1 One Sea 59:20
BOGUS FOCUS (DDL 59:20) ***½
The last album of Ideation goes back in 2009 with the surprising Adrift (Ricochet Dream RD040). Conceive on a basis of improvisation “One Sea” offers us a long minimalist journey on the back of sea bird with sonic variations and perturbations on the same theme.
Like a bird slowing down its flight to land on water, “One Sea” begins on brakes, just to organize the long musical pilgrimage of an idealistic tern. Chords skip and interlace in the shade of delicate percussions, weaving the long minimalist rhythmic route of “One Sea”. Other chords are added, undulating in hoops which coo as endless loops on a bed of arpeggios to crisscrossed fates.
These hoops to abraded outlines are ringing finely among a rich sound fauna and synth lines which draw some fine earworms, humming and waving whimsically on an oblong hypnotic structure which grows constantly rich of tones as quirky as spots of abstract arts on beautiful sunny landscape paint. Make proud by chords, sequences and percussions which fatten its structure, the rhythm is fluid and progresses with delicacy and subtlety under a harmonious sky threatened by light variations. And the first one turns up at around the 13th minute, insufflating a light breeze of freshness with foggy synth layers which cover a rhythm having sensibly lost of its velocity. The chipped hoops remain. They draw a circular rhythmic axis which is an easy prey to percussions which bind themselves and redirect the rhythm towards its 2nd variation. This passage is sharply more atmospheric with synth lines which come together and form an implosive maelstrom from which the musical whirlwinds bog down in a spiral swirling among hoops with sharp outlines. Without rhythmic sequences nor percussions, this long phase of “One Sea” is of an ambiophonic tranquility with its uncountable synth layers with strands of mist which wind up in a strange ode for serenity that scattered percussions shake shyly of their hesitating hits. It’s a superb passage which awakens in me the taste to listen Michael Stearns' M'Ocean. And like a sunrise on the horizon leaded by the blue of a quiet ocean, the rhythm of “One Sea” takes back its rights. Bubbling finely of an incomprehensible rustle it gets up hard, stumbling into continual musical countercurrents to finally stand up with strength at around the 43rd minute. It’s a brief rhythmic passage which loses little by little of its strength to sink into an abyss in foggy veils where only the loops oscillations of origin persist and sign a pace which gradually runs out in the spheroidal tears of Aeolus and the fine disturbances of a sea captive of an endless horizon.
“One Sea” is why EM exists. It’s an idea which germinated during a preparation for the Awakenings festival and which found all its musical form in the entrails of an outfit of equipments perfectly tuned. It’s nearly 60 minutes of which the variations, as much rhythmic as melodic, are running on a same pattern which seems inexhaustible. It’s very good and mesmerizing, like a long travel at back of bird on a sea with shimmering reflections. It’s available on line, is in a very good sound quality, at:
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=15492