lundi 24 mars 2014

LOOM: The Tree Hates the Forest (2013)

“The Tree Hates the Forest is a good album of e-rock filled by too many and obvious musical blinks of eyes to Tangerine Dream universes, both of Schmoelling and Jerome”
1 Polaroids from Anywhere 8:09
2 Cloud Walk 4:35
3 Quantal Highways 4:17
4 The Vedic Ritual 8:39
5 A Grand Solar Minimum 7:07
6 Bandhu 9:33
7 A Night out at the Cirqus Voltaire 6:17
8 Chants Beyond the Underworld 5:07
9 Emerald Suite 8:27
10 Tachycardia 5:54

Viktoriapark Records | VP 18 123 (CD 67:19) ***½ (Melodic E-Rock)
A beautiful fluty chant reflects in smooth and discreet orchestral arrangements. He announces the turbulences of "Polaroids from Anywhere"; a track filled by the vicious approaches of Jerome Froese and of his best moods of Neptunes. This is a track which hooks me straight from the first listening. After an ambiospherical intro blocked by a host of noises of which the roots recall the metallic ambiences of the Logos years, the tears and laments of synths bring to mind the White Eagle years. Sequences and percussions? The Hyperborea and the Poland years. Here is all the discomfort of “The Tree Hates the Forest”! "Polaroids from Anywhere" feels one's way forward by the means of good flickered sequences, effects of cotton gases and the jerky riffs from Jerome's Guitartronica. Between its phases of heavy but static rhythm and its floating melodic ambiences where each sonic morsels is as a fusion between Jerome Froese's universes and that of Johannes Schmoelling in Tangerine Dream, "Polaroids from Anywhere", just like "A Grand Solar Minimum" and its orchestral perfumes as well as "Emerald Suite" and its very Schmoelling harmonious envelope, does its stand-still of a way which teases constantly the hearing, but without ever taking off. It's good, but something is missing. And this observation is for the height of “The Tree Hates the Forest”.
Oh... do I have some difficulty with this last album of
Loom. Not that it's not good! It's not just great. I would rather say that it's not as high as the expectations. To say the least, mine. And the waits were very high, with good reason, further to both EP and especially after Scored; a superb live album with some appetizers of what should have come later. Cornered between the Virgin, Jive and Miramar years of Tangerine Dream, the very stylized harmonious approaches of Johannes Schmoelling as well as the rhythms and heavy and hatched riffs of Jerome Froese, the best of the examples is "Bandhu", “The Tree Hates the Forest” seems to be a victim of the egos of the trio's members. Each track is flooded in ambivalent structures where we have the vague impression that each member of Loom tries to impress and to challenge the other ones. So is missing a form of cohesion complicity, contrary to Scored or even 200 002. We find very good ideas which are not enough exploited because the track goes towards another avenue, always so good, but always so briefly exploited. There are piece of music that we listen to and which gives us more the taste of listening to some Dream albums or yet to Jerome's music. The essence of Schmoelling? Mostly we find it everywhere. I don't really think that it was the effect looked for by Loom. To say the least, it's not what I was expecting. If we have good flashbacks of 200 002's Rejuvenation, we rather notice pretty fast that each track on this album is a kind of sonic Babel tower where too many ingredients, peculiar to each and to their roots, are bubbling up in structures quite rather inviting. Very promising and flooded in sound effects à la Exit, "The Vedic Ritual" lands flat. If we like the approach of dreamy ballad of "Cloud Walk" and its notes of electric piano, which slumber in a kind of Logos' moods and as well as on a chain of circular sequences, we try to understand in which mood are situated the boiling "Quantal Highways" and "A Night out at the Cirqus Voltaire" which sound like big New Age symphonic e-rock à la Vangelis and Yanni. It's not bad, but something is missing there. And this in spite of the very good solos from Schmoelling. At this level "Chants Beyond the Underworld" is more successful. The influence of Schmoelling remains and his clothes of Vangelis perspire very dramatic filmic inspirations. "Tachycardia" is a bomb! A hyperactive track which would have without a shadow of doubt figured on Jerome's album or still Robert Waters' so much the rhythm, powerful and dynamic, diminishes not at all the fine melodious breezes.

As you can read, “The Tree Hates the Forest” is not that bad. It's a lively and dynamic album where the vast experience of Johannes Schmoelling seems to retain the enthusiasm of his two young accomplices. In so doing, each track of “The Tree Hates the Forest” explodes of these various visions and approaches of Schmoelling, Froese and … Waters. Strange, I was going to write Franke. At doing too much, at loading to the rim each of the structures and by wanting to embrace the egos of all and each, Loom missed its blow. Each music piece abounds of personal imprints from the members of the trio which too often tries to cross the most promising or the most commercial lands of the Dream. As would say my love Lise; too much it is as not enough. But what else could we expect from Loom?
Sylvain Lupari (March 24th, 2014) &
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: 

jeudi 20 mars 2014

BEYOND BERLIN: Cosmic Nights (2013)

“Music for Cosmic Nights is a great cosmic rock album of the analog years when the dreamy rhythms of Klaus Schulze failed to cross the chthonian moods of Tangerine Dream”
1 DA14 22:13
2 Clippings 18:12
3 Brussels Return 21:16
4 Clippings - Reprise 5:32

Independent Bandcamp (DDL 67:19) ****½
(Vintage Berlin School and Cosmic Rock)

Oh that we find beautiful EM around the webs of Internet. “Music for Cosmic Nights” from Beyond Berlin is an album which passed totally under my radar in 2013. And it's undoubtedly one of very beautiful surprises of this year. Evidently with such a name, Beyond Berlin, eyebrows swell of skepticism, but ears always remain so curious. But they still ask for more of that kind of EM. Recorded within the framework of the cosmic nights' Festival at the Planetarium of Brussels on May 17th 2013, “Music for Cosmic Nights” is a real ode to Berlin School of the analog years when the dreamy rhythms of Klaus Schulze failed to cross the chthonian ambiences of Tangerine Dream. Rene de Bakker and Martin Peters make us travel between Timewind and Phaedra in cosmic moods which awaken in us the need to listen the music of Jean Michel Jarre. But the most attractive element of “Music for Cosmic Nights” is without a shadow of doubt the magnificent footbridges of sequences which modify the courses of static rhythms cut out by keys to lively and impromptu movements. A little as if Chris Franke had engendered pupils still unknown by all.
The drizzle dripping with walls of an oozing cave offer their crystal pearls to a brass band of synths and their slow and wrapping singings filled by aromas of apocalyptic organs. Synth wave are rolling with a soft effect of backwash whereas that the eschatological singings smother the lapping of drops in suspension, shaping an introduction from which the macabre motif brings us silently towards a delicate dance of jumping key. Tenuous in a Mephistophelian membrane, the rhythm of "DA14" sparkles and skips more that it moves. The movement is static and hypnotic with keys shining of harmonic tones as clear as some marbles clacking on a conveyor. Softly, this string of sequences scatters its keys which spread some weak adjacent rhythmic lights that the chloroformed envelopes of the synths are caressing of their sweetness. Another line of sequences emerges from this shining fog. We will hear a weak oniric singing which rolls in loop on a delicate line of rhythm which makes dance its keys skipping like feet of children on an ice-cold pond. The dance of the sequences which follows and its keys which skip in the shadows of others, molding these fabulous movements of sequenced canons, reminds the nice era of
Timewind. Simply bewitching! Synth lines roll like cosmic waves on the intro of "Clippings". This time, the onset of the rhythm is hastier. It's a beautiful movement of sequences which skip in harmony with an ambient rhythm that synth waves wrap of an astral tenderness and of very melancholic breezes. The movement is very cosmic. But it starts to stir a little after the 7 minutes point with keys which jump and slam. Another line of bass sequences swirls and sneaks between the bangings, creating a protean rhythmic motif among which kicks and jolts burst in a pattern always rather cosmic with synths solos and breezes which remind me of Jean Michel Jarre's very cosmic universe. Afterward Rene de Bakker and Martin Peters offer us a course about the art of sequencing with keys which skip and tumble under the mocking singings of synths which sometimes awaken vague memories of the Dream. "Brussels Return" is the most ambient music piece of “Music for Cosmic Nights”, and this even with some great and delicate movements of the sequencers which embroider static and harmonious rhythms. They swirl in orbit, coated and sucked up by synth waves which roll and coo in soft astral chants. Needs to hear all the nuances with a good set of earphones. Wrapping and magnetizing. "Clippings - Reprise" takes back the very livened up portion of "Clippings". It's a beautiful way to be entailed straight away in the grooves of an attractive album which shows that the retro Berlin School genre has still some more charms to make listen. A great cosmic rock album! I'm looking forward to the following one.
Sylvain Lupari (March 20th, 2014) &
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:    

mardi 18 mars 2014

CODE INDIGO: Take the Money & Run (2014)

“Take the Money & Run is a splendid album which ends one of the very beautiful histories of the contemporary England EM scene; the one of Code Indigo”

1 Eden to Corruption 10:36
2 Call of the Earth (Ambient Mix) 6:00
3 Return to Gaia 7:30
4 Ashes and Snow 14:27
5 A Question of Answers 11:39
6 Memory Code I  6:12
7 Memory Code II  8:25
8 Memory Code III  2:03
9 Memory Code IV  9:00
10 Memory Code V  2:52
11 Memory Code VI  5:30
ADMusic | AD106CD (78:55) ****½ (Progressive, melodic e-rock)

It's over! “Take the Money & Run” is the swan song of one of the rare groups of musicians who mix deliciously their EM in the harmonious caresses of New Age, in the dreamlike structures of the English progressive music and in the heavy and devastating rhythms of the England School style. It's a delicious mix which has seduced thousands of ears since the very first Code Indigo album released in 1996; For Whom the Bell. More than 15 years later and 9 albums farther, Code Indigo loops the loop with a last album which makes a lap and revisits some of the big works of a committed band whose very esthetic music always denounced the excesses and injustices of our modern world. Except that “Take the Money & Run” is not a compilation album. Behind a concept approach very near MELTdownDavid Wright and Nigel Turner-Heffer have revisited and retouched some of the big tracks from the Code Indigo catalog. Music pieces mislaid in compilations (E-Day 2010), in sessions (MELTdown) and remixes of tracks which became immortal of the England band.
A line of sequences, full of keys which gurgle in the noises of machineries, goes round in circles and looks for its rhythmic aim in the reflections of synth streaks to the metallic rustlings. Like a dance of lost steps walking round and round in a disused factory, "Eden to Corruption" leads us into the universe to thousand paradoxes of
Code Indigo. Between a heavy and aggressive rhythm, suave and ethereal harmonies, and ambiences at both Berber and contemplative; the music of Code Indigo travels through its very personal colors. Those who are familiar with the group will recognize Eden to Chaos from TimeCode, as well as Eden to Chaos (Corrupted Time Mix) which appeared on the E-Day 2010 special CD from the Dutch label Groove. In fact, "Eden to Corruption" is a delicious remix of both tracks which are melted together in a new sonic envelope. The rhythm is circular. It swirls heavily with a line of bass sequences which leans on good strikings of electronic percussions. Heavy and spheroidal, it embroiders a fine stroboscopic line to which Andy Lobban's very aggressive guitar nibbles with ferocity while keeping a little of energy for very musical solos and more ethereal strata. We stamp of the feet on a very lively rhythm which goes and comes, as we meditate on the very sensual groans of Louise Eggerton and the very nostalgic passages from the pianos of David Wright and Robert Fox who exchange their dreamy melodies for Andy Lobban's very penetrating bites. We are had on familiar ground and especially very comfortable with this remix which introduces marvellously the next 60 minutes of “Take the Money & Run”.
"Call of the Earth (Ambient Mix)", always out of TimeCode, is unrecognizable. This ambient bewitching lullaby, of which the soft rhythmic swarm lays on fine tribal percussions, is restructured around the very seraphic of Louise Eggerton while the lines of synths with whistle for dreamers is replaced by a magnificent piano and its very melancholic melody. This is very beautiful and more contemporary. We still remain in the oniric domain with the wonderful "Return to Gaia"; a new version of Gaia that we found on this
E-Day 2010. Between Pink Floyd and Moody Blues, "Return to Gaia" offers a delicate rhythm, almost oriental tribal, with fine percussions which weave a mesmerizing ethereal dance on which Andy Lobban's guitar floats and scatters solos in the tears of a piano and of its clandestine harmonies. The arrangements are of a seraphic neatness to make melt the concrete. Without being aware of it, we have just passed throughout 25 minutes of pure magic when "Ashes and Snow" falls in our ears as an unexpected present. Written during the MELTdown sessions, it offers a slow rhythm with fine synth pads of which the fluty aromas are mixing up in our ears with the very ethereal voice of Carys. A little as in MELTdown, a male voice roams all over around a structure and its evolution which goes alongside of "Eden to Corruption". The slow rhythm part dives into a kind of jerky progressive rock à la Pink Floyd where Dave Bareford's guitar does all the work of seduction. "A Question of Answers" is a studio version of this famous track built around evolutions as much stormy as poetic that we found on the much acclaimed album Live at the Derby Cathedral 1996, released in 1998. This is a great track which exhales all the nuances of Code Indigo (e-rock, e-rock prog, New Age and England School) where the ballad genre turns into a light easy listening, then into a solid e-rock with zest of England School which is shadowed in the pastels of a light fusion between jazz and blues. The synths are very lyrical. They sing with a dark mood over an evolving structure where futuristic and retro ambiences are intertwined on a slightly bumpy structure drown on wonderful orchestral arrangements and suave synth solos perfumed of saxophone breezes which melt themselves in the divine voice of Carys. This is great music that we have here. From ambient to down-tempo then harder rhythms, "MemoryCode" is a sonic journey in all through the periods of Code Indigo. It's a kind of potpourri which overflies the TimeCode, Uforia, For Whom the Bell and Chill albums with reinterpretations of tracks such as Rapture, Syncgate and Lost Radio Close-Down in a more contemporary envelope which breathes all the musical intrigues of MELTdown, the last classic of Code Indigo.
Take the Money & Run” is a splendid album which ends one of the very beautiful histories of the contemporary England EM scene.
Code Indigo was a big group which broke ranks in this universe where the complicity lived often solo, from where the very mesmerizing musicality of the English band. The presentation of the album, the artwork is as much well presented as its music, with a very beautiful booklet which includes nice photos of the members and which also explains the origins of the 11tracks offered in it. Except that there is a last chapter to this end. Indeed, the band offers a DVD of the MELTdown concert played at the E-Day Festival in 2013. An inescapable and a very beautiful production. Yep....Sadly, Code indigo dies just here, between our ears. But will always remain there for years to come.

Sylvain Lupari (March 17th, 2014) &
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: 

vendredi 14 mars 2014

TANGERINE DREAM: Booster VI (2013)

“Booster VI is a fair compilation that has the defects of its qualities and with a possible insight of what we could expect from TD next”
CD I| 74:35
1 Convention of the 24 9:26
2 Asheville Sunrise 8:35
3 Ancient Powerplant 4:28
4 Season of the Birds 5:29
5 Finnegans Excessive Wake 8:14
6 Sahara Storm 5:15
7 The Velvet Meridian 6:11
8 Sphinx Red Lightning 4:57
9 Dream Catcher 7:02
10 Twilight in Abidjan 4:53
11 Agony of Suspense 6:03
12 Sibirian Lights 4:02
CD II| 75:23
1 Betrayal 2013 (Sorcerer Theme) 6:32  2 Weird Village 3:25
3 The Warring Forces of the Twins 4:33  4 The Crystal Ship 5:30
5 Rain Forest 2:28  6 The Dangerous Mile 5:44
7 Mothers of Rain 5:16  8 Pier 54 (2013) 5:41
9 Madagascar 6:31  10 Voices from a Common Land 4:09
11 Marrakesh (2013) 8:15  12 The Silver Seal 3:10
13 Ghazal 5:10  14 Tutankhama 5 :30
15 Puer Natus Est Nobis 3:17

Eastgate 064 (CD 144:43) ***½
Ah... the very beautiful universe filled with Edgar Froese's controversies. I like the Booster series. I sincerely think that it's a good compilation and a great way to enter into so diversified music world of Tangerine Dream, with a very emperor glance on the various phases of the impressive career of Edgar's band. Proof? This “Booster VI” spreads its sonic charms from Sorcerer to One Night in Africa, while passing by The Keep and Optical Race and taking out surprises from Ça Va - Ça Marche - Ça Ira Encore and Transsiberia. Well...Yes there are 10 new titles. Ten new!? Ah, a first controversy … In fact, there are only 6 new compositions, with 4 strong ones by the way. Among the 10 new tracks identified by the Eastgate label, 2 are Froesentized ones, one is an interesting orchestral version "Sorcerer Theme (Betrayal 2013)" and a Quaeschningized version of "Puer Natus Est Nobis" which whipped up the ire of certain fans around social networks. Other controversy? A very lazy remix of the boiling "Tutankhama" which demonstrates the same problem in the mixing as that appearing on Ça Va - Ça Marche - Ça Ira Encore and the Tang-Go compilation. This is not doing really serious! Well, there are about 20 other goodies on the compilation among which some very beautiful surprises, things that we like to rehear and others that should have stayed in the anonymity. But all in all, this “Booster VI” thing is a very pleasant compilation.
At the level of new music that is good to re-hear, let me quote "Convention of the 24", from the Plays Tangerine Dream album, "Ancient Powerplant", "Weird Village", "Voices from a Common Land" and "The Silver Seal" from the album
The Keep. Were they remodeled? Remixed? It's not that obvious. It seems to me that it sounds slightly different. I hear new pads here and there, where it seems to me that there was not. But it's also could be just the strength of the sound that was amplified. But the most important thing is it's always pleasant to hear this great stuff. "Asheville Sunrise" is my first beautiful surprise. Pulled out from the Knights of Asheville live album, the ambience here is quite mysterious with chthonian choirs, layers and tears of synth as well as lamentations of guitar which float such as metallic spectres on a rhythmic motif knotted with sequences among which the beatings and the irregular debits tune their arrhythmic dances in the resonances of pulsations and heavy percussions. A beautiful dark and mysterious track. There are also "Finnegans Excessive Wake" and "The Warring Forces of the Twins". But we don't really miss these because Finnegans Wake was released in 2011. I also like re-hearing this modified part of Sphinx Lightning in "Sphinx Red Lightning". A small defector of Transsiberia? Why not with the soft ballad which is "Sibirian Lights"? "Mothers of Rain"? How could we forget it and not like it? And the too underestimated "Rain Forest" from Sorcerer? Very good and especially very appropriate to rediscover it some 35 years farther. On the other hand I would not mind if we haven’t have to hear again "Ghazal", from Optical Race as well as "Sahara Storm", "Twilight in Abidjan" and "Madagascar"; three tracks out of One Night in Africa which is too recent. Unless we try to boost its sales, but it's not with these tracks that it's going to help. Rain Prayer would have been a better target. At the level of the novelties now? Ah … There are some nice candies here.
I like "Season of the Birds". The rhythm and the dark ambiences, and what a beautiful sequencing pattern, have nothing to envy the big titles of
TD. We remove these so lifeless choirs and we plunge in the Flashpoint years, just like "Dream Catcher" and its nervous sequences which skip ardently in the fluty drizzle of a synth which also abounds of these annoying infantile choirs. I also like the slow rhythm and the bewitching ambiences of "The Velvet Meridian". Very good! One would say a mixture of the melancholic atmospheres of Atomic Seasons and of Sonic Poem Series's supernatural moods. I listen to and I am always bewitched. Seriously, this is a very big TD track. More black, more intense with a sonic motif very near the kind of horror movie and with a slower tempo but more punchy, "Agony of Suspense" is also a very pleasant surprise which is poured into the same mold as the last ones from the SPS. "The Dangerous Mile" wants to go on the same paths, but he becomes short of breath and colors. The last new track is "The Crystal Ship". It might be new to the world of TD but not for the one of rock because it's a version of a The Doors track that Thorsten sang during the North American tour of 2012. Do we smell here the basis of a new chapter of Under Cover? Now there are the false novelties! Remixes of "Betrayal 2013 (Sorcerer Theme)", "Pier 54" and "Marrakesh". Nothing to write to mom, especially that I didn't like "Pier 54", and "Marrakesh" never felt good between my ears. But "Betrayal 2013 (Sorcerer Theme)" takes a very orchestral form. Not bad at all! I like it and it gives another rather interesting dimension to it, especially with the sequencing pattern which is clearly wilder here. Does grandpa Froese reserves us a great surprise with the music of TD played with a symphony orchestra or mixed with symphonic arrangements? That would be a blast! I wrote about "Tutankhama" on top of the review. I have nothing more to add. Now "Puer Natus Est Nobis"! This new version of Gloria (The Keep) made enormously chatter in the circles of Tangerine Dream. Some see a kind of sacrilege there. Desecration? I find that the idea to replace the artificial choirs by real voices is rather interesting. In fact, the whole of it sounds quite well. Even more moving. Except that there is no beginning. No intro! Thorsten Quaeschning
 takes a portion of Gloria, either the middle, and makes of it a more ambient track. A more ethereal track. It's not bad. I read that there is a flaw, a mixing error on it. My ears didn't detect it!
All in all, “Booster VI” is a fair compilation that has the defects of its qualities. By travelling at so random way through his ages,
Tangerine Dream gives to his new fans what the old ones, whom I am, appreciate least. And the opposite applies. I am very curious further to the remixes of "Sorcerer Theme" and "Puer Natus Est Nobis". And with Thorsten Quaeschning, I say to myself that the future of Tangerine Dream is between good hands.

Sylvain Lupari (March 13th, 2014) &
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

dimanche 9 mars 2014

MICHAEL STEARNS: Morning Jewel (1980-2000)

Bonne journée mes amis!
Greetings friends!
I have transfered the reviews of Michael Stearns on the new website of Synth&Sequences here;

mardi 4 mars 2014

LARS LEONHARD: [Burning Clouds] E.P. (2014)

“What we have here on this short EP is a great and smooth psybient EM which respects the horizons without borders of Ultimae Records”

1 Burning Clouds 5:37
2 Halos 5:42
3 Northern Lights 7:03

 Ultimae Records | inre066 (DDL 18:23) ***½
(Floating psybient EM)

It is necessary to give a very attentive ear to all which goes out of the Ultimae Records label. Recognized to produce an EM in the sound pallets soaked with panoramic colors as diversified as birdsongs, the label from Lyon has this gift to put between our ears a kind of music as sophisticated as delicious. An ambient music immersed in a sound fauna where the heterogeneous noises are eventually shaping some mesmerizing melodies with psychedelic eurhythmies which go along with the morphic rhythms. German composer, whose music is regularly used by the NASA to illustrate their videos, Lars Leonhard is the last taking of Ultimae Records. The one who had seduced with a music piece where the rhythm removes seeds of metallic bangings in an ambience as much ambiospherical than claustrophobic on the Mahiane's Oxycanta III compilation (Slow Motion) thus returns with a series of digital E.P. which will be available via the Ultimae Records download platform. The first chapter of this new sonic adventure is entitled “[Burning Clouds]”. An E.P. which reflects the boldnesses of this label whose each new release knows how to charm the most intuitive ears.
The title-track invites us to the last sonic feast of Lars Leonhard with a slow rhythm, anchored on fine bass pulsations, discreet hand clappings and bangings of percussions which beat in the reverberations of hoops resounding of metallic colors. An enchanting evanescent melody roams and scatters its quivering singing arpeggios in soft winds, where furtive chords and their hesitating steps give the lead to an ambient, almost organic, rhythm and where we float more than we move. Lively and mesmerizing, "Halos" offers a livelier structure of rhythm with cosmic gases, organic stammerings and sober percussions which encircle the vicious undulations of a bass line which not only fed the rhythm but also serves as melodic motif to a very cosmic sonic environment. Espousing a constant gradation in his figures of rhythms, Lars Leonhard concludes this first E.P. with a track which mixes softly the ethereal moods of "Burning Clouds" and the more solid rhythm of "Halos"."Northern Lights" ties its rhythm on pulsations of which the arrhythmic and harmonious flow blends its rhythm to delicate metallic bangings. The harmonies are made and come undone with synth pads and their undecided forms, a little as circles in a crystal clear water, floating like spectres in an attractive sonic constellation where everything which roams tries a melody.
Very good, but especially very attractive, “[Burning Clouds]” gives the kick-off to a promising musical series where the cosmos makes sing its organic elements in structures of rhythm as ambient as floating. Those who know the musical creations of the
Ultimae Records label will be on familiar ground because this first E.P. from Lars Leonhard respects in every aspect the horizons of this label where the music, the imagination and the boldness have no borders.

Sylvain Lupari (March 3rd, 2014) &
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

lundi 3 mars 2014

DEUTSCHE BANK: Auto Pop (E.P. 2013)

“Auto Pop is a pleasant finf for those who like some strong techno-pop à la Kraftwerk with a rhythmic sauce a bit diluted in the very harmonious synth-pop”

1 Unterwegs in meinem Saab 4:41
2 Frankfurt am Main 2:56
3 Cities 3:05
4 Cüber Mensch 6:36
5 (Don't Stop) Autopop 2:28
6 Benzin 1:55
7 92001 4:52

ITunes Music (DDL 26:34) ***½
(Upbeat Düsseldorf EM style)
Here is an interesting discovery for those who like some strong techno-pop à la Kraftwerk with a rhythmic sauce a bit diluted in the very harmonious synth-pop. I'm not a fan of the genre but I have to admit that I let myself easily seduce by this “Auto Pop” from Deutsche Bank. A project from Mats From which saw the light of day at the beginning of 2009, Deutsche Bank is inspired by the electro-pop years when groups such as Logic System, Ultravox, Gary Numan and Human League have softened the heavinesses technoïd structures from the Düsseldorf's quartet. “Auto Pop” is the first E.P. from Deutsche Bank and offers around thirty minutes of very lively EM where the recollections of Kraftwerk, you have to hear "(Don't Stop) Autopop", go hand in hand with the robotics harmonies and the candy-pink of the beautiful years of the synth-pop.
"Unterwegs in meinem Saab" begins “Auto Pop” with heavy sequenced pulsations which hammer a leaden rhythm. Arpeggios are fluttering of their organic tones while the synth spreads veils of prisms. A vocoder assumes the cyborgnetic part of the melody while the rhythm hops up and down in harmony with the neurotic chirping of the arpeggios. A stroboscopic approach on a structure of rhythm which loses some short seconds in an ambient phase, the rhythm of "Unterwegs in meinem Saab" is as much heavy as its melody can be volatile. This is some good synth-pop which is going to disturb the yard of the neighbors if we play it loud. "Frankfurt am Main" offers a delicious melody struck by minimalist sequences which sing in discreet synthesized clouds. The approach is even more attractive when a 2nd melodic line is grafted, pushing "Frankfurt am Main" towards a circular rhythm as much melodious as lively. We are in the dances and the harmonies of robots. And it is even more convincing with the curt rhythm of "Cities"; a good boosted electro-pop. Yes, that sings but it's very lively. I really hooked on this. This and on "Cüber Mensch", where we stuff ourselves with Gary Numan's memories of cold beats sat on Kraftwerk structures, and on "(Don't Stop) Autopop". After the short and sweet candy-pop of"Benzin", "92001" reveals a soft cosmic intro before awakening our senses with a solid robotics electro-pop. The rhythm is heavy and anchored on percussions from which the beatings are lifting up arpeggios to the colors of a break dance very jerky while a vocoder and a human voice scatter their thoughts in a beautiful harmonious envelope tinted by miles sound prisms.
I'm not ashamed to admit it; I quite enjoyed this “Auto Pop” by Deutsche Bank. I don't know if I was in the mood for it, but it goes well beneath my skin and I liked these curt and nervous rhythms fed by percussions and sequences which whip lively rhythms. This is good techno-pop where the roots of Kraftwerk are skillfully dipped into these structures of New wave and synth-pop of the 80's. Now, infos could be hard to find on the net (mainly because of the name)  but you can try on Itunes for a 30 minutes of nice and hammered synth-pop.

Sylvain Lupari (March 3rd, 2014) &
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: