jeudi 24 octobre 2013

FRANK KLARE: Monomode (2012)

“Monomode is a huge electronic symphony which will please all of all those who fed on these huge improvised surges by Klaus Schulze”

1 Monomode 51:53
SynGate | CD-RFK13 (CD-r 51:53) ****½ (Berlin School)

SynGate develops with panache a plan to make discover besides borders all of Frank Klare's talent. Those who have the chance to know the Berlin School style since the moons, appreciate the works of Frank Klare; a synthesist very inspired by the analog years of Klaus Schulze and Tangerine Dream. “Monomode” is an album offered in bonus when you buy Solodreams and Solomode; two works which highlight all the talent of the German musician to compose hypnotic structures and Teutonic rhythms of Berlin School with a subtle orientation towards the New Berlin School. Consisted of the two long parts of Monomode, that we find on Solodreams, linked into a long piece of 52 minutes, “Monomode” remains a major work that Frank Klare has composed in 1986 while he was with SYNCO. At that time, only the 2nd part, entitled simply Monomode appeared on Solodreams. The republications of his albums on SynGate was going to give birth to this majestic work where Frank Klare dusted his souvenirs and offered the 1st part of Monomode that Pete Farn remixed into a long track of EM which is going to please to the ardent fans of Klaus Schulze.
A soft line of synth drags a shadow of an old organ to open the first seconds of "Monomode". It's a floating, soothing intro a bit filled by mystery where are hatching out some electronic tones which quietly invades our ears. Another delicate synth line develops sweet ethereal singings which float like these old messages of Klaus Schulze in this ambience where grumble some resonant sighs. And we hear! A little before the 5th minute, we hear this movement of sequence make waddle its ions through the soft analog perfumes of a charming synth. The rhythm remains as delicate as its atmosphere which doesn't stop hatching it. We hear sparkle and sing the shade of the keys which rock and run such as imps in a forest enchanted by the twisted singings of synthetised hummingbirds. As much quietly as subtly, the delicate hypnotic rhythm of "Monomode" evolves throughout its nuances, both in rhythms as harmonies. The elytrons of steel give to this rhythm more cracklings while it's teaming up to a scraggy melodic shadow and its fine solos which grind like some witches' caresses on a structure about which the fragility keeps silent to let dance more starving keys. These hypnotic keys continue to skip on the spot. Their rhythmic jolts reach a bigger velocity and entail the stubborn beat of "Monomode" in the heat of a heavy bass line. That's beautiful. Hypnotic and charming, "Monomode" hits strongly our eardrums with a rhythm, always so minimalist, which becomes heavier around the 18th minute while this rhythm swindles the ambiences with a heaviness and a velocity organized by pulsations which hammer a linear leaden rhythm, rock kind of percussions  and sequences which flicker with restlessness. We are deep in a fusion of Body Love and Timewind. The atmospheres are hiding in some evasive waves of organ and ghostly synth lines of which the musical veil is pierced by solos which cut out, with a superb musicality, a rhythm which pulses with some more of vigour, while sequences get more aggressive and solos more assassins, as long as our ears demand a truce.
And this truce arrives around the 29th minute when sequences are glittering in a soft dreamlike ballet. One would say a small bed song which wants to charm both darkness and brightness with these small sequenced carillons which sparkle like the stream of sequences in Mirage. Yes, "Monomode" seems like a tribute to the big minimalist works of Klaus Schulze. And the movement amplifies its heaviness and its swiftness to kiss a fiery electronic rock where the layers of organs lay out the pattern of heavy symphonic rock. We stamp of the feet and we shake of the head on this rhythm viciously lively where the synth solos throw  spectral nuances, marrying the fine jerks of the orgiastic strata of old organ. And always "Monomode" pursues its indefatigable minimalist rhythmic ride up until tread upon on the digital lands of Audentity and Dziekuje Poland in a sound slaughter where the rhythm is encircled of majestic solos and a subtle melody which floats as a souvenir of which one don't know its origin. And this breakneck pace ends in such a crash that elegiac dusts are floating everywhere around the last breaths of "Monomode", recovering so a finale more ethereal where the ashes of a huge album, which makes a surprising journey in the heart of Klaus Schulze's analog and digital years, are scattering by leaving in the ear an immense desire to re-hear
Link into a long piece of music, I have to admit that I so prefer this way, or still pricked in Solodreams, “Monomode” remains an inescapable work for all those who fed on these huge improvised surges by Klaus Schulze. It's an electronic symphony where the minimalist art was never so lively. Brilliant and the time have no hold on it.

Sylvain Lupari (October 24th, 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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