mardi 23 avril 2013


“The strength of a black and ambient work is its capacity to seduce with atmospheres where squeak, shout and float pale and scarlet tones: this is Lament”

1 Weigthless Particles 8:30
2 Hoarfrost 8:55
3 Lament 3:25
4 And all which is not 24:13
5 Lurk 3:31
6 Below Ice 8:54
7 Reign of Dust 11:22

Gterma 003 (CD 69:07) ****
(Dark ambient music)

The strength of a black and ambient work is its capacity to seduce with atmospheres where squeak, shout and float pale and scarlet tones. You remember this long dark and ambient work that ['ramp] and Markus Reuter had concocted in 2007? ceasing to exist had riveted the lovers of deep floating music, to fine scents of industrial music rotting in its toxic ashes, at their headphones. About 5 years later, Stephen Parsick and Markus Reuter put back that with a black and intensely floating album which is to the measure of their unequalled talents to breathe life to dead structures. “Lament” is a powerful sound cocktail where the multiplicity of droning layers from synths and guitars gives life to these scattered implosions which punctuate the almost oniric blackness of a work which is savoured completely curled up in the comfort of a good pair of earphones. It's an intense work which doesn't stop seducing at the minute that it insinuates itself into our ears.
Winds. Spectral and iridescent lamentations debauch the peace of mind of "Weigthless Particles". Agglutinated in an immense sound mass, they float with a mixture of threat and seraphicity. The guitar of Markus Reuter releases a perfume of serenity with its more bright layers which defy those more intense and black of Stephen Parsick, while that the fusion of their elements brings a bit of musicality on these lifeless darkness where breezes of weeping-metal are squealing in the mists of Mellotron mislaid here and there. Purely ambient, "Weigthless Particles" defines the main lines of an album which is just as much. The beautiful "Hoarfrost" cries for solitude with its layers of guitars which weep into the shapes of solos, shouting its disarray in the morphic and abyssal sweetnesses of the layers of a synth which eventually spreads its heavy dark veils. A furtive fight between the loops to the deformed echoes by the guitar and the density of the synth pads, guided by a biblical ferocity, bring the beautiful and dark "Hoarfrost" to its dying breaths, where we still hear the ultimate breaths of a fatigued guitar. Short but intense, "Lament" makes its beast mooing through the loops of pulsations which gurgle with strength in a lunar setting drawn by the waves of a guitar which borrows the Arabian breaths of a lost civilization. We have just overtaken the borders of the beast and of its den with the long and without any forms "And all which is not" which plunges us in full agony. Heavy and black, the intro ends to disperse its Mephistophelian layers which roar as howling winds dismantling mountains in a powerful abyssal descent. There is a mixture of terror and dirty poetry in these first 7 minutes which graze any forms of virgin thoughts and where the doubt between the coexistence of two parallel universes is melting bit by bit. The vertiginous descent ends in a bath of fusions between these numerous synth layers and those of an abstract guitar which tear the listener by the strength of their blackness and the serenity of their luminosities. We are floating in a strange linear waltz where the evanescent tranquility remains the prey of the intestine storms which prowl all around this long fresco on the nothingness. We hear some reminescences of  Michael Stearns' Chronos  stroll here and there on a structure which is quietening little by little. And we arrive there. We arrive at these pulsations and these glaucous implosions which fed the vampiric ['rampian] atmospheres of ceasing to exist. And while we thought that the Parsick/Reuter duet had reached the zenith of the abstract art, "And all which is not" breathes again and is reborn of its toxic ashes to kiss a finale where the pernicious breaths of a quirky interbreeding throw a honeyed ambience of satanic serenity which will be in the heart of a finale puzzling with the very beautiful and melancholic "Reign of Dust" and the taciturn solos of Markus Reuter.
"Lurk" offers the first semblances of rhythm on “Lament” with Tibetan carillons which resound in an outlandish black mass. Even if the winds moo with opacity, we hear all these small sound details which make the strength of this somber union between Stephen Parsick and Markus Reuter. The atmosphere weaved by this pile of multiple layers to ill-assorted tones is as well intense as poignant. "Below Ice" surprises us by the ferocity of its alienating lamentations. This time the descent is of aggression with these hootings of schizophrenia which yell of insanity into scattered ice implosions. It's a skillful mixture between the crystalline and frightening tones of Permafrost-Music for Hibernation and the Reutertronics lamentations which rise with its Babylonian shouts on a finale to make dream the sound-effects engineers of the oceanographic works. With their approaches a bit poetic, "Below Ice" and "Hoarfrost" separate marvellously the sepulchral atmospheres which upholster the black universe of “Lament”. And, drawn from the cave of "And all which is not", "Reign of Dust" offers a finale of the most unexpected where the revival inhales the purity. It's a very rare oniric nectar in Stephen Parsick's works and a monument of beauty on this intriguing ambient opus that is “Lament”.

Sylvain Lupari (April 21st, 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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