samedi 23 mars 2013

ALIEN NATURE: Who Goes There? (2012)

“Who Goes There? is an extremely powerful album where all the musical colors of the digital equipments are exploited to the maximum”

1 Mind Bridge 15:52  
2 Pattern of Chaos 11:10  
3 Tomorrows Children 10:23  
4 The Radiant Dome 18:08  
5 Galactic Corridors 12:11  
6 Torrent of Faces 9:10

SynGate | CD-R AN06 (CD-R 77:05) ***½
(Heavy base sequencer Berlin School)

For this 6th album, Alien Nature embroiders themes of spatial wars in an amazing musical pattern. Inspired by 6 short stories and/or science fiction novels, “Who Goes There?” tears our ears and make ooze our walls with passionate rhythms which hammer the musical scenarios of intergalactic duels. Robots, extraterrestrials and cybernetic creatures decorate the atmospheres of a cosmos soaked with iodized moods where Wolfgang Barkowski delivers an almighty fight to the serenity and its morphic traps.
It's in some pantings which release a feeling of fright or ecstasy that the first lines of synth float above "Mind Bridge". Ambiospherical and musical, in spite of the whispers of paranoia, this intro gives off a soft perfume of abandon with these lines of synth of which the languishing charms are increased with the fine pulsations of a suggestive bass line. The jingles of cymbals, which fight over this field of desire, light the percussions which strike a soft tempo to the look of a cosmic groove. The rhythm is finely jerky, even a little jazzy, with very good percussions. It hiccups with serenity under the singings of beautiful synth solos, bringing "Mind Bridge" towards a period of transition where are ringing chords to breaths and tones of contracted glass of which the gurglings embellish with images a dialogue of robots in a seraphic atmosphere. We clearly feel a more dramatic tendency which takes shape throughout the progression of "Mind Bridge" which ends in an anarchy finale with the big stormy and nasal waves of a threatening synth. A subtle chaos is in hiding behind the rain of the acid winds which whistle on the back of the free-running waves. Extricating itself from these atmospheres of devastation, "Pattern of Chaos", which reflects the spirit of a spatial battle, lights our interest with a suite of sequences which steal behind the cosmic pieces of shrapnel and the deaf knockings to flounder in tandem with pulsations and organic riffs. The rhythm becomes then violent. As an intense ride in the meanders of the cosmos, it runs breathless with powerful percussions and tremulous sequences, tremolos which sounds like guitar riffs, allying so a swiftness which feed constantly the strength and the aggressiveness of the deep solos from a synth which is the clarion of the cavalry. "Tomorrows Children" lands in our ears softly. To say the least for its first half that is a delicious down-tempo swirling lasciviously between the soporific synth lines and the pulsations to heavy organic gurglings. The synth throws suave solos which float in an atmosphere of abandon while that quietly the rhythm is filling the air with a latent progression to finally adopt a structure as nervous, but more poetic, than "Mind Bridge".
The longest track on “Who Goes There?”, "The Radiant Dome" is also the one which has the most difficulty in taking off. But when it does take off, you better attach your tuque with brooch. Its intro is slow and kissed by a cosmic storm filled with hollow breaths and acid cracklings which are the witnesses of an odd symphony of organic jingles. It's a soporific cocktail which little by little fills with heavy drones with doubtful twists in order to make the link between the abstract and the heavy concrete rhythm which castigates the ashes of this intro. And the rhythm is heavy. Appropriating all the tones and sequences that can undulate with fury, it is heavily beat up by percussions of which the unbridled strikings are raging in an organic fauna and its pulsations which vomit refrains shared with solos to the hypnotic loops. And this rhythm stops abruptly after a crazy race after four minutes to kiss a more ambiospherical phase. The cawings of the organic pulsations which upholster the hymns and moods of “Who Goes There?” mould a strange funky beat approach where the synths are lovely. They draw some nasal solos and morphic atmospheres accompanied with an acoustic guitar of which the harmonies and riffs roam in this magma of antibiotics for depressive aliens, while that insidiously the feverish rhythm which had abandoned us resurfaces, gnawing a finale which is dying in a concert of white noises. This cosmic tranquility goes up to the intro of "Galactic Corridors" and of its soft musical winds which spread their serenities on a soft organic rhythm. We would believe to hear the orchestral vessels of Tomita on this intro of which the charms of synth solos hide these soft hits of manual percussions which feed more and more the soft tribal-cosmic rhythm of "Galactic Corridors" whose ending is embracing a period of transition with some languorous plaintive solos before stumbling over a more nervous rhythm. Then a rhythm a bit funky stalk pops out and the jerky outlines are drawing a stroboscopic sound arc, confining it on a rhythm trapped in its circular axis. There where throne the mist of Venus and the nasal singings of a synth and of its exhilarating fragrance of organ sound. "Torrent of Faces" takes back the rhythmic ride of "The Radiant Dome". Except that this time, the running gnaws the whole 9 minutes. It's a powerful track which makes us tap our foot and shake our head with madness and where synth solos swirl ceaselessly on this structure about which we don't know if it's the tremulous riffs and sequences or the unchained percussions which boost a tempo of a marathon runner who runs at high speed and which, in the end, runs after a breath lost in a rhythmic mess which only a well calibrated EM can forge.
Phew! Needs that I apologize at neighbors! “Who Goes There?” doesn't go in for subtleties. It's an extremely powerful album where all the musical colors of the digital equipments are exploited in a firework of explosive rhythms which crush the atmospheres and melodic approaches finely detailed. It's an album of progressive EM that nothing to envy to the avant-gardism works of King Crimson, or still Van Der Graaf Generator, so much it's hyper heavy and highly unbridled. It's EM at its best and which has to be listen the ears as big as our open-mindedness. Powerful, lively and heavy! For those about to e-rock...

Sylvain Lupari (March 23rd, 2013)

Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

Aucun commentaire:

Publier un commentaire

Remarque : Seuls les membres de ce blogue sont autorisés à publier des commentaires.