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: http://www.gutsofdarkness.com/god/objet.php?objet=15601

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