jeudi 11 septembre 2014

EFSS: Night On Ouddorp (2014)

“Night in Ouddorp is a totally unexpected surprise to be tidied up next to Node 2 and to Umbra from Arc”
1 Gate 5:03
2 Oblivion 6:30
3 Haunted 8:15
4 Circling 6:00
5 Ritual 9:38
6 Trails 5:05
7 Dissolution 7:40

CD ER03 (CD-r 48:11) *****
(Analog vintage Berlin School)
Two heads are better than one! So what is happening when there are four? The modular synthesizers are instruments which generate an infinite sound creativity. Imagine now when 4 musicians, each follower of the modular synths, merge inventiveness and boldness! Well, it gives an album to the attractive rhythms, in parallels and criss-crossed, which takes a very enviable place in the dark and territories of an EM to the fascinating analog perfumes. Jörg Erren, Bert Fleißig, Jochen Schöttler and Christian Steffen are four friends and musicians who share their passion for an EM of the analog kind since2010. Regularly they meet and challenge their capacities with an impressive range of modular equipments. The result of these sessions found itself on two compilations; Ouddorp Tapes in 2011 and Ouddorp Takes in 2012. “Night in Ouddorp” comprises the fruit of such sessions improvised at the beginning of 2014 and reveals to our ears an impressive album which is advantageously in the same lineage as Node 2 and Arc's Umbra, either one of the most imaginative albums of 2014.
"Gate" plunges us into the magic of “Night in Ouddorp” with a quite small melody livened up by a ritornello of crystal clear sequences and their circular ringings. You remember
Edgar Froese's Stuntman? This is the best parallel to be made to describe better this style of gyrating rhythm which meets another line of rhythm, this time with sequences more black and soaked of organic tones. Other sequences, in percussions mode, drum a structure of rhythm lighter and more sober than that of the bright sequences. Another figure of rhythm comes to create havoc in this mixture of sequenced rhythms which pound as much that they serenade in a delicious rhythmic jumble where 4 phases of rhythms criss-cross and where we are free to choose which one will make dance best our imagination. One of the numerous charms of “Night in Ouddorp” is this sensation of tension, of mysticism which encircles its some 50 minutes. Here, there is a subtle spectral melody which roams through this attractive pattern of mixed rhythms which seem to be inspired by Tangerine Dream and mainly Edgar Froese. The other charm is these rhythms which jump up with a thick cloud of sequences to tones as different and divergent as their directions. Like in "Oblivion" where our feet bang instead of our fingers when the rhythm binds itself to these bass sequenced technoïd pulsations which hammer a vertical structure of rhythm where dances a mass of rebel keys. Heavy and mysterious "Haunted" makes roar out its industrial machines on a loud rhythm. A rhythm which makes its keys scamper in the twilights of this Orc industry which redden the hell over the now decimated and carbonized forests of Bilbo Baggins' adventures. Still there, this rhythm is buried by lines of sequences which are pounding, breathing and dancing in an intense static magma. It's between ['ramp] and Redshift. Totally infernal! The structure of rhythm on "Circling" pays tribute to its name with lines of sequences which zigzag and join to hammer a rhythm which sparkles with its finely jerky agreements in beautiful veils of Mellotron which fill the atmospheres of ethereal caresses. Our fingers are dancing with our imagination. I like these moods of sordid where roams a ghostly melody. And "Ritual", the sublime of the sublimes, feeds my passions with a wonderful music, deserving of the best horror movies. A spectral singing roams over a nest of snores of an animal and of its thousand wires and knobs. The air is as well mesmerizing as frightening with devilish hummings which wakes a line of sequences of which the curt steps entail other pulsations just as much jerky. A soft Mellotron comforts our anxiety and follows the delicately jerky jolts of sequences. And we always hear the rustles of the animal and the spectral melody which turns and turns. The ears riveted to our loudspeakers we notice hardly another line of sequences, to tones of light metal, and another one, with melodious chirpings, to give more relief to a track which spreads its satanic hold up to its last snores. Outstanding EM! "Trails" follows very closely the finale of "Ritual", we even hear here these muffled organic pulses pounding, by offering a structure of bouncing rhythm. Sequences skip and hop in a controlled anarchy where float ethereal clouds and of which the sweetness watches over a herd of keys which threatens all the time to overflow in a rhythmic and harmonious phase which gets closer to that of "Gate". "Dissolution" drags us in the territories of dark and ambient music of EFSS. It's a dark piece of EM with synth waves which crawl of their slow oscillations and buzz of their linear reverberations with a ghostly melody which sighs in the background. We have the impression to be at one thousand leagues beneath the ground, or under the sea with submarine noises, or still to be alone in the cosmos so much the sensation of solitude assails our ears.
Night in Ouddorp” is a totally unexpected surprise. The kind of thing which occurs that too rarely and which restores to EM its letters of noblesse. It has to be tidied up next to
Node 2 and to Umbra from Arc. Hat to all of you Jörg Erren, Bert Fleißig, Jochen Schöttler and Christian Steffen!
Sylvain Lupari (September 11th, 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=17321

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