samedi 5 juillet 2014

MARKUS REUTER: Trepanation (2006)

“Trepanation is an opus difficult to tame but insistence is worth the sorrow, especially if the unusual sound experimentations melted in deep ambient phases are appealing you”
1 The Key to Conscience 6:48
2 Preparation 5:29
3 3–4 Days Before the Echo 16:42
4 No Part of me could Summon a Voice 10:09
5 A Prospect that is Simple 6:55
6 Beat 9:23
7 Oneness to Deceive 6:54
8 Number of the Mind 17:09

Spotted Peccary | LS-0010 (CD 79:33) ***½
(Ambient abstracted music phases)
It's been a while that I have this album. Ben Cox, from Lotuspike, told me how good it was. He also told me that I'll need time and some listening before I'll get used to it. And finally kind of liking it. Heeee... He was right! I honestly tried but I kept freezing' at "3-4 Days Before the Echo". Thereafter I heard ['ramp]'s Ceasing to Exist. And it's there that I discovered the musical subtleties of Markus Reuter's intriguing universe, an audacious composer and guitarist who handles the famous Warr guitar. “Trepanation” is an operation which consists to remove a piece of frontal bone, taking away so a little pressure on the brain. A medical practice, abandoned since years, that should create a kind of climate of tension and paranoia on the subject. And this is absolutely what Markus Reuter transposes with emotion and skill on his first album on the American market by the means of the Spotted Peccary label. Mainly it's voyage inside a tormented mind with the deepest of its incomprehension.
And it's all begin with "The Key to Conscience"; a long lifeless movement where some beautiful bass modular loops are crossing the reverberation of Warr guitar chords which resound in an empty space. This field of resonances attracts more harmonious notes. Shimmering keys which flutter through the explosions of other more scattered guitar chords. We have the feeling of being trapped into the void here. "Preparation" reinforces this feeling. It breathes of realism with its delicate and muffled hypnotic pulsations which rest on a beautiful synth path and with a dull voice that tries to infiltrate our state of hypnosis. Once the sound explosions assimilated, "3-4 Days before the Echo" finds its reason of being. It's a long ambiospherical, very ambient and very spacey track with intern voices which increase the stress of schizophrenia. The guitar striations ravel in a static firmament where all seems to coagulate into sound filters. The mix of synth and guitar pads is modulating carefully some nice ambient paths which flow with fluidity without really taking a rhythmic form. This is pure music of suspension which develops by the slow moves of synth/guitar layers and with cosmic sound effects whose scattered explosions have the metal/industrial taste of
Blade Runner. "No Part of me Could Summon a Voice" progresses on strident modulations which let filter some voices of children among mechanical rattlings. Fascinating? More disturbing I should say. "A Prospect that is Simple" brings a more cordial and human touch into the lifeless and tortured universe of “Trepanation”. The Warr guitar pads are floating in a serene atmosphere where the modulations are crisscrossing some short harmonious segments. "Beat" takes back the shimmering keys of the beginning which clink over the heavy droning pulsations of the Warr guitar. Hypnotic and bewitching, this track resounds with a shimmering opacity which needs the tenderness of "Oneness to Deceive"; a long movement shaken by backfires which seem to find silence in a huge echo field filled of void. "Number of the Mind" ends this strange album of strange ambient moods with a long, but a long, inert movement. I might say that it’s a kind of lullaby for spirits tortured by incomprehension, by the ignorance of technology towards deviants and absent minds that I could be very near of this intuition.
We may find beauty and nobility behind this huge wall of ambient fields but still “Trepanation” remains an opus difficult to tame. But insistence is worth the sorrow, especially if the unusual sound experimentations are appealing you. A dark and tortuous voyage in the spirit of mental perdition! Such is the background of an opus worked out with meticulousness and accuracy by Markus Reuter a brilliant German guitarist who offers an enriching sonic crusade which is ideal to test the calibration of your loud speakers,
Sylvain Lupari (Initially written in French on March 20th, 2007 and translated on July 4th, 2014)

gutsofdarkness.com & synthsequences.blogspot.ca

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