lundi 30 juin 2014

MATZUMI:Symphony of Silence and Humility (2014)

“Symphony of Silence and Humility is an album built around passion which allies the Berlin School style to a form of progressive melodious New Age”
1 Symphony Prologue 1:57
2 Calm Down my Heart 8:40
3 The Origin of Life 8:36
4 The Creation 6:17
5 The First Breath 6:47
6 Sublime in Silence 12:46
7 Downfall and Rebirth 9:42
8 The Eternal Struggle 9:58
A New Age is Dawning 7:25

Wolf Entertainment (CD/DDL 73:31) ****
(Symphonic EM)
Ah the music of Matzumi! What a delight! What a hearing pleasure! With her very poetic feather and her approach filled of a mixture of sensualism and mysticism, Kathrin Manz manages to amaze the ears and to touch the senses since her very beautiful and first album; In Mutatio Tempora in 2012. Ethereal and rather intense by moment, “Symphony of Silence and Humility” is an album dedicated to life. An album with an approach as symphonic as cinematographic which depicts the vision of Matzumi about the history of life and its evolution on earth. If the history was repeatedly run, Matzumi approaches it with an innocent coolness that Emilsam Velázquez (the Porto Rican Ron Boots) brings back with a great mixing and mastering. From its sweet scent of the Middle East and the Persian eras, “Symphony of Silence and Humility” floats as much in our ears as in our imagination with a musical signature unique to Matzumi, who really has the gift to build dramatic crescendo with superb orchestrations to make revive the flames of Vangelis, in a musical pattern that allies the Berlin School style to a form of progressive New Age. To achieve this very melodic filmic structure Kathrin Manz surrounds herself once again with very experienced musicians (Hellmut Wolf on flutes, Frank Steffen Müller on guitars, Sean O'Bryan Smith on bass and Emilsam Velázquez on mastering), and whose talents transcend “Symphony of Silence and Humility” beyond the already very symphonic borders of Bravura Apasionada.
A soft fluty is floating over some fine tribal percussions. The voice of Matzumi roams on "Symphony Prologue" with ethereal breezes which caress her telling while the slumbering rhythm breathes more and more of its tribal strikings. Slowly, we enter with this sensation to dream in the world of “Symphony of Silence and Humility”. The voice of Kathrin Manz is a string furthermore in her arsenal of music equipment. She melts in the ear such as the one of Irene Papas on the music of Vangelis. She haunts the ambiences of "Calm Down My Heart" with airy breaths which dissolve marvellously with the flute of Hellmut Wolf and of a small concerto of forsaken violins and their long tears which scrape the solitude. These elements will decorate the moods of “Symphony of Silence and Humility” which slowly wakes up to the music and to the rhythm with the bass of Sean O'Bryan Smith, from which the sweet pulsations get lost in some tinkled ringings, and of a sequences line whose organic beatings run towards electronic percussions which beat a ride harmonized by a sweet dreamy piano. The breezes of "Calm Down my Heart" are floating up until the ambiences, as much ominous as philharmonic, of "The Origin of Life" and its arrhythmic beats which fit snugly to the jerky metal breaths. This is a track of ambiences with a very ambivalent structure of rhythm which is mainly fed by indecisive percussions and a bass with grumbling cooings; two furtive actors which roam in a carpet of mist and some beautiful orchestrations. A gong cuts the moods and leads us towards the very ambient "The Creation" and of its enchanted flute which floats as an outraged witness on a field of sadness. Matzumi signs all over her album some very beautiful orchestrations with tears of oboe which moan in the comforting arms of violins. Slyly, the pulsations invite each other in these ambiences and in the songs of the arabic flutes. We are hearing here some nice and very effective rattlesnakes wandering between our two loudspeakers while quite slowly "The Creation" transports the birth of its rhythm which gallops lazily up until the gates of "The First Breath". Oh that I have this feeling to hear the divine Lucia Hwong with these violins which cry pearled tears. A structure of sequences with ions jumping into a spheroidal harmony seizes the very poetic vibes of "The First Breath". Their anarchy jumps awaken percussions which drum as much than the shadows of sequences, alienating the weeping violins in a rhythmic ritornello which gets out of breath in some jerky orchestrations and in violent knocks of symphonic percussions.
The ashes of these orchestrations float towards the delicate introduction of "Sublime in Silence" which invites us in the most intense part of “Symphony of Silence and Humility”. The approach is very lyrical with tears piano which dream in the ochred mist of heavenly voices. One feels a subtle beginning of a dramatic crescendo settle in with airs of violins in suspension as well as some discreet momentums of staccato. Percussions drum an anger under the caresses of violins and oboe while the acoustic guitar of Frank Steffen Müller spreads an approach rather daydreamer on a structure of rhythm always fanciful which reaches a Babylonian peak in an intense and explosive finale. Then come "Downfall and Rebirth" which adopts the same pattern of based sequence rhythm a la Berlin School and moods lost in airy mist which interlace together and bicker in a theatrical approach as dramatic as strongly melancholic. "The Eternal Struggle" is doubtless the highlight of “Symphony of Silence and Humility” with a heavy and mordant rhythm which waves in sung winds and a charming pattern of percussions. Still there, the orchestrations are superb and remind some of Vangelis' heavy passages. This heavy and wild rhythmic ride ends in a surprising very theatrical conclusion with "A New Age is Dawning" where the acoustic guitar calls out to some ambient winds before singing into some dramatic orchestrations which are the privilege of an album as attractive as these tales about the 1001 Arabic nights of our childhoods. A story in music where we literally see the images is the sign of a carefully orchestrated album, an album written and made with passion and with a musical poetry which touches and moves. The flesh and the bones; the music and the orchestrations of “Symphony of Silence and Humility”.
Sylvain Lupari (June 30th,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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