mardi 21 août 2012

MAC: Destroyer of Memories (2012)

"Destroyer of Memories is a dark album full of bitterness and resentment where the boiling Italian synthman averts his spells and faults"

1 How Sad 10:11
2 Why Now 5:47
3 Like a Phonograph Caught in a Groove 18:30
4 No More 6:01
5 Last Attempt 1:56
6 Just Vanish 7:58
7 Why Now (guitar Version) 5:31

CLASSIC EM SERIES Vol. 18 (DDL or CD-R 55:54) ***

Some people just disappear or fade from your life. Others manage to linger on long enough to destroy all the good memories you could preserve of them and the part of life you shared with themMac, May 2012. It's in this vision and these experiences of life that Mac conceived the main lines of the 18th album from his Classic EM series. You will have guessed it; “Destroyer of Memories” is a dark album. An album full of bitterness and resentment where the boiling Italian synthman averts his spells and faults with an EM which continues to investigate the labyrinths of the protean structures with rhythms and ambiences which call out to one another in a brilliant symbiosis where the paradox reigns in a universe of contrasts.
The fine sequences which flutter at the opening of "How Sad" forge a nervous rhythmic approach which makes roll its timeless loops up to the heavy twists of a synth with acuteness breaths. Agile, they spin with grace in a glaucous universe where the harmonies are rising with pain in the soul before subdividing their rhythmic singings towards a more fluid movement, impregnating an undulatory rhythm which coos under the lyrics of a more melodious synth. "How Sad" is a great way to enter into the universe all in contrasts it of Mac. Flying on the wings of In the Wind, the Italian synthesist continues to merge his view of classic Berlin School with more progressive approaches or even downright rock as in "Why Now" and its tempo of gang of street which skips on the ample undulations of a line of bass. As much heavy it is, the beat is besieged by fleeting clouds of limpid sequences which come and go to titillate a robotics rhythm. A pace of lead which stumbles over isolated synth pads and heavy riffs of an electronic guitar that even the beautiful flights of a fluty mellotron can’t manage to contain. It’s little as if Peter Baumann's harmonious universe would meet a mixture of Synergy and Michael Rother in fury. "Like a Phonograph Caught in a Groove" widens its pattern of ambiguity in an eclectic mist from where emerge layers and floating coils of a melancholic synth. Sequences come out from these abstracted paintings to skip of an undulation which hiccups of spasmodic kicks in a sea of cloistered excitement. This dead rhythm embraces some more harmonious lights at around the 9th minute with the appearance of another sequential movement which sparkles of an evanescent crystalline tone before falling in an interstellar space where shines a multitude of isolated ions. Ions which trumpet like a concert of xylophone in emptiness before espousing a brief more concrete rhythmic structure. An ephemeral rhythm which plunges into an ambient finale stuffed with the heavy reverberations of a stormy synth which drops its laments in a cloud of ether.
"No More" is a good post Düsseldorf School title with percussions which click of a movement introducing a parade of fashion with its cybernetic models. The movement is curt and fed by oscillating curves which undulate under a thick cloud of waves of an ochred synth which throws its sighs and lamentations through a blanket of mist. Stigmatized in its synth-pop approach, the tempo is switching shape in the middle-route, embracing a tangent as much technoïd as futurist with fine sequences to tones of a xylophone of glass which spin and dance vigorously under the twisted solos from a synth to hybrid tones."Last Attempt" is a brief escapade in an intergalactic universe, introducing the very ambient and vampiric "Just Vanish" which follows the stormy tangent of a tempo crushed by a tempestuous heaviness of a synthesized thunderstorm and its layers of an acrimonious synth, vestige of emotional tearings which strew the tortuous evolution of “Destroyer of Memories”, a work crystallized in its vindictive approach.

Available for free on Mac website:
Sylvain Lupari (August 21h, 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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