jeudi 9 août 2012

ROBERT FOX: Adonai (2008)

"For those who love the cinematographic side of Vangelis, “Adonai” should fulfill your waits and needs"

1 Pieta Part One 4:18
2 Palm Sunday 2:53
3 The Temple 4:15
4 Mary's Blessing 2:09
5 Gethsemane 2:34
6 Anointing 2:36
7 9 Mimes 12:21
8 Transfiguration 4:49
9 Betrayal 0:57
10 Magdalene 3:48
11 To Break And Share The Bread 1:54
12 Last Supper 5:32
13 Peter's Deniel 0:41
14 Way of the Cross 3:12
15 Crucifixion 4:45
16 Pieta Part Two 3:22
17 Resurrection 2:22

AD MUSIC: AD58CD (62:27) ***½

To appreciate “Adonai” to its right value, it should be placed in its context. In this work written for a theatre play, having for topic the history of Easter and the last moments of the Christ, Robert Fox deploys his immense talent of composer, sound engineer and orchestral arranger to create an epic music which oscillates between the contemporary and electronic styles on impressive tribal bases. A known Biblical story from all on a music mainly ignored by most of all.
A violent thunder roar opens "Pieta Part One", kicking off a long uninterrupted musical odyssey of 62 minutes divided into 17 chapters. A choral pierces this climatic hubbub to undulate in a silent blackness. A discreet synth goes behind this line of traditional chants, creating a monastery ambiance on a pace which progresses languorously on felted percussions. This kind of techno on a romance background vanishes into the hazes of a misty choral, while "Palm Sunday" pursues this Hebraic quest with rolling of percussions and melodious guitars tributary of populous quarters where travelling acrobats of all sort are feasting in a crowd in perdition. The musical thematic evolves in conformity with the epoch aimed on discrete synths which are used as background to a more traditional instrumentation made by panoply of synth software."The Temple" borrows the musical paths of a neighborhood festival with beautiful flutes, accompanied by guitars and more libertine vocals which continue until the short incantation of "Mary’s Blessing" and its orchestral arrangements on mild percussions. A floating moment, "Gethsemane" is a prelude to "Anointing" and its abbey approach built on a soft guitar. "9 Mimes" is a kind of musical wrap-up which revisits the first half of “Adonai” in a musical universe much more diversified. Very ethereal and celestial, "Transfiguration" switches rhythmic shape towards a more suggestive tempo girdled by a dreamy guitar wand its limpid notes.
"Magdalene" is a poetic ballad where the guitars and voices, supported by a synth which offers a beautiful orchestral structure, are of a tribal realism without fault. The more we go forward on “Adonai” the more we go inside its dramatic moments. "To Break and Share the Bread" is rhythmic by fine Tablas percussions and small bells tinklings which are wrapped in a told text, initiating the very lugubrious "The Last Supper"; a dark title which floats in an austere pent-up ambiance. Very musical and poetic, "Way of the Cross" and "Crucifixion" are animated by a good guitar play and processional percussions which roll on the harmonies of a synth to wrapping layers. After a more moderated "Pieta Part Two", "Resurrection" ends “Adonai” on beautiful synth layers which rock some soft notes of piano. Notes which mix up to the lamentations of the pilgrims in a sunny musical environment which respect the visual scale of Robert Fox.
Adonai” is a very charismatic opus. Strongly inspired by Vangelis' melodious and orchestral structures, Robert Fox works thoroughly his movements, bringing a harmonious evolution which swings between the melancholy of a biblical age and some more technoid movements of a contemporary era. Musical and rhythmic structures constantly slowed down by a dramatic theme which is deeply investigate by an author whom the perceptions of these epochs transcend the writings. For those who love the cinematographic side of Vangelis, “Adonai” should fulfill your waits and needs.

Sylvain Lupari (2April 17th, 2009 and translated on August 9th, 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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