intros and outros as much ambient as ethereal, “Comfortable Void” is a real musical journey in the country of oblivion and of its artificial breaths which are connecting to slow and semi-slow rhythms that an armada of electronic tones dresses of an aura of a moderated psy-trance. Those who know the works of Ultimae Records know also in which artistic artwork are wrapped the albums of the Lyon label. And “Comfortable Void” is carefully wrapped in a slim case art which includes an illustrated notebook where Daniel Segerstad explains the ins and outs of his 10 titles which run on the contemplative feelings of an oblivion flavored of a lunar poetry.
Caressing the final cosmic phase of "Comfortable Void", "Inadvertent" espouses the introductory tranquility to quietly gallop towards a more sustained rhythm. A rhythm which quivers lazily into the vapors of a metallic ether to undulate with a retained velocity on a spasmodic line filled by hatched hoops. These hoops are turning like a slow lunar stroboscope on cosmic and angelic synth lines which are crisscrossing on a rhythm filled by good percussions and an avalanche of tsitt-tsitt cymbals, sealing the fate of "Inadvertent" which, without exploding, revives the glimmers of hope of a rhythmic approach which is drinking by both hemispheres of SYNC24. Moreover the oscillating lines which throw the oblong murky pulsations of "Dance of the Droids", which seem to beat in the helmet of a psy-cosmic diver, brings us towards these borders of more fluid rhythms. Except that the rhythmic fluidity flows into resounding electronic bends, so slowing down a rhythm which floats around arpeggios with ringings of anvils and residues of organic dusts from a cosmos in fusion, from where one cannot ignored the discreet singings of drunk Droids which slam of their metallic hands a cadence as robotics than hypnotic. Emerging out of the howling synth fluids and dogmatic cosmic drones of a galaxy without romance, "1N50MN14" clickety-clack of its metallic wings towards a slow tempo plugged on a pulmonary ventilator of which the melodious approach is closer to the sighs of an intergalactic fuck than robotics romance. "Nanites" is a smooth title which floats in a cosmos of ether of which the acid winds are moving some carillons which ring near dark voices. The 2nd part embraces an unreal rhythm of Caribbean Islands which quietly submits itself to the influences of a good morphic down-tempo wandering in the lanes of a cosmos adrift.
A melancholic acoustic guitar pierces the ethereal clouds of "Sequor" which is a soft cosmic ballad for cowboys with lost illusions. "Something Something" shakes the membrane of the slowness which wraps “Comfortable Void” since "1N50MN14", with a good bass line to threatening pulsations. The tempo is soft and elastic with strata of a synth which coo in a lunar setting, floating with the tunes of a beautiful melody to hybrid arpeggios which dream in a sphere of slamming percussions. It's undoubtedly the most beautiful title of “Comfortable Void” with "Oomph" whose intro slumbers in a dense cloud of ochred mist, where whispers and sinuous synth line are trailing behind a rhythm which delays to hatch. And it's around the 4th minute that it pops out. Firmly stood on percussions of which the successive strikings are holed of wooden resonances, this long minimalist rhythm unfolds its 7 minutes adorned of fine twinkling arpeggios which glitter of an allegorical chant on a structure oscillating of its stroboscopic spasms. "Wake" matches to the shape of the same structural tangent with a morphic intro which loosens a nice melodious synth line of which the hoops rock the oblivion and these fine and brilliant pulsations/percussions which secrete an evasive rhythm. One waltzes in space when a hatched line delivers some spasmodic riffs which encircle stroboscopic pulsations and tsitt-tsitt cymbals, molding imperfect rotations which saturate in a shape of techno intended for space clones. This rhythmic incursion of “Comfortable Void” runs out in the multi-plasmic layers of "There Is No Spoon", a splendid ambient title which seems to be taken out of the melancholic ambiences of Blade Runner, an album which was undoubtedly of use as basis of this mesmerizing ode to the void and of its undisclosable instincts of seduction.

Sylvain Lupari (July 17h, 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 about SYNC24 and hear as well as see a promo video trailer of Comfortable Void, you may visit his website:
or follow this You Tube link:

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