lundi 15 octobre 2012

YOG SOTHOTH: Dreams of Mystery (2012)

“Dreams of Mystery is a delicious mixture of Pyramid Peak and Jean Michel Jarre with as background, a less sustained ardour of Yog Sothoth's first opus”

INDEPENDANT| (CD 78:19) ***½1 Tomb of Pacal (Chillout Mix) 8:51
2 The Mountains of Madness 5:11
3 Tribute to Axess 5:07
4 Ancient Skies 5:26
5 A Peaceful Moment 5:43
6 Into Eternity 7:33
7 Belly Soundshapes 8:50
8 Spirits of Atlantis 6:11
9 Entropie 4:35
10 Genetic Sequences 7:24
11 Galactic Voyage 8:04
12 Quasar (Space Version) 5:24
The short history of Michael Wilkes teaches us that he got interested in EM at the beginning of the 90's and that his sources of inspiration were Jean Michel Jarre, Klaus Schulze, Tangerine Dream and Kraftwerk. In 1991 he based his first band (Mystical Light) with a close friend (André Willms) and began the composition of his first titles. More than 18 years later, he was put in touch with Pyramid Peak's founder Axel Stupplich with whom he shares a passion for astronomy. It’s the latter who encouraged him to restart his career. Michael Wilkes became then Yog Sothoth, for his passion of H.P. Lovecraft’s works, and taken back the keys and switches of his keyboards to compose a first drain cleaning album for the ears (Prehistoric Dawn). Less hammering and sharply more inspired by New Berlin School, “Dreams of Mystery” takes back the first compositions of Michael Wilkes in a musical envelope remixed in 2010. The result is a delicious mixture of Pyramid Peak and Jean Michel Jarre with as background, a less sustained ardour of the powerful Prehistoric Dawn.
Sharpened percussions to strikings falling with the regularity of a metronome are opening "Tomb of Pacal (Chillout Mix)" which runs away towards a suave cosmic down-tempo coated of foggy synth layers. Fragile, the rhythm is delicately undulatory and beats a delicious hypnotic measure which pounds under the waltzing layers of synth filled by cosmic aromas and harmonies. These aromas are also nesting on "The Mountains of Madness" whose tempo coos delicately on percussions which roll such as a bed of balls before espousing a more pulsating movement where sequences and jerky chords meet on a tune slightly funky-cosmic. The harmonious envelope of synths reminds me strangely the synth-pop approaches of Software. "Tribute to Axess" (for Axel Stupplich
) proposes a more dishevelled rhythmic. It’s a track strongly inspired by the repertoire of Axess and of Pyramid Peak with its crisscrossed sequences which shape a rhythm hiccupping of controlled spasms and its fats resounding chords which wave under synth solos brought out of Axess' studios. "Ancient Skies" adopts a little the same paths with a rhythm which pulsates delicately and buzzes under a synth with lines of angelic choirs and spectral breezes. We are straight in the best era of the New Berlin School of the Innovative Communication years. This is quite good. After the cosmic funk of "A Peaceful Moment","Into Eternity" directs us a little more into the loud rhythms of lead from Prehistoric Dawn with some tsitt-tsitt cymbals which click in the furrows of heavy chords of which the resonant outlines are ranting into the waltzing lines of a synth to bluish colors.
"Belly Soundshapes" is a suave and lascivious funky- groove which bends a slow rhythm beneath rippling synth layers which conceal chords with paradisiacal sound ringings. The percussions are heavy, the bass line moves are smooth and fats and a fine line of sequences, with keys pounding with frenzy, are decorating a melodic pattern which extends its voluptuosity with nice foggy synth solos, espousing marvellously the slow melodious climb of "Belly Soundshapes"."Spirits of Atlantis" is a great night-melody with crystal clear chords turning in a morphic merry-go-round. Swirling in the trails of another line of chords to pluckings of a misty guitar, these keys are tinting in a sky of starry mist with fine dreamy solos of whistled singings. "Entropy" starts again where "Belly Soundshapes" had stopped, but with a more fluid rhythmic which is similar to free-jazz, while "Genetic Sequences" dives back into the heavy rhythms but with a beautiful cosmic orchestration which reflects Jean Michel Jarre's influences and his Chronology era. "Galactic Voyage" negotiates its rhythm with hyperactive bouncing sequences to land on a strong vertical gallop to finally espouse a movement articulated by large waddle which are jumping from a beat to another one under the aegis of a synth to twisted solos and harmonious lines. The rhythm throbbing of its loud chords which resound on a fluid static structure, "Quasar (Space Version)" entails us right in the heart of Jarre's Revolutions era. The percussions are effective and the synths are watering this catchy rhythm with superb solos of which the appearances of psychedelic guitars are caressed by a series of harmonious lines.
Far from being a subject of curiosity justified by the success of Prehistoric Dawn, “Dreams of Mystery” is a very good CD-R that deserves amply its place in the chronology of Yog Sothoth works. It’s an album where the New Berlin School style embraces shyly the fury of Prehistoric Dawn by borrowing the rhythmic and harmonious bends of Jarre on his Revolutions/Chronology eras. I quite liked it. There are small pearls on it, of good rhythms (heavy as fluid) and beautiful harmonies. What to ask furthermore when we like New Berlin School?
Sylvain Lupari (October 15th 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:
* If you want to know more about Yog Sothoth, you can visit his website here:

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