lundi 9 juin 2014

JAVI CANOVAS: Hidden Path (2014)

“One of the best surprise of 2014, Hidden Path does admirably the link between vintage and contemporary Berlin School with the so stylized musical signature of Javi Canovas”
1 After Midnight 17:02
2 Coverage 11:44
3 The Outsider 13:52
4 Nature of the Inexistence 14:02
5 Credence 9:42
6 Through the Mountains 4:09

Groove | 208 (CD 70:45) ****½
(Vintage Berlin School)
How not to fall under the charms of an album which plunges us in the heart of our souvenirs while making this delicate link between retro and contemporary Berlin School? If there is an artist who rises to the rank of the new ambassadors of retro Berlin School, this has to be Javi Canovas. About 10 years and a dozen albums farther, the Spanish synthesist leaves the lands of the anonymity to shine in the country of the Dutch label Groove. Faithful to its trademark, Groove, with its Manitou in head Ron Boots, excels at the art to reshape the borders of vintage Berlin School. And those who follow the career of Javi Canovas know how much the synth wizard of the Canary Islands likes the heavy movements and the somber Gothic ambiences of the trio Froese, Franke and Baumann  as well as the flights of ether of Neuronium. Thus the union between Javi and Groove had to only give brilliant results. Without surprises but very effective. At this level, “Hidden Path” will go beyond the expectations of several.
"After Midnight" embalms our ears with lines of white noises and lamentations of fed gargoyles. The moods are psychotronics with these organic synth lines which float such as clouds deriving in a radioactive zone. A heavy more musical synth pad pierces these ambiences, introducing especially the first stammerings of the sequences “Hidden Path”. "After Midnight" gallops then awkwardly on this first sketch of rhythm pierced by synth chords lost in our memoirs. The rhythm becomes more precise but remains charmingly incoherent. Skipping like a cat on a boiling groundwater, it bursts here and there with touches sequenced keys to the jolts as unexpected as very customary, while that a soft flute caresses these jumps which aim to be more and more violent. Quietly, "After Midnight" becomes as heavy as dark and stays as much minimalist than violent with sequences to the chaotic musical cabrioles which are splashed by fluty beams. Motionless rhythms, with an approach based on sequences in forms and movements in constant permutation, and ethereal atmospheres which are weaved in the mysteries of a Mellotron full of mystic breezes and fluty melodies; such are the bases of good retro Berlin School, such is the recipe of “Hidden Path”. After a more celestial intro, an introduction which reminds me the flights of ether from
Neuronium, "Coverage" explores the infinite rhythms of the crisscrossed movements of sequences. Rhythms which rise and come down, go and come in a torrent of sequences which compares with "After Midnight" but with more nervous movements and less Gothic ambiences. It's doubtless the track which is closer of a fusion of Tangerine Dream's two eras.
"The Outsider" continues this mode of ambiences stuffed with mystery which furnish the m synth padsajor part of the tracks in “Hidden Path”. This radioactive intro evaporates with floating, leaving a very crystal clear atmosphere for a delicate ballet of sequences which dance furtively with chords of an electric piano in a harmonious duel which is reminiscent of the vibes of
Redshift. The rhythm is heavy. Trembling with its resonant sequences, it sneaks its way along a resounding vibe in order to eventually fly away with crisscrossed rhythmic caresses of which the deep still movements cut out the delicate harmonies of a solitary piano and an enchanted flute. "Nature of the Inexistence" adopts also this structure of introductions and finales filled with striations crystallized in vapors of iodine. The rhythm which pops out is wilder on the other hand with a pattern of sequences which flutter violently, intertwining their deep lines of static rhythms into some oozy ochred clouds and some fragments of solos from a synth more inclined to forge atmospheres than to draw solos. "Credence" moderates the elements with a rhythm which spins such as a bunch of snow in a beautiful night-storm. Poetics, the rhythm defines itself a little more as the title shells its seconds in beautiful Mellotron clouds to offer a movement of sequences where the ions agglutinate and dance like a trail of marbles stuck in a bowl. "Through the Mountains" ends “Hidden Path” softly with a meditative reverie where a very nostalgic piano lets itself tamed by the charms of a more black flute. That reminds me of the very melancholic moods of a more contemporary Bernd Kistenmacher. This is very beautiful and that concludes an album which makes admirably the link between vintage and contemporary Berlin School with the musical signature so stylized of Javi Canovas. Undoubtedly one of the beautiful surprises in 2014.
Sylvain Lupari (June 9th, 2014)

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=17163

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