samedi 28 juillet 2012

VOLT: Circuits (2012)

"Volt is part of EM big names in the same way as Ramp, Redshift, Arc or Arcane are and Circuits confirms the importance of the English duet in the chessboard of contemporary EM"


1 Circuits 20:24
2 Ohms Law 19:22
3 Firewire 21:38

GROOVE: GR-192 (61:24) ****1/4

It has been a long time since we heard some new music of Volt. And a little more, we would have even waited for a long time. Possibly forever! Nevertheless the “Circuits” project was on rails shortly after the superb HjVi, except that some internal problems (in what I believed to understand) as well as Steve Smith's solo project (Phoenix Arizona) and Michael Shipway's (Journey to Venus and The Three Towers) delayed the finalization of “Circuits” which was conclude by distance with Ron Boots' support who did an amazing job on mixing a whimsical album based on electronic tones of all stripes, depicting the microscopic universe of the electronic chips and circuits. “Circuits” lives by 3 long titles which renew with the long deployments of the minimalist rhythms of Volt, with sequences sometimes docile and sometimes crazy and synths sometimes musical and sometimes aggressive which depict the turbulent universe of Michael Shipway and Steve Smith.
Short waves' cracklings and noises, causing interferences in the absolute oblivion, open the labyrinthic meanders of white noises which compose the title-track's slow introductory path. Some discreet and misty synth waves with a scent of a vague archaic organ float behind these electric phonemes, guiding the abstract ambiences of "Circuits" towards a cosmic passage to finally bind themselves to keys dancing in opposite sense. These sequences which play cat and mouse with an embryonic rhythmic draw a virginal approach with ions cavorting under ghostly waves. And abruptly this innocent rhythm collides the barriers of the impassiveness at 12:13 with muffled knockings which hammer a static and heavy rhythm, keeping beneath its resonances these sequences which flutter with innocence on a structure become of lead. This heavy and melodic rhythm raises allegorical clouds in the presence of synths exchanging solos which are courting mists of ether, releasing a soft perfume of madness with these Arabic airs which decorate a structure already rich in rhythm and harmonies. A rhythmic structure which goes alone to offer to our ears a stunning dialogue of sequences and crackling waves which dies in heavy artificial beatings. "Ohms Law" presents a more musical intro with lines of synth which cross their spectral wanderings above a magnetic storm, while a more premature rhythm settles down with metallic keys which drum a vaporous march under a sky tinted by threatening mists and eclectic tones. A hesitating pulsation emerges from this mini industrial din, modifying a rhythm which becomes more rhythmic with a mixture of pulsations, sequences and percussions sounding as wings of ice-cold locusts. Like a one-legged man, this rhythm skips awkwardly. Staggering, it gains a second leg to roll in undulatory circles under solos of two synths which don’t sing the same melody but which harmonize themselves to flood the ambience of a delicate oniric mist and some great fluty breezes while the rhythm, which wins in heaviness and velocity, is always decorated by these superb wings of electronic locusts.
The rhythmic evolution of "Firewire" is latent. Circulating between wild winds of which the extremities suddenly appear both from heavens and from hell, some fine echoing hoops pop out a little after the 3rd minute to jump in the arc of their resonances under the dark eye of a synth with breaths aired by colorful electronic elements. This short-lived rhythm is gobbled up by a deluge of twisted solos which roll its lamentations in clouds of mist slain by darkness. And it’s in these lost breaths that the rhythm gets back to life beneath another shape, demonstrating all the capacity of Volt to amaze again and again. It’s a splendid rhythmic structure built around fine rebounds stick one after the other, moulding a stunning glaucous ride through the somber tunnels of lines of fire of which the resonances throb such as the black breaths of ['ramp] or Redshift. Fine fluty laments sound the end of this apocalyptic ride which takes more vigour with electronic percussions which hammer a rhythm more lively than curt under wonderful solos to tones as alive as musical, entailing "Firewire" towards a finale which seethes of caresses coming from a musical purgatory as much musical as anarchy.
Volt is part of EM big names in the same way as ['ramp] , Redshift, Arc or Arcane are. And “Circuits” confirms the importance of the English duet in the chessboard of contemporary EM with a powerful album which allies the rhythms and ambiences to the diapason of their paradoxes with a skillful dexterity, witness that the universe of EM is not only between good hands but is also blooming more than ever beyond the unlimited imaginations of its designers.

Sylvain Lupari (July 28th, 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=15372

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