dimanche 1 décembre 2013

SYLVAIN CAREL: Time and Tide (2013)

“As much fascinating as puzzling, Time and Tide is made of sonic holograms which broadcast a film, theatrical and poetic universe in music”
1 Revolution 4:41
2 Oasis Gardens 7:12
3 All Those Thousands of Stars 7:41
4 Tuareg 5:57
5 In the Light 5:41
A Few Drops of Santhal Essence 3:51
7 Karma Land 5:57
8 Impact of the Wind 6:49
9 Filtered Light through the Treetops 5:06
10 Wolf Song 9:02
11 The Mermaid and the Schooner 7:11
12 Time and Tide 8:13

AD Music | AD130CD (CD/DDL 77:26) ***½ (Cinematographic, orchestral EM)
"Revolution" opens us the doors of “Time and Tide” with a very ethereal intro where an angelic voice floats in the slow movements of synth strata which spread their morphic wings with a soft perfume of melancholy. This voice is all over “Time and Tide” and recites Berber psalms, sings tribal airs of bewitchment while incanting  the rhythms so that they light a little these peaceful and dreamy structures of this last Sylvain Carel's album. And this is what happens with "Revolution" where the rhythm excites the senses by the coming of clanic percussions of which the beatings are melting into hybrid orchestrations. Some strata are floating while others are more hatched and shape an interesting orchestral duel where the singings of the witch of winds get mix up to a delicate piano from which the fragile line of melody and its delicate notes are hardly perceptible. Welcome into Sylvain Carel's luxurious musical universe. I say luxurious because the music of the French synthesist is made of sonic holograms which broadcast a film, theatrical and poetic universe in music. Just like with his last album, Caravansary, the Arab world and the mysteries of the Middle East are perfuming the 77 minutes of “Time and Tide” where the ethereal ambiences and the slow rhythms cogitate in environments in perpetual movement.
"Oasis Gardens" is a beautiful music piece of ambiences where we are dreaming eyes wide opened on the slow orchestrations which hide a delicate dreamy piano. As everywhere in “Time and Tide”, the orchestrations are the core of the music and they melt within the rhythms and moods. And the impact is much richer with this elvish voice which bewitches us most of the time while fine arpeggios hesitate to leave their whole melodies which parade with so much hesitation, like our sighs that leave our lungs reluctantly. It may be very slow that it remains extremely mesmerizing, especially with this fascinating ethereal ballad which floats here and there around "Oasis Gardens" to finally end by having the control on it. "All Those Thousands of Stars" presents the first structure of rhythm of “Time and Tide” with a line punctuated with light riffs which gallop through the winds blown by seraphic voices. Gradually the riffs becomes stammerings of sequences, forging a light but sustained rhythm which melt in a very beautiful poetic vision tinted of beautiful evasive melodies strummed on a pensive piano of which the notes tread upon the caresses of violins and do the whole job of playwright. It's a very good track where is missing only the images. But we can easily take care of this. "Tuareg" continues on this romantic path of a night-vision of the Arabic dunes with a delicate piano which dreams in tears of synth. If the intro is meditative, the second portion shows a kind of tribal dance with a swaying disco move of the hips emerging. And yes, the world of “Time and Tide” continues to stay unexpected. "In the Light" is a beautiful ambient track where the rhythmic life pulses secretly. The ambiences are of pinky-purple with this ethereal voice which masters a serenity wrapped up in a meshing of strata with the soft tones of Berber flutes. These are soft orchestrations which eventually flood the delicate dreamy chords of a solitary guitar. "A Few Drops of Santhal Essence" is quieter. It's a very good morphic piece of music weaved in dense sonic film arrangements. The whole thing will give you gooseflesh.
"Karma Land" is a superb Berber blues.
Sylvain Carel surpasses himself by offering a fascinating and slow tribal rhythm. Fragile, the rhythm amplifies its cadence to kiss a quite lively clanic dance where we have the feeling to spin such as floating spirits. The percussions are very effective. They put much weight in a rather calm but softly energic rhythmic approach which surrounds a very nice melody strummed in a Galilean universe where are shining sonic stars, cawing organic pulsations and blowing fluty jerks .We really have the ears full of sounds. The first minutes of "Impact of the Wind" plunges us into a universe of winds in the colors of our fantasies. After 3 minutes, we hear staccato movements of the bows, while other bows caress tenderly some weeping violin strings. And the sweetness topples over a rhythm as heavy as slow with great orchestrations which compete with a guitar and its wild roarings. We are in the best of “Time and Tide” which continues its surprising Berber journey with "Filtered Light through the Treetops" and its morphic intro fed of slow orchestral strata which reveal the sweetnesses of a pensive piano. Delicate and ambient, the rhythm livens up little by little with gentle tom-toms. Chinese violins draw the lines of a floating melody, accompanied with delicate fluty arpeggios, which the voice of our invisible oracle caresses of pleasant poems. The hootings of wolves open the soft ambiences of "Wolf Song". This is a fascinating track, filled by a very strong filmic setting, that brings us outside the Arabic borders with an incantation sung by the peoples of the first Amerindian nations. We listen and we are on bird's eyes, scrutinizing the American western plains. Sylvain Carel sheds his 9 minutes by weaving an amazing sound scenery where the passive ambiences go to a very lively tribal rhythm into a strong American rock folk mood. We have to admit that it's quite unusual. But this is so appealing. After a "The Mermaid and the Schooner" as quiet as "A Few Drops of Santhal Essence", the title-track ends “Time and Tide” with this constant duality between the passive rhythms, the slow orchestral arrangements, the tribal atmospheres and the melodies lost in an intense orchestral pattern which surround all of the dramas which are happening behind every track of “Time and Tide”.
As much fascinating as puzzling, “Time and Tide” is a collection of tracks that would make us dream on the edges of a campfire where each would go of his small poem on the myths and the legends of a world among which the multiple stories, the legends and the improbabilities constitute the thread of its evolution. And
Sylvain Carel is a very good storyteller. He puts his tales into music with such intensity that his words are melting in musical images. “Time and Tide” would make a great soundtrack for a movie of which we write the scenario as our passions devour each track we hear. Puzzling! It's true. I would say that if we listen “Time and Tide” from the ends of our ears, we risk to get bored. But if we agree to plunge in it, we will have all the difficulties to trace back time.

Sylvain Lupari (December 1st, 2013)
gutsofdarkness.com & synthsequences.blogspot.ca
Cette chronique est également 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=16552

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