samedi 13 avril 2013

GUSTAVO JOBIM: Connection - Tribute to Conrad Schnitzler (2013)

“Don't look for harmonies of Connection - Tribute to Conrad Schnitzler, there aren't. But there is noise and noises...and noises”
Connection 1 4:11
Connection 2 3:52
Connection 3 3:31
Connection 4 2:15
Connection 5 2:11
Connection 6 3:00
Connection 7 2:33
Connection 8 3:14
Connection 9 3:50
Connection 10 5:18
Connection 11 2:30
Connection 12 3:26

Gustavo Jobim | Free Download (DDL 39:51) ***
(Industrial Music)
Is this anti music? Absolutely! And it's not because it is 12 Connections disconnected from the music phases that our brain usually assimilates that “Connection - Tribute to Conrad Schnitzler” ain't worth seeing. From the first reverberations which gurgle and roar with insanity on the back of the pulsations which subdivide their linear strikings with ferocity, we know that the next 40 minutes of this tribute to Conrad Schnitzler
 will be forged in the labyrinths of the most absolute abstract art. "Connection 1" is sculptured in noises of floating sheet steels and their cold metallic tones which melt themselves in a stunning oscillatory maelstrom which, eventually, turns out to be of a musicality that leaves perplexed. "Connection 4", although much jerked, is another track which pulses with a shambolic frenzy... if we like this kind of loud and noisy minimalist style. Look for harmonies nowhere; everything is out of tune, un-harmonic on this Gustavo Jobim's musical essay. "Connection 2" offers an organic structure which floats in some sizzling waves, white noises of which the ample movements describe big winged arcs. We like? Well there is "Connection 8" which is divided between the sourness and its sweetness and also "Connection 10" which...euh...You have to hear it.
We enter into the cave of blackness with "Connection 3" and its intense dark layers of organs which blow in the lost flights of the frightened bats. A sombre track, like "Connection 5" which is more musical on the other hand with its vampiric waves and "Connection 9" which is a slow procession sleeping in the basements of a vast deserted warehouse. "Connection 6" brings us to another level with its percussions which swirl in a fusion of helicopters' propellers on a bed of waves of which the metallic tones blow and suffer in indifference. "Connection 7"? What to say if it's not that it's made of noises. It's an explosion of explosions and backfiring of fireworks which burst of 1 000 electronic colors in the pains of the synth layers as dark than sad. A chance that there is "Connection 11" to groom our ears which are exposed in one the most colorful sustained fire of tones that are of the most colourful and rhythms of the most strangely invertebrates we can imagine. And "Connection 12" to re-chlorinate our ears with its long resonant laments which pulse in toxins clouds of cracklings, completing a work of which the beauty lives in this will to feed the abstracted music from these tones which only a brain illuminated with a mission can restore; the mission to pay tribute to an artist as much strange as necessary.

Sylvain Lupari (April 12th, 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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