mardi 30 octobre 2012

KIKAI: Labor (2011)

“Kiki's Labor is an album filled by soft rhythms à la Software which are trapped by the cosmic fragrances of Jean Michel Jarre”

1 Past (5:29)
2 Hope (4:36)
3 Chant (4:18)
4 Thunder and Love (5:14)
5 Wish (5:57)
6 Transparent Dreams (5:46)
7 Turn (5:19)
8 Seahorses (8:08)
9 Winter (7:48)
10 Decent (4:22)
11 Gates (6:39)
12 Relief (Tribute to Japan) (6:50)
13 Tribute to Japan (5:07)

SYNGATE |CD-R KI01 (CD-R 73:50) ***½

Kikai, for ocean of energy, is Marius C. Hammerich's musical project that seems strongly inspired by the Teutonic tempos of Software and the intergalactic atmospheres of Jean MichelJ arre. And Kikai is not exactly a new player in the chessboard of modern EM. It's since 2005 that Marius C. Hammerich composes an EM which serves the cause of humanitarian works. Distributed by the independent label Kikai Kigalu, his music is also available on several download platforms and the profits go to various charitable works. “Labor” is his first album on a major label (Syngate) and contains a variety of melodies well camped into approaches of New Berlin School of the 80's with light and lively rhythms which go alongside to cosmic atmospheres.
It's exactly with these electronic cosmic tones, shaped in the memories of the galactic works of Software, that "Past" titillates our eardrums. The rhythm is fluid and hangs onto sober percussions which mislay their strikings with the jumps of crystal clear sequences. The rhythmic universe of Kikai abounds with tones which excite the hearing. Here it's tones of duck which cackle softly, adding a psychotronic depth to a soft lunar down-tempo where lives a soft melodious approach decorated by solos of which the cosmic charms float on a bed of sequences and percussions with strikings and tones as varied as arrhythmic. "Hope" is more experimental with very ethereal atmospheric approach. A soft piano shells its notes in an ambience congealed into heterogeneous tones where synths moan like badly caressed guitars, merging their abandons in a beautiful morphic melody which blows its charms on a bed of riffs and sequence teeming with a parallel rhythmic life. "Chant" follows the harmonious bow of "Hope". The synth divides its wandering melodies in rich angelic reedy voices which chant on a tempo the movements of which have difficulty in swirling in a broth of cosmic effects à la Jarre. Morphic and carouselic, "Thunder and Love" makes swirl its delicate rhythmic riffs into vapors of ether. Schemer with its breaths of perditions and its voices which harass the peace of mind, the synth instils to this track, as well as on the entire “Labor”, a fascinating cosmic/poetic aura which bewitches with its very Jarrish influences and tones. "Wish" amazes with its sequences in tones of peak-wood knocks which lets off steam on hollow wood. The rhythm is strange. It clicks from everywhere, gauging the shape to take with muffled pulsations to glaucous reverberations. One would say a somber hesitating walking by a Halloween evening with imperfect leaps which zigzag in wide semicircles beneath some not really inviting solos. It's a very good track of atmosphere that manages to collect its sequences and pulsations in order to mold a more coherent rhythm. To listen to at good volume and earphones to seize the full dimension of it.
"Transparent Dreams" pursues this dissection of Jarre's cosmic influences with tones of extraterrestrials and voices of outer-space which murmur in an absolute void. The rhythm unfolds vaguely with a good bass line of which the resounding notes get mold subtly to the meshes of a sequence to progressive rhythm. The solos have difficulty in piercing all of this sound opacity. The screams get lost in the mists of Orion, preventing a latent rhythm from blooming, quite as in the very magnetic "Seahorses"; a long morphic and seraphic ballet that has difficulty in climbing its intense cosmic veil. "Turn" bathes in an intense melancholic broth with a furtive rhythmic approach which floods its uncertain sequences in of tearful strata of a synth to orchestral tears. Another harmonious phase gets free of this influence of sadness with sequences which click in the winds of the weeping solos. And the more it goes and the more it's heart-rending. Totally atmospheric "Winter" scatters its weak pulsations, its futuristic beeps and its riffs into the psychotronic lavas of a synth to lamentations and coils as much ghostly as wintry. Concerto for voice mislaid in a rhythm in perdition, "Decent" shelters its slow harmonies which drag like lost souls. The contrast of tones and rhythms is quite bewitching. "Gates" plunges us into the Teutonic rhythms of Software with a chain of sequences which swirls into a hypnotic glass carousel rolling under a sky blocked by dense layers of a synth of which the twisted solos are unfolding on percussions which abandon their sober strikings to become, knocks by knocks, stormier. "Relief (Tribute to Japan)" offers an approach tinted by sadness with ghostly sequences which roam with a fear of disturbing. Bubbles of water explode here and there, bringing a dimension of video game to a title which quietly goes out of its melancholic embryo to offer a soft electronic ballad where some echoing riffs are waltzing in the perfumes of exhilarating solos to the nostalgic tints. Oceanic waves, funeral bells and audio reports furnish the apocalyptic decoration of "Tribute to Japan" which parades in our ears like a cloud of sadness on a land for ever broken.
Soft melodies which flow on light rhythms, “Labor” is a beautiful album of an EM which will please undoubtedly the fans of Software and its post Chip-Meditation era. Marius C. Hammerich excels at the art to surround his compositions of a sound fauna that makes ears open wide. It's beautiful and catchy with an only drawback; the titles end in a sometimes too abrupt fade out. So what makes the charm of earphones in fact also an annoyance that can also upset certain ears …

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

samedi 27 octobre 2012

ROBERT RICH & MARKUS REUTER: Eleven Questions (2007)

“Destroying the myths of a music without motions, Rich/Reuter weaves black ambiences where hang on ounces of melodies which charm with a strange enchantment”

1 Reminder (3:27)      2 Reductive (4:27)
3 Recall (2:24)            4 Retention (6:34)
5 Remote (4:16)          6 Reluctant (3:27)
7 Redemption (6:418 Relative (3:21)
9 Reception (3:05)    10 Refuge (5:53)
11 Refuse (3:43)       12 Rebirth (3:26)
13 Remainder (2:12)

UNSUN GRECORDS | UR003 (CD 52:56) ***½

Robert Rich and Markus Reuter union can only give an astonishing result. “Eleven Questions” for 13 tracks! All of them starting with the letter R. We could believe that we are into a total tetanized delirious here. There where the fusion of these two alchemists of sounds is bubbling at the border of their imaginations. Composed in only one week, “Eleven Questions” is an album which is necessary to listen deeply with an open mind on a tribal cultural world where sweet flutes get mix subtly with guitars in an arid atmosphere.
Strange and dark titles like "Reductive" and the sinister "Remote" which thunders on ogresses percussions. "Reluctant", "Refuse" and the heavy "Remainder" are titles a bit charmers but always so tenebrous, like "Reminder" and "Recall". There are "Relative" and its jazzy vaporous style, "Refuge" and its black nostalgia as well as "Rebirth" and its softness which floats on a six strings whose sharp-edged notes arouse an uncomfortable and a strange charm. We can even hear titles with heavy and slow rhythms which succumb to an unexplored sensuality, like "Retention" and its loud bass and "Redemption" and its atmospheric wandering. In short, all the musical possibilities are meticulously visited and worked with an atonal heaviness which succeeds to attract the auditory curiosity. The voices and the flutes are superb. They fit perfectly well with all this strange musical phenomenia where some hallucinogens form a wonder of sound abstraction which pours from all around this silvery disc. And these long forms of bizarre reverberations floating around like iridescent spirits over desert rituals are deep intense movements of ethereal strangeness. How can't this not be good?
Destroying the myths of a music without motions whose dark ambiances fill the abstract walls of a land of perdition, Rich and Reuter succeed quite well in producing 13 titles, all as much strange than the others, in a context of an indefinable artistic sealing.
Closed like oysters, the eclectic duet produces in “Eleven Questions” a sound universe completely deprived of innuendos to offer an originality that can’t be hum but which contains ounces of melody hanging around and hooking the hearing and senses with a strange enchantment.

Sylvain Lupari (November 30th, 2007and translated on October 26th 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

vendredi 26 octobre 2012

ROBERT RICH: Nest (2012)

“Far from the rhythms the American synthman is capable of delight where the simple beating of a cicada wing is transformed into a fascinating boreal symphony”

1 Memories of Wandering, Pt I 5:03
2 Memories of Wandering, Pt II 3:59
3 Seeking Eden 8:06
4 Moss Carpet, Sky Blanket 7:01
5 Generosity of Solitude, Pt I 8:03
6 Generosity of Solitude, Pt II 11:12
7 The Gate is Open 8:38
8 Memories of Home 13:50

SOUNDSCAPE | SP023 (CD 65:05) ****

Nest” is the last sound testimony of a tiny world in perpetual procreation signed Robert Rich. The lightning strike for the subject of his last opus came during his Australian tour of the beginning of 2012 when Robert Rich was the witness of a luxuriant tree-dwelling animal fauna which was born and swarmed beneath the diverse singings from a variety of orchestras of invertebrates. These singings of cicadas and tree frogs as well as the surrounding noises of a jungle in full awakening furnish the wandering melodies and the sweet contemplative atmospheres that are structuring “Nest”.
Noises of branches, chirping and whistled singings of exotic birds awake "Memories of Wandering, Pt I" which meditate under an intense veil of mist. The meditative notes of piano roam as thoughts mislaid during a walking in mountain, reflecting the intense moment of solitude that encircles this last Robert Rich's album. These piano notes are piercing of their transparency a soundscape fed by angelic voices which whisper a spiritual ode in this paradisiacal harbour of serenity whom is "Memories of Wandering, Pt II". The 8 titles of “Nest” parade in a long papouasian tale where the peace of mind is the cradle of dreamlike melodious approaches. The 8 minutes of "Seeking Eden", with its flute and its tremulous breaths which float on the waves of a synth to ochred vapors, is a perfect example. "Moss Carpet, Sky Blanket" offers a darker approach with opaque breezes which float such as hollow clouds on a fauna whose rustles are covered with meditative bells. The lines of the pedal-steel guitar draw spectral ramparts throughout this long title which moves us deep within our inner peace with a pair of earphones. Moreover this correlation between instruments and noises of nature gives to “Nest” a mesmerizing harmonious depth that supplants the total absence of rhythms. This says very long on this stunning musical journey in the full heart of the Australian coasts forests.
The rustles of leaves, the singings of cicadas and the iridescent winds continue to float such as radioactive effects on "Generosity of solitude, Pt I and Part II" on which only the scattered piano notes are resounding in an intense enveloping effect of solitude. The 2nd part is less organic. The long fluty drones shape silent incantations which wind a melody strewn by a solitary piano. The synth strata cast a voice veil over a pure moment of meditation where the balance of the universe is getting lost in all this immersive serenity. The violence of the winds which transports "The Gate is Open" shakes this tranquility. Even without rhythmic instruments Robert Rich is capable of atmospheric turbulence with howling breezes which glide in the ear like Siberian winds into caverns of ice. There is a whole paradox of the ambiences on this title with these piercing winds which tear the strength of silence and the quiet synth layers which are rocking the ambiophonic lethality in it. Layers which transpose their serenities towards "Memories of Home" where the percussions of cicadas are typing telegraphic messages and where the scattered piano note are weaving of unreal and paradoxical universes which glitter all the meditative poetry of an intense organic work.
Nest” is a work intensely poetic. Robert Rich manages to display a world of sound delight in a contemplative envelope which transcends the simple atmospheric and ambient approach. Far from the rhythms, the American multi-instrumentalist is capable of delight with its charming soundscapes which abound in a universe where the simple beating of a cicada wing is transformed into a fascinating boreal symphony. And it’s not because there are no rhythms that it’s not beautiful! On the contrary …

Sylvain Lupari (October 26th 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

jeudi 25 octobre 2012

INTERCONNECTED: Current Flow (2010)

“If you like music and its eclectic pleasure, Current Flow is a very good album where rhythms and ambiences are soaked in a pond of 1001 sound pleasures”

1 Greenerblue 6:08
2 Dark Clouds 4:53
3 Springs 4:36
4 Deepestsespeed 6:16
5 Flowerescape 5:19
6 Smotion 4:10
7 Pulsating 8:09
8 Timebender 6:32
9 Cats 3:03

VU-US VU-US018 (CD 49:05) ****

The more I dig into the musical universe of Bakis Sirros, the more I discover a great musician and an audacious artist who knows how to put in perspective his creative priorities without doing any commercial compromise. Interconnected is his new musical project that he forms with German synthesist Ingo Zobel, putting together a duet of musicians fond of a strongly experimental music. “Current Flow” is a first, and only one to date, album. A mesmerizing album filled of minimalism rhythms which go through strewed paths with colorful tones. This album took 3 years to make, a period of time where the 2 accomplices attend to their respective careers, keeping time to create this surprising sound journey of which the exploration of musical forms, so eclectic as they are, combine brilliantly in a soft perfume of sound freshness.
Furtively, "Greenerblue" introduces us to “Current Flow” with a fine sequence which jumps in loops beneath a soft mellotron veil pierced of fine arpeggios which fall as an unreal rain. A minimalism intro where the charm worries oneself of its jingles of cymbals which announce the arrival of a rhythmic disturbed by the sparks of several percussions. These nervous and indocile percussions fuse out of everywhere to support a structure soaked of heterogeneous tones to which a soft celestial voice adds a dreamlike depth. This opening reflects the dyad ambiance that surrounds each track of “Current Flow”. "Dark Clouds" presents a more intriguing structure with a tempo which waves languishingly and whose chords floating with hesitation add a sinister touch to this effervescent sound dryad which is between Steve Roach's sound landscapes and the very syncretic world of Ramp. "Springs" gropes forward on a hesitating pace which hiccups under a musical sky streaked by a rain of metallic stars. Here, as almost everywhere on “Current Flow”, the approach of the synth mellotron brings an astral depth to a title which embraces the steams of a renewed Plastikman, quite as on "Smotion". "Deepestsespeed" is boiling of agitation and rhythmic nervousness. It's a very beautiful title that recalls the fanciful deserts of Roach with its sounds of rattlers which wind a tribal tangent livened up by a frantic tempo and where colorful and indefinable voices plunge us into an absorbing hearing paranoia.
"Flowerescape" is in the same lineage as "Dark Clouds", bringing us to more peaceful and more limpid rhythmic proportions with a slightly nervous tempo that crackles of a thousand and one percussions, as much varied as unusual. The synth is dropping its breaths among heavy reverberations while fine crystalline chords pierce this nebulosity to create a more harmonious musical universe where the rhythm gives the strange illusion to increase around rich wrapping strata. Heavy, "Pulsating" reminds me of Johannes Schmoelling's surprising sound universe on Wuivend Riet, with its multiple shouts of locusts which rock themselves in the blackness of a night filled of sounds strangeness before biting the rhythm with more heaviness towards the finale. It’s one of the best tracks on “Current Flow”. "Timebender" is strongly tinted of a metallic ambiance with its anvil percussions which shape a tempo as heavy as slow around some hesitating arpeggios which float with a strange grace in this industrial apocalypse universe. "Cats" ends this 1st Sirros/Zobel collaboration on a touch just as much eclectic where we recognize cats mewing towards a dense minimalism veil where percussions and keyboards chords are tumbling down in echo on a tempo which is on the borders of atonality. Ambivalent borders which strew an album with harmonious conflicts, but strangely musical, which is situated between audacious Roach or industrialized Ramp and Plastikman on slow lifelessness evolutions. If you want something else.

If you like music and its eclectic pleasure, “Current Flow” is a very good album where rhythms and ambiences are soaked in a pond of 1001 sound pleasures!
Sylvain Lupari (March 17th, 2010 and translated on October 24th 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

vendredi 19 octobre 2012

BERTRAND LOREAU: Journey Through the Past (2012)

“Journey Through the Past is an excursion in the universe of a composer who redefines the scales of melancholy on an EM that has nothing to envy to Schulze, Froese, Jarre and Vangelis”

1 Le Ciel est Jaune d'un Liquide Inconnu PII 5:35
2 Le Ciel est jaune d'un Liquide Inconnu PI 14:24
3 Summer 9:16
4 DX Seven Age 18:30 
5 Mickie Love Song 7:20
6 Moog on the Moog 7:16
7 Welcome to the Show 5:35
8 L'Arpège a Tord 3:23
9 Meeting You 4:55

SPHERICMUSIC| SMCD 6300 (CD 76:32) ****½

Finally, the fine music of Bertrand Loreau crosses the France borders. Fascinated by the revival of a French EM in constant effervescence, Lambert Ringlage has decided to make his ear much more curious in order to deeply discover a musical universe which transcends the borders drawn by Jean Michel Jarre. And the boss of Spheric Music has succumbed to the immense poetic approach of Bertrand Loreau. As its naming explains it, “Journey Through the Past” is a flying over the career of the synthesist from Nantes where Lambert Ringlage made a judicious selection of 9 titles composed between 1982 and 1988. Nine tracks that show all of the versatility of Loreau who is very at ease in a psychedelicosmic style than into a progressive Berlin School or in electronic synth-pop. Presented within a new musical envelope, which respects all the poetic depth of this smith of timeless melodies, these pieces of music from Bertrand Loreau are more than just a journey in the heart of a music forgotten in the bend of a too fast evolution of the digital technology. It’s an artistic excursion in the universe of a composer who redefines the scales of melancholy on an EM which makes the bridge between the works of Klaus Schulze, Tangerine Dream, Vangelis and Jean Michel Jarre.
Like a pianist of electronic jazz alone with his sorrow, the first chords of "Le Ciel est Jaune d'un Liquide Inconnu PII" float in the air, like grief does in vapors of alcohol. Very different from the version that we find on Réminiscences, "Le Ciel est Jaune d'un Liquide Inconnu PII" offers a duel between solitude and company with joyful synth strata which twirl around between passages of an electronic keyboard to forsaken chords. An intense synth wraps the waltz of those mixed emotions, adding a perplexity to a movement of duality. This first title sets the tone to an album divinely lyrical, a musical mark innate of this French School composer with a zest of Vangelis. We have difficulty in recognizing "Le Ciel est Jaune d'un Liquide Inconnu PI" of which one retained only its second portion, versus the one that nests on Réminiscences. This pure wonder is an ode to Berlin School with a much more fluid rhythm where sequences jostle in a superb movement of a minimalist symmetry. Such as strikings of a glass xylophone, the sequences are moulding a fast walking under the zigzagging streaks of a synth lost among dark voices. It's a mini festival of chiming that digs our ears before embracing a more lunar phase a little after the 5th minute. The movement becomes then a profound exploration of an abstract galactic universe with synth blades which slow down their harmonies in a sidereal space where accumulate of slow fusional lavas with musical rays very near the explorer paths of Synergy on Chords. And it's supported by delicate electronic percussions that the rhythm releases itself from this intergalactic yoke, rushing headlong of its pace à la Klaus Schulze towards more celestial harmonies. It's a huge track of which we find the rhythmic vestiges on "Moog on the Moog" and its strong Schulzian approach which navigates beneath wild twisted solos. "Summer" pours into our ears with a mesmerizing harmonious approach. The hypnotic melody is weaved in a series of chords from which the shadows get juxtapose in a fascinating echo to roll in superimposed loops. And we let ourselves rock by this serial approach which allies magnetism and tenderness in a musical envelope in constant ubiquity of the airs. Jingles of percussions, which flutter as typist's strikings, come to ennoble this mnemonic rhythm whom the intra evolution doesn't stop growing rich of external elements which oversize a surprising electronic bed song rich of a powerful worm of ear.
"DX Seven Age" is the epic track of “Journey Through the Past”. The intro proposes synth layers which cry in an ambience of hurdy-gurdy baroque music. These moaning, which waltz of their sorrows in a cosmos starred of ochred dusts, fade little by little revealing a sequential approach which makes its keys waddle under the aegis of a synth to solos and twists sounding so antique. Sequences bounce along on a lunar rhythm before being harpooned by electronic percussions, plunging "DX Seven Age" towards a strong electronic rock where spirals in the shapes of glass ballerinas and shrillness twirls go out of breath on a rhythm which little by little goes astray in the vapors of a cosmic nostalgia. We are in the 9th minute point and the fragile keys pierce crystal clouds, drawing fleeting romances with melodious wanderings à la Vangelis (Apocalypse des Animaux and Ignacio) where delicate hesitating chords are curtseying in cosmic mists filled by delicate cinematographic aromas. This is simply beautiful and it’s a wonderful mixture of harmonious and cosmic universes that have made the delights of the electronic movements from the analog years. "Mickie Love Song" is exactly a ballad to the analog perfumes of the Space Art years with a slow rhythm which is pulsing under a synth to lines of mellotron mist and melodic rays. The drum of "Welcome to the Show" shapes a nervous rhythm of a kind of free jazz which rolls under the loops of a synth to cherub tunes before espousing a heavier and livelier structure which is similar to a lively cosmic rock. Nervous, "L'Arpège a Tord" is another title inspired by the French School of Space Art with a rhythm rolling like an escalator under a bed of arpeggios that the idle undulations are charming a firework of analog cosmic tones. "Meeting You" ends this first collection of Bertrand Loreau's electronic poems outside the territories of France with a wonderful lunar ballad which gives us the taste to dig further more in depth these rendezvous of melancholy. The tears of keyboard float of their steps of ethereal dance, forming by moments some acrobatic tendrils which swirl like a neurasthenic ballet in a carousel of regrets. It's very beautiful, even intimate, a little as if Bertrand Loreau had this capacity to see in each of us.
Ah … I forgot how much beautiful is the music of Bertrand Loreau. If you do not still know this splendid universe where the music is read on the bottom of the soul, it’s greatly time to travel aboard “Journey Through the Past”. This very beautiful compilation of the French synthman timeless works is a window opened on his wonderful world of astral poetry where the rhythms and ambiences can be as well progressive as melodious, a little as if Vangelis had put his melodies on Klaus Schulze structures of. If we can discuss the selection of the titles (it turns out that other incredibly delicious ones were forgotten on the counter of time) we cannot deny all the wealth of an EM that has only as borders its lack of visibility. While waiting for a suite...

Sylvain Lupari (October 19th 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

mardi 9 octobre 2012

NORTHCORE: Desatero (2012)

“Desatero is an amazing musical journey which gets tasted with a bewitchment ceaselessly increasing”

1 Looking Glass 4:19
2 Jupiter 5:05
3 Nocturne 5:41
4 Oxygen 3:51
5 Ladybird 3:53
6 Quercus 3:02
7 Green Fridge 4:53
8 Metronome 2:48
9 Parting 4:18
10 Min Ros 3:48

SPOTTEDPECCARY| SPTD2101 (CD 41:38) ****

Here is an unexpected release out of Spotted Peccary label. Northcore is an obscure English duet composed of Carl Gibbons (keys, synths, voices and effects) et Jana Tillotson (voices and effects) who built an enviable reputation in the spheres of underground EM, without having realized a single album. And it’s this American label, rather famous for its EM to caresses of progressive New Age or to soft sequenced impetus, which managed to capture the sound universe of Northcore with a superb musical production where all the cultural details are stigmatized with a master's hand. “Desatero”, for 10 commandments, is an album without borders. Presented in a nice disturbing card artwork (like old LP’s), it’s a fascinating musical mosaic of 10 titles, from which the near half are sung and/or told, which navigate between down-tempos and ambient world music in a wonderful poetic envelope. Here’s an autopsy of a surprising album which bewitches in every listening.
Footsteps creasing a metallic snow open "Looking Glass" which displays all of the sonic magnificence of “Desatero” with a sound painting to thousand prisms. Ethereal breaths lift prismic dusts when a felted voice gives the start to a delicious down-tempo on which hangs on a melodious line cavorting between the ambiophonic meanders of "Looking Glass". The rhythm is divided between its glaucous and crystalline atmospheres, avoiding constantly a steady structure to roam between its hallucinogenic phases. "Jupiter" is the only track of “Desatero” to present a steady rhythm. And it’s a heavy one! Arched on good pulsating strikings it beats a measure of a kind of mid-tempo with fine circular sequences which mould a light stroboscopic filet that a synth line flies over of its chiselled melody. And, as every title on “Desatero”, the sound envelope is rich and abounds in related tones that add a dimension, this time it is rhythmic, unreal to this first album of Northcore which assails the ears with an incredible sharpness. "Nocturne" emerges from a fauna of white noises to offer an attractive Berber incantation where clanic tom-toms and big tenebrous organ pads expose all the paradoxes that slumber in “Desatero”. Both sensual and lyrical "Nocturne" fleets between two phases, crossing from an ambient tribal dance to a deep nightmarish immersion. "Oxygen", a track sung of a suave and absent voice, settles a mood of horror tension with this nursery rhyme for Freddy Kruger whispered by a felted voice that a fine and malicious line of piano leads into the depths of a cerebral paranoia. "Ladybird" is a beautiful moment of ambient music with its life synth lines which chant in divinatory circles around a strange public market where a Czech bed song is whispering. "Quercus" continue the bewitching marathon with a carousel of tinkling keys which swirl under the warm winds of a dreamlike flute, while "Green Fridge" brings us to antipodes with an alarming approach where shrill lamentations screech after an intro darkened by dreadful breaths. Besides, its intro exceeds all fiction with a swarm of abstruse tones which lift glaucous pulsations and creaks of wooden teeth to bind itself to a furious dark rhythm which tergiversates between its circular gravity and its spectral wanderings. Like a tick-tock fleeing its time "Metronome" sleeps on an ambient down-tempo wrapped of an incredible musical aura where is nesting a delicious melody arisen from an uneven duel of voice. This is quite very beautiful! And it’s just too short. Always rooted in a shape to non-be, the voice of Jana Tillotson has to envy nothing to Beth Gibbons, especially on "Parting" which is a superb ambient down-tempo. "Min Ros", a Swedish traditional song encloses “Desatero” with all the mysticism of a Celtic work, a witness of the multiethnicity from this surprising and delicious first work of Northcore on Spotted Peccary.
Desatero” is an amazing musical journey which gets tasted with a bewitchment ceaselessly increasing. Northcore weaves the outlines of a stunning crossing between Dead Can Dance and Solar Fields which makes the listener travel through the corridors of the world with tales and bed songs trapped in paranormal ambiences and where the rhythms and ballads float in a rich and fascinating sound fauna which enhance the borders of a psychedelic universe. It’s noteworthy and striking and it’s especially extremely mesmerizing. The pleasure increases tenfold with a good pair of headphones.

Sylvain Lupari (October 9th, 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: