vendredi 9 novembre 2012

PARALLEL WORLDS: Obsessive Surrealism (2007)

“On his first album Bakis Sirros already knew how to separate darkness from haunted melodies”


1 Beneath Fear 6:06
2 Different Pathways 5:18
3 Empty Human Cells 3:38 
4 Increasing Complexity 5:52
5 Into the Caves of the Mind 4:50
6 Interlude 2:09
7 Reflective 9:32
8 Mindmists 8:49
9 Pale Yellow Sky 5:42
10 Distracted 6:57
11 Crying Spells 4:15

DiN |DiN26 (63:04) ****
 
A dark and buzzing sound wave hops delicately on the opening of "Beneath Fear". It's a spotted intro which let emerge a fine strummed melody frozen in a dense sound fauna. This soft melody is sharing its harmonies with a thick cloud of tones as much mottled as that fear can have reasons with flutes, whistling synths to melodious theme, hopping and bouncy percussions drumming in a light and lugubrious ambience. If the tempo is of equal appearance it becomes more implosive towards the end, hammering the rhythm with the strength of its dismay. Interesting? Extremely! Parallel Worlds is the name that the musician of Greek origin Bakis Sirros has chosen to present us his surprising “Obsessive Surrealism”; the perfect merger between EM and ambient electronica. It's a musical universe with rich sound textures and puzzling tempos that fit harmoniously to sound effects and samplings accurately chosen and measured well by Bakis Sirros.
This defender of analog tones creates an extraordinary effect of wealth in a juxtaposed dimension, like in a parallel world, which amazes and which changes the order of things in a musical world where sound machines have no borders. What gives some additional languishing effects on titles as "Different Pathways" and the aggressive "Into the Cellars of the Mind", where some artless principal lines are absorbed by sound effects which spread opposite rhythms. This is an incredible and subtle sound molding, as if my invisible clone walked in front of me and absorbed me when he reaches me. So I mould into it and it moulds into me. Well...I gotta say that I smoked some good grass here :-). But it’s totally brilliant. These strikes of genius teem from all over on “Obsessive Surrealism”, which nests on the avant-gardism DiN Records label as it says “a fine purveyor in or of Contemporary Electronic Music. With its vaporous gaseous jets "Empty Human Cells" presents a static intro. Gradually a circular tempo settles down, pressed that it is by a deformed bass and sound effects which click like fluttering percussions while the mood becomes schemer on shorts symphonic strata. With a title as striking as "Increasing Complexity" we could expect an insane whirlwind. But we are entitled to a soft tempo of a kind of Caribbean islands with knocks of percussions which sound like xylophone keys. The beauty of it is this line of distortional electronic percussions which shape a suave and smooth tempo.
A good slow down-tempo tempo awakens the senses of "Reflective". Slow like a morphic hypnotic pulsation, it's tying up to another fatty sequence which oscillates among synth pads to float softly on yet another more bouncy sequence. A fascinating series of violin strata crosses this quivering movement that takes the shape of a wavy-like jazz structure which glides over the mesmerizing bends of a lyrical synth and percussions with more than effective hits. While that "Mindmists" makes us visit the strange and deviant lanes of "Empty Human Cells", but with more variances in the rhythms, "Blade Yellow Sky" is rocking us with a beautiful rendezvous between a piano and a cello in a soft lounge mood filled of amplified percussions. Still the tempo is lonely and is sculptured around sound effects and samplings. Aggressive but delicious, "Distracted" strikes us quite hard with a heavy electronic approach. It's a powerful music piece and a pure analog fest that is between some rude Redshift and loud Ramp. "Crying Spells
" sounds like its naming! It's an intense paranoiac bolero with daunting choirs on luciferian pulsations.
Well! “Obsessive Surrealism” is a whole opus for a first one! From the first chord to the last one, we are thunderstruck by the musical approach of Parallel Worlds who gives me the same impact as Brian Eno did once with Nerve Net. Everywhere, samplers and sound effects decorate the music up and down, over-sizing the structures while giving them an artistic depth of a surprising paradox. It's as darker as that can be good and it's especially very refreshing. And throughout these musical corridors to endless depths, we perceive this parallelism intrusion with a stunning subtlety. A sign of a completed symbiosis between the blackness and its unreal harmonies.
Sylvain Lupari (March 22nd, 2007 and translated on November 6th, 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=9550

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