mardi 25 décembre 2012

UWE RECKZEH: Mirror Images (2012)

“Mirror Images a powerful album of a heavy and lively EM which cannot deny the sources of its influences; Tangerine Dream”
1 Mirror Images 11:40
2 Waiting Steelness 7:41
3 Contribution 10:04
4 Most Diversion 6:17
5 Imaginations 8:49
6 Always Sunday 6:50
7 Holding Sympathies 8:00
8 Tomorrow with no Morning 8:09

MellowJet Records | CDR-UR-1201 (CD-R 69:27) ****¼
(New Berlin School, heavy and lively EM)
We cannot ignore the parallels between the music of Uwe Reckzeh and the cradle of his influences. Most of the works from the German synthesist are drinking of it without copying them. In fact, the music of Reckzeh goes over the borders abandoned by the various forms of Tangerine Dream. If Subsesizer explored what would have given the sound of the Dream with Peter Baumann onto Exit, “Mirror Images” gives us rather an outline of the Dream with Johannes Schmoelling within it after the era Poland. Melodious but carried heavily by a wonderful marriage of sequences to multiple rhythmic forms and electronic percussions to Teutonic hits which are crushed by powerful bass lines with ample destructive oscillations, this last album from Reckzeh is a heavy and powerful with rhythms which are leaning on melodic structures evolving inside pattern weaved by fine subtleties.
It's with a concert of enchanted breezes shining in a fog of iridescent particles that begins this superb new album of
Uwe Reckzeh. Soon, some disobedient voices are humming in this fine musical drizzle from where emerges a great line of bass with ample and juicy oscillations. The rhythm settles down with a line of sequences of which the fluttering ions espouse the furious oscillatory tangent of a bass line which feeds its growing rhythm with the arrival of sober Teutonic percussions and of another line of sequences with keys hiccupping under the aegis of great twisted solos. We are entering into the 2nd phase of "Mirror Images" where the rhythm softens its ardour and fattens its harmonious approach with sequences which swirl into short jerky spasms beneath more tenacious hits of percussions which harpoon a double-jointed phase that a synth covers of its divided harmonies. "Mirror Images" depicts marvellously the 55 coming minutes of a staggering album. And it's a very strong track, all in tones and shade which binds itself to "Waiting Steelness" and at its pace galloping under avalanches of percussions and solos hooting in a rhythmic and harmonious continuity which reminds unmistakably the Dream's period of Schmoelling. "Contribution" continues to feed “Mirror Images” of hypnotic sequences which collide delicately under the symmetric jingles of cymbals. The rhythm is hyper melodious. Hypnotic it draws its nuances in the colors of a synth of which the lines of voice get melting into harmonies which get lost in fleeting solos. Very heavy, "Most Diversion" explodes into our ears with an intro filled by an orchestral arrangement near drama. The percussions of a clanic kind add a surrealist dimension at this track of which the harmonies of synths hang on a smile at the ear. We close eyes and we imagine easily what Tangerine Dream would have been sounding if Johannes Schmoelling would have stayed with a group which feeds the inspirations of Uwe Reckzeh. The approach is explosive on this track which tries constantly to go out of its rhythmic pattern.
We stay in the intensity with the heavy "Imaginations" which begins nevertheless rather in secret. Timid the resounding chords hesitate to waltz with the percussions of which the knocks of clogs get lost in a bass line and its notes which bite a rhythm in ebullition. The whole thing forms a strange rhythmic choreographic to which are adding some light harmonized keys which ring in a din becoming softer, while that the synth spreads its beautiful solos which cover this rhythm much more savage than poetic. But a rhythm always harmonious rhythm which respects the plan drawn by the German synthman since the first chords of the title-track. And the more we move forward in “Mirror Images” and the more we are subjected by these with structures rhythms and harmonies so near and nevertheless so distant and distinct. With its sequences which have difficulty in outlining a sustained rhythmic figure, "Always Sunday" ends by collapsing under the weight of its percussions while the sequenced ions skip with stubbornness on a rhythmic structure destroyed by its heaviness. Vampiric, the synth widens its devastating solos which wave as spectres thirsty for rhythms. Rhythms of lead which feed amply these solos which seem to go out of the wild imaginings of a certain Edgar Froese. Heavy, rich and delicious! The last two tracks bring us towards more exploratory and schemers phases of “Mirror Images”. "Holding Sympathies" leads us to it with an acoustic guitar which makes meditate its notes under a heavy coat of iridescent mist. Odd bells made by an interbreeding of metallic chords embroider the outlines of a mephistophelic approach before that the rhythm tumbles down in a somber gallop made wrathful by the hits of steady percussions and the burning serpentines of sequences which encircle a rhythmic ride flooded by great solos of a black as much black as darkness. And it's this ambience which transports itself up to the intro of "Tomorrow with no Morning" and its glaucous breaths which breathe laboriously under a sky darkened by a thick cloud of beatings as apocalyptic as eclectic. Fine sequences succeed in dancing there, circulating aimlessly in a dense carpet of ochred mist that synth waves sweep like the glances of a lighthouse in darkness which quietly are waking up with a muffled rhythm. But too little too late, "Tomorrow with no Morning" does not breathe more than by our memory of a listening that we are going to multiply by putting back the counter to the opening track.
Without a shadow of a doubt, “Mirror Images” is an excellent surprise that almost went unnoticed. It's a powerful album with a surprising eclectic marriage of sequences, percussions and bass lines which weave rhythms hallucinatory melodic. The atmospheres are alive and rich, surrounding and embracing its rhythms among which the continual nuances and variances convince us even more that the different periods of post
Tangerine Dream had always something to charm. Wonderful and highly recommendable!

Sylvain Lupari (December 23th, 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

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