mardi 20 mai 2014


“Sparrows is a superb find where the the Brückner/Everling duo draws a surprising sonic journey into the land of modern EM and electronica”
1 The Sparrow (Vocal Version) 13:26
2 Trees and Wires 4:08
3 Crossing the Bridge 9:38
4 Gathering 6:32
5 On a Quiet Night 12:22
6 Flying North 8:41
7 The Sparrow (Ambient Version) 10:30
8 The Sparrow (Instrumental Version) 13:20

SynGate/Luna | CD-r MBDE 01 (CD-r 78:39) ****½ 
(Mix of ambient and electronica)
Quietly, Michael Bruckner is building a very enviable reputation in the circles of an EM of a more progressive kind. His last find is a rather eclectic collaboration with Detlev Everling, a player of French horn and a synthesist who also likes using plug-ins that sound just like his wind instrument. And the result is rather surprising. Even if “Sparrows” appears on the rather ambiospherical division of the SynGate label (Luna), the Brückner/Everling duet, with the complicity of Cäcilia Brückner on voices, offers an album which caresses all the spheres of a modern EM with a lively music, sometimes very near the IDM and electronica with just what it needs of ambiences to draw some fascinating cinematographic faces. A surprising sonic journey that will leave you more than perplex.
Grey colors reverberations shake the void of a skeud which little by little is biting the music with whispers which fade in breaths of French horns. From its extremely attractive sonic envelope, "The Sparrow (Vocal Version)" unfolds a magnanimous sinister veil where the breaths of horns are melting easily to those more vitriolic of the synths. The moods are ethereal. There is like a scent of astral meditation with synth lines, rich in Gothic mist, which float like threats on a field covered of foam and of morning carillons shivering of worry under the breezes of the French horns and of the synthesized similarities by Detlev Everling whose fascinating fusion spreads a pleasant perfume of medieval discomfort. And suddenly, there is as a blow of crossbow which splits the ambiences. We are in the 5th minute and quietly "The Sparrow (Vocal Version)" reveals its fascinating rhythmic phase with a heavy mantle of anxiety which covers a thick cloud of these knocks of crossbows. This passage is simply brilliant. This phase of abstract rhythm is transformed into an attractive morphic down-tempo that the delicate and bewitching voice of Cräcilia Brückner wraps of singings and ethereal breaths. A splendid duel between French horn and a synth, with the aromas delicately close, introduces a beautiful musicality which melt admirably well to the elvish singings of Cäcilia Bruckner and especially with a rhythm became lascivious, suggestive. Very good and rather surprising for an album of the Luna division! These strange knocks of crossbows, which we can easily be confuse with the flight of a hundred sparrows, get back haunting the fragile black moods of "Trees and Wires". Where synths and wind instruments sow the confusion with an ambiosonic painting fertile in sculptures of anxiety. Although a little less strange and sinister than "Trees and Wires", "Gathering" offers a stifling ambience where the synth breaths become as multi-colors as their forms which haunt like some ectoplasmic frenzies a 6 minutes cut to measure for American Horror Story. "Flying North" is in the same style, the same shape but in more experimental, in a more psychotronic way if I may add.
"Crossing the Bridge" will be your first real crush on “Sparrows”. The eclectic duet offers a kind of soft techno trance with a vertical rhythm molded in some pulsations as much sober as smothered. The charm is this fascinating vocal approach where we hear a kind of didgeridoo blowing its hoarse breaths on a rhythm which fattens its finery with a charming concert of carillons and of pulsations become freer, more oscillating. The synths are closer of the usual electronic territories with undulatory twists which float like clouds of ether with sibylline harmonies. I hook on the first listening and I always find that as much good on the 5th. It's in my iPod, section lively music. Having soaked our ears of a thick fog filled with sibylline drizzle, "On a Quite Night" fleet between two atmospheres before melting into a delicate down-tempo which oscillates like a slow equestrian walk. A little as in "The Sparrow (Vocal Version)" the rhythm is soft, to the limit lascivious, with a sonic fauna which scatters some ethereal chords in abstruse moods. "The Sparrow (Ambient Version)" is centered on a duel of French horns, as real as synthesized, with hollow breaths which float like ghost threats in a very ambient structure.
"The Sparrow (Instrumental Version)" begins with a more cacophonous approach, like incomplete orchestra which tries to adjust its instruments. These instruments are French horns and synths, with layers filled by aromas almost philharmonic, as well as percussions which seek for a beat. And it's in the soft envelope of a down-tempo with a variable rhythm that the transformation from ambient to rhythm is going. And the Brückner/Everling duo has nothing to envy to the searchers of contemporary rhythms who flood their finds in a scarlet sonic fauna with a docile rhythm which skips in the meshes of delicious sequences, lines of piano and under the caresses of a French horn filled by so melancholic breezes. It's rather unique.
Rather unique! That's what comes in mind to describe better this Detlev Everling and
Michael Bruckner's “Sparrows”. The syncretic duet succeeds marvellously in uniting some antipodes of EM in an audacious album which leaves unmistakably these traces to the bottom of our eardrums. Whether it's with suave rhythms or ambiences to make twist a crazy spectre, this impressive sonic duel between the acoustics of a French horn and two synthesizers which bicker the imitation, while dropping some smooth dark phases, is one of beautiful finds of the SynGate label which doesn't stop to amaze with an audacious artists' catalogue who are dedicated to the evolution of contemporary EM. Very good! I don't see how I can't recommend such an audacious and musical opus.
Sylvain Lupari (May19h, 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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