dimanche 14 octobre 2012

YOG SOTHOTH: Prehistoric Dawn (2012)

“Prehistoric Dawn is crafted on 11 tracks of powerful hammering techno, up-tempo, acid-beat, electronic rock and punk which are of distant cousins denied by Berlin School”

1 Rise of Cthulhu 6:10
2 Ready for Take-Off 5:53
3 Dreams of Mystery 5:23
4 Gates of Ishtar 5:27
5 Flights in Space 5:35
6 Legend of Lemuria 6:27
7 Cosmic Movements 4:47
8 Twilight Moves 9:40
9 Lost Paradise of Nan Madol 11:30
10 Beyond the Horizon 10:34
11 Prehistoric Dawn 8:16

INDEPENDANT| (CD 79:42) ***¾

Admit that with an award from Schallwelle for the best newcomer of 2011, Yog Sothoth has what it needs to kindle the curiosity. And in this case, curiosity kills the ears instead of the cat! A Michael Wilkes' musical project, Yog Sothoth possesses of its mythical name only all of the energy of a parallel universe in continual anarchy. Close friend of Axel Stupplich, the music of Yog Sothoth (to say the least on “Prehistoric Dawn”) caresses none of its influence, except that a discreet filet for the New Berlin School. More influenced by Jean Michel Jarre and Kraftwerk, as well as the synth-pop movement of the 90’s, Michael Wilkes frees his creative ardour on a first album that rock the universe...and not just a bit of it! “Prehistoric Dawn” is the history of 11 extremely powerful tracks where the heavy and hammering techno, the up-tempo, the acid-beat, the electronic rock and punk are of distant cousins denied by the synth-pop and by Berlin School.
A delicate morphic veil ambered of fragile wandering chords opens the intro of "Rise of Cthulhu". This brief atmospheric episode will be the only one of “Prehistoric Dawn” which discolors the walls and lifts the slats of floor with a first heavy rhythm which runs at full speed. Sequences and percussions jump up and down of hyper-jerky movements, boiling with a heavy line of bass of which the hectic chords shape a loud and furious tempo that a distant morphic wave is enveloping of a waltzing veil. These harmonious elements of a Berlin School EM style are the rejected witnesses and the innocent pretexts to 80 minutes of tempestuous music which burns as much the feet as the ears. "Ready for Take-Off" infiltrates these ears with a weighty funky approach. The tempo gets loose to sink into a powerful movement of dance-music with a pulsating rhythm where angelic voices and vocoders are automating a technoid approach silkfully coated in strong orchestrations. "Dreams of Mystery" espouses the paths of Depeche Mode and New Order with a frantic tempo where sequences with alternate hits are splitting a rhythmic always wrapped by synths harmonized by vocal lines and filets of morphic dances. And the more we sink into “Prehistoric Dawn” and the more our eardrums vibrate of furious rhythms. After an intro silky, "Gates of Ishtar" bursts of an extremely heavy and powerfully hyperactive rhythm. A breakneck pace which shakes our head and where we perceive a clear influence of Jean Michel Jarre and Kraftwerk. More melodious with its veils of synth fill by Afghan aromas, "Flights in Space" sounds completely innocent when inserted between the demonic and the passionate "Legend of Lemuria", whose wild rhythm dislocates us feet, and "Gates of Ishtar".
Head of icy asphalt, we continue the adventure of the heavy and pulsating rhythms on the Cyborg techno of "Cosmic Movements" where the minimalist rhythm is switching shape into an eager cosmic rock. The shape shifting is extremely well done and the electronic envelope is also very harmonious, like everywhere on “Prehistoric Dawn”. Even there, the references to the Jarre are abounding. "Twilight Moves" is what gets closer to the style of New Berlin School with a beautiful intro where circular chords draw a delicate spiral under the fluttering jingles of cymbals and dense foggy veils. The rhythm develops slowly to go astray towards a more robotics structure which beats a steady techno under jerky synth strata and, toward the end, under a heavy burst of electronic guitar. Stand firm over its 11:30 minutes, "Lost Paradise of Nan Madol" offers a structure to the variances full of subtleties. With a subdivided flow, the rhythm is heavy and lively. The harmonies are weaved by a discreet line of piano which goes and comes as well as a keyboard which molds its minimalist keys with synths to melodic orchestrations. It’s the good track that hooks instantly. While our ears are always buzzing, "Beyond the horizon" kills any redeeming approach with a hyper loud rhythm from which jerky waltzes free acid discordant chords under an intense avalanche of wild pulsations and corrosive synth strata. And if you thought of holding out, the tempo bursts even more a little after mid-point with a heavy and anarchic intrusion in the lands of acid and psychotronic jazz. That hurts the eardrums! In spite of its black and colourful rhythm, the title-track tumbles with a shape of lightness, witnessing of the heaviness and powerful rhythmic explosions that lies all over “Prehistoric Dawn” which preserves in all time its harmonious bipolarity.
Curious I was to discover this Schallwelle awarded, burned I was and my ears of crumbling old man took a strong blow. If you like wild and powerful rhythms which are jostling into electronic envelopes as much at the opposite as Jarre and Kraftwerk, “Prehistoric Dawn” is all indicate for your hunger. Now I have to fix my floor, paint my walls again.... Ah yes, I also planned a visit to the otorhinolaryngologist!

Sylvain Lupari (October 13th 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=15587
* If you want to know more about Yog Sothoth, you can visit his website here: http://www.yogsothoth.de/

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