vendredi 31 août 2012

ERIK WOLLO: Airborne (2012)

“Drawing from the rhythms and ambiences which made the bouquets of his last releases, Erik Wollo offers an inspired and inspiring work”

1 Spring Equinox (Prelude) 4:10
2 The Drift 5:17
3 Red Earth  6:59
4 Airborne I 5:39
5 Circle Lake 4:30
6 Lost and Found 6:40
7 Airborne II 5:30
8 The Longest Day 6:02
9 Time River 6:36
10 North of the Mountains 5:13
11 The Magic Spot 6:00
12 Airborne III 5:07

PROJEKT: PRO00278 (CD 67:52) ****
Always subjected we shall be by this guitar with rangy spectral curves and with meditative night-lamentations which get lost in absent synth breaths. Welcome to the unique musical universe of Erik Wollo. After a detour in the more atmospheric and more experimental musical territories of “Silent Currents: Live at Stars' End”, the poetic nomad of the Scandinavians lands returns to us with an album where the rhythms and ambiences torture fine melodies sometimes cheerful, contemplative or lunar on short minimalist escapades.
A fine brook of twinkling arpeggios awakens the sleepy breaths of "Spring Equinox (Prelude)" which displays the floating and contemplative portions of “Airborne”. Slow and oblong synth/guitars layers spread their somber melancholic breezes which wave such as floating spectres, lifting prismic particles which glitter under some intense strata filled of heavy vaporous modulations. A guitar rises. We would believe being at the crossroad of Pink Floyd (Shine one You Crazy Diamond) and
Steve Roach (Desert Solitaire) with this guitar which embraces morphic phases with suave solos torn by stillness, guiding the first breaths of “Airborne” towards the delicate rhythm of "The Drift". This soft vampiric rhythm leans on nervous riffs which quiver in a beautiful linear movement on aboriginal percussions and beneath the layers of a dark synth which mixes its hollow breaths with the fine distortions of a guitar which remains rather angelic. With its guitar riffs rolling in loops on a flat structure that sounds like U2, "Red Earth" plunges in a clanic rhythmic which exudes the legends of the American West. Fine tears of guitar obstruct this red sky which reflects its beams of clay on a rhythm became more compressed by percussions of which the knocks as much slamming as felted oversize a rhythmic approach always maintained in its pacificator role by this fusion of synth and guitars to layers and laments which are crisscrossing in an eerie pattern of morphic psychotronic rock. "Airborne I" wakes up to the sinuous and sensual bites of a bass line which smells so much like Patrick O'Hearn's to finally succumbed to the dark charms of a piano of which the melodic pattern is sliding towards a charming and exhilarating electronic ballad. This melodic structure will be the spearhead of "Airborne II" which offers a more fluid rhythmic melody. Softness and meditative poetry in a murky ambience, "Circle Lake" is another pearl with its acoustic guitar which plays its melancholic notes over a cloud of ethereal mist. That's very beautiful and so solitary, as "The Longest Day".
"Lost and Found" starts with an atmospheric intro tortured by lamentations a forsaken guitar that synth layers are wrapping with a soporific veil. Fine percussions drum remotely, bringing a feverish rhythmic structure which pounds with a tribal aura which is similar to the nervous rhythm of "Red Earth"."Time River" is a very nice electronic ballad which flies on fine table percussions and soft synth layers with breaths of ether. Discreet, the guitar draws beautiful morphic lines and shapes delicate solos which waltz in the forgetting on a melodic theme that
Wollo developed on works such as “Between Worlds and “Gateway”. Intros molded in ambiences of lost horizons are legion on “Airborne”. They serve to fragile rhythms which surround some sweet melodies sometimes innocent, as "North of the Mountains" which also leans on a delicate hybrid rhythm to the bewitchment as much tribal than morphic, especially with piano notes which whisper a soft nostalgia to our sleepy ears. "The Magic Spot" explores these clanic rhythms in a darker ambience with guitar strata which tear the darkness, throwing sieved veils on balanced palpitations and the murky blows of an absent Didge. The mood is of a tight blackness and settles a climate of discomfort with this thick cloud of palpitations forged in various sonic forms which draw the arid rhythms of “Airborne”. A guitar with crying and metallic tears waters "The Magic Spot" with a veil of bitterness, an element as sombre than melodic which surrounds the rhythms and ambiences of Erik Wollo's last present that "Airborne III" concludes in the same way as it begun, except that sighs of fanciful violins replace the writer odes of a guitar that we would want still so present.
Airborne” is what we call a very beautiful album. Drawing from the rhythms and ambiences which made the bouquets of “Arcadia Borealis, “
Frontiers” and the wonderful “The Road Eternal”, Erik Wollo offers an inspired and inspiring work where his tears of heart-rending and floating guitars are embracing a fine incursion in a universe as much clanic as “Between Worlds and desertic than “Stream of Thought”. An ideal mixture which enchants and demonstrates all the Erik Wollo's propensity to work in a mysticism filled by enchantress glimmers. It’s a nice and musical album for the souls who look for the peace of mind in a universe of contrasts where the beauty is often insidious.

Sylvain Lupari (August 29th, 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

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