lundi 10 mars 2014

BERTRAND LOREAU: Spiral Lights (2014)

“Spiral Lights is not just as redone version of Sequences, it takes its spirit and unveils some nice electronic melodies which show how at ease Bertrand Loreau is in navigating between TD and Vangelis' influences”

1 Séquence Souvenir / Sequence Memory 9:25
2 Arc en Ciel / Rainbow 5:52
3 Cerfs Volants / Kites 6:58
4 Rue Colbert / Colbert Street 7:01
5 Lisbourne Part I 4:50
6 Lisbourne Part II 20:25
7 Lisbourne Part III 13:18
8 Lisbourne Part IV 4:46

Spheric Music | SMCD 6302 (CD 72:35) ****½
(A mix of French and Berlin School)
I am very happy to see that Bertrand Loreau continues to solidify his influence on the contemporary EM scene. He is a brilliant artist and a superb composer whose talent makes springing all this beautiful movement of the new French School (Olivier Briand, Alpha Lyra, Awenson and MoonSatellite) that we find at PWM Distrib. I dug a little in his sonic art gallery and I can tell you for sure that the synthesist from Nantes is still hiding several small jewels. But “Spiral Lights” is not really made of new stuff. Those who are familiar with his album Sequences, realized in 2011 on the French collective for EM PWM, will be on familiar ground because “Spiral Lights” is a sound-lift of this compilation of musical pieces written between 1988 and 2005. Except that “Spiral Lights” approaches them, and especially coats them, with a new musical approach which gives a little more relief and colors to the first sketches of Sequences. An album which was more concentrated on the art of melodies built on sequences plan than on the harmonious envelopes from the synths and their allegorical singings.
It's therefore for this that the harmonies and the synth solos which take on a dress of nightingale singing in a jazz band seem to us foreign in the opening of "Sequence Memory". First of all, the music ignites with hot breezes instead of the dark sequences which trample the harmonious shadows of its predecessor. The onset of the rhythm is less violent. In fact the sequences oscillate with as much mordant, but their ardours are contained in the suave harmonies of a very romantic synth. The same goes for the delicious "Rainbow" which is clearly more musical here. In fact, it's the entire musical skeleton of Sequences which is modified by a clearly less hard, more harmonious approach. A little as a jewel that one polishes, Sequence turns deliciously into “Spiral Lights” in its new sonic clothes. Before flying away with its line of sequences and its jumping keys which wind some warm imaginary winds, "Kites" takes the ambiences of a soft avian fauna where the chirpings of the fanciful birds are melting into the melancholy of a synth and of its very lyrical solos. This track spreads a quite new impact here. There are no new elements on the very beautiful "Colbert Street" except that the rhythm is better encircled by a more harmonious envelope where the solos dominate the percussions. If you still haven't heard this track it's a great one which inhales the influences of
Tangerine Dream, era Le Parc and Underwater Sunlight. Another one which takes on a clearly more melodic cachet, amplifying its aura of solitude, is the very beautiful "Lisbourne Part I" of which the charms would make the delights of contemporary music boxes. The biggest impact of this sound-lift of Sequences is listened on "Lisbourne Part II" where all the nuances, the sweetnesses and the subtleties undress it of its primitive aspect. The passages between the various melodies and the ambiences, as well as those exploiting more free structures, which adorn the 20 minutes of "Lisbourne Part II" are more of conniving, showing more sweetness and more musicality. It's a very good track where Bertrand Loreau takes pleasure in destabilizing our ears with outcomes and completely unexpected directions. Excellent! The same goes for "Lisbourne Part III" which, even if dates concerts differ, follows with amazement the progression of "Lisbourne Part II" but with an influence in rhythms, and not harmonies which are very personal to Bertrand, which inhales those of Tangerine Dream, periods Schmoelling and Haslinger. "Lisbourne Part IV"; it's Séquence Libre and its carousel of sequences which swirl such as a dream in the space. Here, like everywhere in “Spiral Lights”, the movement of sequences is decorated with melodic fineries forged in mists, with celestial choirs, orchestration and nasal solos which add more melancholy to a track whose introduction is coated by a delicate childish voice.
Making beautiful new out of some beautiful old? “Spiral Lights”, is more than that! Lambert Ringlage from
Spheric Music
 saw all the potential of the Sequences' structures and Bertrand Loreau gave to it a second breath by dressing it of harmonies and ambiences. In so doing, Sequences is not anymore! If “Spiral Lights” takes back its rhythmic bases, it floods the movement of sequences with caresses and singings of synths more poetic than electronic. And it is the charm of the illusion. Throughout “Spiral Lights” we have the vague feeling to be on familiar ground, as we have the impression to fly in new spheres where the rhythms and the melodies caress themselves mutually in cosmic and ethereal ambiences and melodic lines which were sorely lacking, when we heard this new version of Sequences. So here is of what is really made “Spiral Lights”.
Sylvain Lupari (March 10th, 2014) &
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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