1. The Doors of Jerusalem 2. Shahrazad 3. Nile
4. Amazones 5. Fever 6. Now and Tomorrow
7. Waiting for You 8. Tales of Mu 9. Voices of the Dunes
10. Secrets of the Caravan 11. Voice of the Sand
12. Just a Dream 13. Ethereal 14. Taj Mahal
15. Two Small Shoes 16. Endless 17. Rani Dreams
18. Aurora 19. Odyssey 20. Shador
21. The Lotus and the Mountain
As soon as the opening of "The Doors of Jerusalem", Sylvain Carel introduces us in his universe of the Arabic tales with ethereal voices and iridescent breaths as well as of scattered symphonic percussions and ringing of esoteric bells which float in a mood of Arabian carnival on the alert. Ambiguous the rhythm lets itself seduce by the hard riffs and the soft tears of violins which tear the ambience on hopping sequences and an attractive pattern of clanic percussions which will serve the rhythmic structures of “Caravansary”. The rhythm on tips of toes and broken by folds as much melodious as ambient, "The Doors of Jerusalem" is the first of a series of titles which slip into another in order to structure this long musical watercolor soaked by a strong cinematographic fragrance. After a brief local dance, "Nile" moves on with a rhythm torn between its down tempo approach, its sudden tribal kicks and its soft atmospheric indecisions. The percussions which slam are awakening some reminiscences of the up-beat approaches of Jean Michel Jarre while the wild dances of the Sahara remind to us Hans Zimmer's powerful Black Hawk Down musical score. In fact the influences of an eclectic electronic musical world abound on “Caravansary”. From Jarre to Vangelis while passing by Enya and Enigma, without forgotten Zimmer, this first opus of the French synthesist is an impressive mosaic of electronica in diversified rhythms and electronic with a more rock tendency with good Stratocaster solos and riffs as on "Now and Tomorrow" and its electro-pop convulsions which pound in the shade of violins of clay, "Tales of Mù" which is a beautiful example of Enigma and Jarre influences as well as on the very brisk and electronic rock in the ethereal ambiences "Secrets of the Caravan". The filmic approach is hyper present with great orchestral arrangements that slash the feelings on titles as melodious as elegiac like on "Voices of the Dunes", the too short "Voice of the Sand", and the bipolar "Just a Dream". Silk melodies as "Taj Mahal" and "Two Small Shoes", two titles which stick in a beautiful harmonious duel, the dreamy "Rani Dreams" which sleeps on a delicate piano, the gloomy "Shador" as well as the catchy "The Lotus and the Mountain" and its blades of hatched violins which cover a Berber choir, are skillfully inserted among these electronic and folkloric rhythms which jostle and shake this very nice musical ode which is this ambitious and melodious first opus from Sylvain Carel.
“Caravansary” is a beautiful surprise and another very nice find for the label AD Music which fills marvellously its mandate to widen the horizons of contemporary EM with more melodic works centred on more accessible structures for a widened public. If you like the filmic approach of Vangelis and the Arabic ethereal and folk moods on curt and abrupt rhythms, acided in a techno-rock-electronica à la Jarre or Hans Zimmer, Sylvain Carel's “Caravansary” is as much puzzling as subjecting but also brilliant than captivating.
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=15491