samedi 16 février 2013

ROBERT SCHROEDER: TimeWaves (1987)

“Behind a sumptuous sound fauna TimeWaves presents a diversified pallet of EM styles where Robert Schroeder presents his 2 faces, his 2 visions of his musical universe”

1 The Turn of a Dream 7:51
2 Waveshape Attack 3:23
3 Waveshape 7:43
4 Waveshape Decay 3:02
5 Love and Emotion 10:49
6 The Message 12:23
7 The Message Part II 5:44
8 Imagine 4:19
9 Flowmotion 4:55

CDR NEWS-CDR .12.008 2009 (CD-R 60:12) ****
(New Berlin School)

For quite a few fans and critics of EM, “TimeWaves” is the transition album in Robert Schroëder's career. An album where the aromas of a fascinating and ear-catching Berlin School are slightly brushing an approach more commercial in a form of synth-pop a bit funky. If the result may surprise and at the limit disappoints some of his fans, a more deepen listening will reveal that this 8th opus of Schroëder hides 2 wonderful jewels which gnaw more than the half of 60 minutes of this last edition of “TimeWaves” that Robert Schroëder offers with a more detailed and enhanced sound quality, giving justice to an album where the ambiences and the rhythms are carefully coated from this electronic fauna of thousand astral contrasts.
An artless harmonious line with a light reedy bouquet opens the innocent approach of "The Turn of a Dream". A lascivious bass line unfolds its rumbling chords which wave hypocritically on a carpet of ethereal choirs while that some other lost synth chords come to stroll and ring, adding so an additional harmonious touch on a track which negotiates its ambience and its rhythm between the sweetness of its synths and the backfiring of electronic bongo style percussions. "Waveshape Attack" is a track of ambience with synth lines floating adrift in the between the numerous interwoven lines of synth's wandering choruses and percussions to undisciplined strikings. It's an electro-organic prelude to the synth-pop "Waveshape" and its virginal melody which hums on a pulsating minimalist rhythm which scatters its funky chords and its robotics strikings in a harmonious universe sculptured in fluty breezes. Like "Waveshape Attack", "Waveshape Decay" spreads a cloud of electronic mood with synth waves crossing a storm of percussions knocks. Then comes the magical and wonderful "Love and Emotion". During more than 10 minutes, Robert Schroëder unrolls the pattern of a splendid down-tempo of which the slow and suggestive rhythm leans on the slow and echoing strikings of percussions. If the rhythm is floating, the harmonies are oniric. The breaths of the dreamy flutes float such as sensual singings on a lascivious rhythm, copulating with chords to tones of guitar which roam between the filets of breaths as much musical as vocal. This is simply a wonderful track which at that time ended the face A of an album where the electronic art and its technologies were still in the service of the harmonious creativity.
Voted as 87 best track of EM, "The Message" is in the purest tradition of Robert Schroëder's romantic works in a higher rhythmic scale. The intro presents these chords with tones of barking dogs so dear to the electronic universe of the synth-wizard from Aachen. They bark of their jerky timbers in some ochred mists while that the pulsations draw the plan of a hypnotic rhythm which debauches a multitude of sequenced circles which swirl in the mists of wandering choirs and in the sharp laments of a synth and its harmonious solos. The rhythm is swirling. Merging its crisscrossed pulsations to electronic percussions, it turns and turns around in the furrows of a synth with its aromas of intergalactic saxophone. The track then kisses a short ambiospherical phase with choirs humming in silvered breezes and over fragmented pieces of rhythms while that the knocks of interlocked sequences are alternating with an increasing velocity to redirect "The Message" towards its initial rhythmic approach. A rhythm smith of a tremendous rhythmic musical itch where hollow tones percussions and sequences with perverse oscillations rage in this intense vocalized mist which constantly haunts the ethereal approaches of Robert Schroëder. It really has what it takes to be voted as the best EM track in 1987. "The Message Part II" gets undress of its loud rhythm to espouse a spiral structure which strides along of its heavy chords the ascent of a dreamlike mountain where ring fine tinkled arpeggios. And "Imagine" pursuing on this arabesque tangent to ends with a heavier and more musical circular rhythm, so completing gallantly the onset of "The Message". The bonus track out of this last edition of “TimeWaves”, "Flowmotion", respects the spirit behind Schroëder's 8th opus with a musical rhythm where rotations of percussions and gleaming arpeggios forge the beautiful symbiosis of a minimalist synth-pop, a little like on "The Turn of a Dream" and "Waveshape".
Robert Schroëder always refused to stigmatize his creativity behind a single musical style. And “TimeWaves”, is only confirming his desire, undertaken on Paradise, to want to tame all the technological breakthrough of EM equipments through a skillful fusion of synth-pop rhythms and hypnotic progressive Berlin School structures. It's a very beautiful album which is underestimated where tracks like "Love and Emotion" and the saga of "The Message" bring us in spaces that only Schroëder knows how to sculpture for most great pleasure of our ears.

Sylvain Lupari (February 15th, 2013)
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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