mardi 29 janvier 2013

NORYANI: Southeast 225 (2012)

“Noryani's Southeast 225 is a cinematographic universe where inspirations of Vangelis and Mike Oldfield are the beds of wonderful nomadic melodies”
1 Corredores-Introducción 3:07
2 Mi(s)tico 3:54
3 Destrucción Masiva 6:57
4 Vientos 2:19
5 Leds| 5:38
6 Frost (piano de la base) 7:13
7 Caminata de Tutorial 6:22
8 Células 4:30
9 Below the Clouds Extreme 7:32
10 En Proxies 6:27
11 Corredores-Principal
5:40

Generator.pl | GENCD027 (CD 59:46) **** (Psybient and melodious dark EM)

After a first album which had fairly seduced me, Noryani comes back with a 2nd album which shows a surprising progression and a musical maturity since Northeast 117 in 2011. Built around a recurring melodious theme which is inspired by Mike Oldfield, by melancholic and futuristic atmospheres à la Vangelis as well as by rhythms weaved in the clanic frenzy of ambient mid-tempo and trances; “Southeast 225” takes our ears by front with a delicious cocktail, sometimes explosive and sometimes meditative, which amazes as soon as we enter it. Adrian Noryani takes a jealous care of well elaborating his 11 compositions by some rich moods and diversified rhythms which are constantly evolving, lulling melodic structures which surprise from their unsuspected tangents.
"Corredores-Introducción" introduces us in the 11 phases of “Southeast 225” with an intertwining of dark synth layers which float such as a cloud of threatening ether over beautiful piano lines. The moods of Blade Runner, in particular the hesitating melody, fill our ears with these synth layers and their metallic textures which embrace themselves with passion in a futuristic pattern. Arrhythmic, the track begins to pulsing with a strong bass line of which the one-legged pulsations jump in a musical canvas which can call back the troop of dogs running for their survival in Antartica. As for an introduction, both at the level of rhythms and ambiances, Noryani hits the bull's eye. "Mi(s)tico" borrows also Vangelis' apocalyptic tones with synth layers which sweep the horizons of a menacing look. Little by little this toxic cloud disintegrates to give way to a robust rhythm supported by good strikings of percussions. If the atmospheres are weaved in the shade of the Dantesque synths of Vangelis, the melodies are structured in the fragile notes of a piano which hesitates between Mike Oldfield and this same Vangelis. And on "Mi(s)tico" these notes are nervous and skip through a field of percussions in their strikings by moment puzzling. "Destrucción Masiva" is a rather hard-hitting track. The intro is sculptured with a mix of ambiospherical breezes and organic tones which are crisscrossing in the reefs of percussions to static metallic elytrons. The breaths of a lost world à la Blade Runner pierce our eardrums while the rhythm remains always dying in its embryonic stage. But the musicality is rich with some rivulets to tones of prism of which the wavelets undulate under the moaning of synths warning of apocalypse, while the percussions make hear their random strikings through prismatic stroboscopic strands. This static broth fattens its uncertainty with heavy hummings which quietly sound the awakening of a loud and hammering rhythm where the rebellious choruses are entering into a hypnotic trance. This is one of the strong moments of “Southeast 225” which deviates towards a softer passage with "Vientos" which is a contemplative cerebral wandering with its black melody molded in the tears of a piano daydreaming under a metallic rain. "Leds" is built on the same model as "Destrucción Masiva" with its rich ambient intro where ochred clouds are dissipating little by little under the knocks of a chaotic pulsation. Riffs go astray in abstract filets and their zootropic outlines, leading "Leds" towards a frank and jerky techno rhythm which pulses of a fast hypnotic movement under a harmonious watercolor of layers to sharp threads. It's this kind of techno for mutilated zombie which takes assurance in its rhythm as it progresses, to be listen much more than to be danceable.
For me, "Frost (piano de la base)" is the jewel of “Southeast 225”. The intro is deeply melancholic and reminds me a little of Guido Negraszus on Dreams of MySPACE Vol.1:Thanx for the Add
 with the piano notes which ring in an obscure nostalgia. The resonances which bind every note weave a melody bound by the echo and which winds a long dark corridor where are gurgling cymbals to tones of silvery felt. The percussions which roll add a funeral touch to this long procession of sadness which goes astray in its meditative madness in order to embrace a kind of a jazz uncertain of its approach, nor of its venue. After a slow intro of a clanic mood with choirs humming a funeral ode, "Caminata de Tutorial" explodes of a lively rhythm. The entire set remains very dark with this union of choruses, and their grave intonations, to layers of a black organ which draw a Mephistophelian pattern on a tempo swarming of electronic tom-toms and organic pulsations. "Células" unfolds an intro soaked of suspense with sputters of white noises which spray a delicate harmonious approach from which the ethereal breaths are caressing a very beautiful crossing of percussions and pulsations. These last ones are pounding of a static tribal rhythm that some lines of piano and ethereal voices enchant with a subjugation which spawns up to our ears. "Below the Clouds Extreme" roots the perception of ambiguity, as much as in the rhythms as the ambiences, that reigns all over “Southeast 225”. The rhythm is circular and takes shape on a chain of sequenced ions which spin in a perfect stroboscopic hoop while that, out of nowhere, springs a melody that spreads its tentacles under various forms to charm our ears through resonant drones and innocent synth whistles. The melodic emblem of “Southeast 225” resurfaces on "In Proxies" which dresses its rhythmic structure of a black and jerky approach. "Corredores-Principal" concludes with a heavier and livened up approach than the introduction. This heavy rhythm, always arched on a meshing of percussions and sequenced pulsations, bears the harmonies of a piano of which the notes are fluttering around a beautiful harmonious pattern and weaves a pleasant musical itch on an approach soaked by paradoxes.
Southeast 225” is quite a find! I rarely heard an album so musically rich and coherent where the rhythms built around instinctive and hypnotic hammerings are thundering with indiscipline in a subjecting meshing of percussions and sequences and where the melodies are elaborated with wealth in contradictory ambiences as much dark as melancholic. It's a cinematographic musical universe, at both futuristic and clanic, where the inspirations of Vangelis and Mike Oldfield are of used as skeletons for wonderful nomadic melodies which often spring from nowhere. Enigmatic and strangely musical, Noryani's “Southeast 225” enriches the bewitchment at every track, inviting the listener to push constantly on the play button.

Sylvain Lupari (January 28th, 2013)

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