dimanche 19 mai 2013

FANGER & SCHÖNWÄLDER: Analog Overdose 3 (2003)

“The presence of Klaus Hoffmann-Hoock brings to Analog Overdose 3 a rebel and untidy side which completes marvellously the electronic fluidity of Thomas Fanger and Mario Schönwälder”
1 Hall of the Bourbon Lillies Part I 21:04
2 Hall of the Bourbon Lillies Part II 14:04
3 Hall of the Bourbon Lillies Part III 17:52
4 Bar Liquid (Encore) 19:57

Manikin Records MRCD 7067
SynGate|CD-RMR67 / 2012 (CD-r 73:04) ****
(Progressive Berlin School with a zest of groove/lounge)

Recorded live at the Satzvey Castle in 2003, this 3rd episode of the Analog Overdose series is an unaccustomed musical rendezvous. “Analog Overdose 3” is a fusion between the hypnotic and groovy rhythms of Fanger & Schönwälder and the psychedelico progressive structures of Klaus Hoffmann-Hoock. The album being out of print, SynGate took the helm by making it available in a cd-r format with a musical perfection proper to the German label which so invites you to a delicious mix with a stunning outcome.
A wave from a cinematographic synth spreads its philharmonic strata and its clouds of blue mists to guide "Hall of the Bourbon Lillies Part I" towards a puny rhythm, articulated by riffs of sequences which sound like some soft wood or like knocks on downy anvils. It's a whole world of sequences which dance in our ears. Sequences in the varied tones of which the curt and jerked hits shape a dislocated rhythmic which dances within the cracklings of synths. Hypnotic and mesmerizing, the intro is melted with a muddled rhythm pierced of streaks and flew over by twisted solos. Not really atonal, nor really very rhythmical, "Hall of the Bourbon Lillies Part I" takes more vigour with percussions which roll in an android walking among a thick cloud of jumping keys rolling as balls in an abacus and a carpet of balls on a conveyor, creating an effect of unique rhythmic echo to the movements of sequences from Fanger & Schönwälder. Even if the universe of the duet cogitates around these sequences, synths are not outdone as prove it these very beautiful solos, to tones of guitars, which cover the second phase of this spasmodic rhythm. "Hall of the Bourbon Lillies Part II" adopts a pattern of funky jazz with crackling chords a bit organic which mould a rhythmic dialect of aliens in a background filled of some fragrances of the retro disco years. These chords to hybrid tones skip and cavort on this floating structure which finds its balance on some silky enveloping pads. The track exploits completely its 14 minutes to borrow a more avant-gardist phase, dissociating itself from this pattern of slow ambient dance tempo which, by moments, overturns into a lounge genre.
An air of carnival introduces "Hall of the Bourbon Lillies Part III" with a structure of circular rhythm which spins without finding its nest. Swirling such as rhythmic lassoes, the movement is fluid and dribbled by jumpy sequences. A beautiful Mellotron layer and a mix of synth/guitar glance over this overture that we feel and that we guess frenzied. The percussions light a rhythm with a look of a free-jazz which struggles in a cacophony chewed on by riffs of guitars and sequences, inviting the electronic six-strings of Klaus Hoffmann-Hoock spat its acute streaks and its solos on the loops. The tempo works hard in this kind of fusion from the styles of Mind Over Matter, Manuel Göttsching (E2-E4) and Fanger & Schönwälder. And gradually the intensity gets out of breath and "Hall of the Bourbon Lillies Part III" embraces a more ambiospheric phase where the lamentations of the e-guitar are melting with tenderness on floating and suspended pads of a morphic synth. "Bar Liquid (Encore)" is dynamite. It's the perfect fusion between Fanger & Schönwälder and Klaus Hoffmann-Hoock. The rhythm is fine and hatched by riffs of sequences which hiccup in the delicate frenzy of the bongo style percussions. The harmonious envelope is weaved in layers of a synth with paradisiacal breaths and the lamentations of a guitar that the leader of Mind Over Matter tortures with passion. The communion between both approaches is great while the track becomes more and more intense with a clearly more aggressive guitar which fights against the invasion of synths and their seraphic languages.
With “Analog Overdose 3”, the Berlin duet continues to amaze and to seduce by leaving an enormous place to the creativity of their guest. The presence of Klaus Hoffmann-Hoock brings a rebel and untidy side, unique to Mind Over Matter, which completes marvellously the electronic fluidity of Thomas Fanger and Mario Schönwälder, whose Analog Overdose series continues quietly its evolution outside the limits of pure Berlin School. Here are two artists who are not afraid of going where others refuse even to think of it.

Sylvain Lupari (April 2007 and translated for Synth&Sequences on May 15th, 2013)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=9697

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