lundi 27 mai 2013

PERGE: Attalus (2013)

“The biggest merit of Perge isn't to copy the source of their inspiration, but well and truly to continue a sonic exploration where TD didn't want to go any more”
Attalus 1
1 Manerium Resonat 17:16
2 Monolux 18:43

Attalus 2
3 Tempestas Fronte 11:09
4 Taking Le Parc 13:02
5 Letters from Volos 3:30
6 Delphinus 14:50

Perge Music | (DDL 78:30) ****½
(Tangerine Dream's Berlin School style)
Hollow winds are uprooted out from Orion in order to spread the blue psychedelicosmic auras from the Dream's metallic years. Chthonian choirs are chanting on the curves of the sinuous synths lines to the iridescent outlines, entailing the intro of "Manerium Resonat" in a morphic ballet. Sequences are ringing far off. Charging into their echoes, they draw a harmonious zigzag structure that a line of bass sequence embarks on the jolts of its pulsations. The symbiosis of the rhythms is magical. And the magic anchors even more with the harmonies of a synth at both nasal and philharmonic which covers a rhythm of which the evolution brings us to the borders of a structure which could have been lost in the increasing rhythms of the majestic Silver Scale. Graham Getty and Matthew Stringer had taken the world of EM by surprise with the brilliant Dyad; an album which exuded the reminiscences of Tangerine Dream of the Schmoelling years. So why change a winning recipe? This 2nd album from the English duet goes even farther to the discovery of the musical labyrinths of Tangerine Dream. Inspired from 71 - 87 years of the mythical German group, "Manerium Resonat" is the perfect example by merging the Baumann and Schmoelling eras in a track amazing of its evolution, “Attalus” respects the genesis of Perge by offering an album which bursts of the fusions of its inspiration. Besides, the opening of "Monolux" perspires the one of Pergamon with Matthew Stringer's soft piano which hammers its notes in the echo of its solitude. The last note stays in suspension and gets lost in the reverberations of a synth line which floats in the intertwining of other dreamier lines. A brief morphic phase follows where the lines of synth to the multiple wandering harmonies dissipate to give space to a superb line of sequences which waves and swirls in a fascinating scroll. A hypnotic spiral where are hiding some subtle chords which change the measure of a rhythmic phase which swirls such as a glass carousel. Jingles of cymbals and percussions of a subtle military kind are harpooning the rhythm which grows heavy of a bass line, plunging "Monolux" into a melodious tornado which winds between our ears with the charm of an unhoped-for and unexpected thing while that phase two of Attalus 1 decorates itself of sonorous glitters of the Dream and of some great solos from a very musical synth. It's a little bit like an editing of hundreds of music pieces took here and there in TD musical story which are remodelled into another mosaic of rhythms and ambiances. Here is a great 36 minutes of well pressed down in my ears.
Split into 4 parts, Attalus 2 gets into our ears with some rippling synth lines which sing among dark rustles and electronic tones which have lead to this strange language that launched Network 23 from the Exit album. Except that the rhythm of "Tempestas Fronte" is more explosive. Well sat on a sequence line which buzzes of its flickering keys and on percussions which hammer a heavy rhythm, the structure is knotted of cadenced fibers which pound under the lines of a lyrical synth. A synth of which the crystalline harmonies fade to give free rein to a solo of sequences to the movements crossed which spin on dense percussions. This phase is simply brilliant and the fusion of these two entities of rhythms ends by getting covered by synth dusts while that "Tempestas Fronte" is returning back to these harmonies which decorated its genesis. The opening of "Taking Le Parc" is weaved on a sampling of the rhythms and ambiences of the album of the same name from Tangerine Dream. The rhythm becomes heavy. Erected that it is on this alloy of sequences and percussions which tumble in a galloping rhythmic frenzy, among which the overlappings and interweavings make the charm of the evolutionary rhythms of “Attalus”, it rolls like a stubborn train beneath beautiful pads and layers of a bright synth which also outlines some beautiful harmonious and twisted solos. Sequences isolate themselves a little more in 2nd portion of the track, boning a structure of its main harmonies. There only stay these foggy synth pads and these jumping keys maker of a neurotic rhythm which jostle in an anemic pace. A pace which shells little by little its elements such as in a rhythmic autopsy where we can admire all which swarmed below the last 10 minutes of "Taking Le Parc". After the delicate "Letters from Volos" and its soft melancholic piano, "Delphinus" starts where "Tempestas Fronte" had left, but with a more fluid rhythm and some great synth solos as well as beautiful melodies which bite the hearing and which run on a bed of beating sequences unique to the mode of management of Chris Franke's rhythms.
Attalus” is a superb album built on sequences which crowd in their hurries to forge these rhythms which evolve ceaselessly with a fine propensity to skid. Both parts which feed its 78 minutes are also magic as the play of sequences and the overflowing rhythms which explode under synths of which the harmonies and the solos brings us in territories abandoned by the Dream, all eras merged. It's an album where every hidden recess makes brings us to surprises and brings us down under the spell of Perge whose the biggest merit is not to copy the source of their inspiration, but well and truly to continue an exploration of the rhythms and atmospheres where the mythical group didn't want to go any more. Excellent!

Sylvain Lupari (May 26th, 2013)
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

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