lundi 6 octobre 2014

ALLUSTE: Forgotten Misteries (2014)

“Soft hypnotic rhythms and sweet ethereal moods...Alluste's receipe is always as charming as the best moments of EM in the late 80's”
Sirius 12:12
The Rama Empire 8:49
The Longyou Caves 8:34
Nan Madol 10:39
Nimrud Lens 10:41
The Stone Age Tunnels 9:01
Metal Cramps 9:21
The Baalbek Enigma 9:22
The Giza Plateau 5:18
Gobleki Tepi 10:35
Ancient Devices 9:05
Forgotten Misteries 11:17

Alluste Bandcamp Music (DDL 115:00) ***½ (New Berlin School)
A sonic fauna, active as a volcano which inhales of its bubbling bubbles of magma, tickles our ears with this very ambiospherical intro of "Sirius". A sneaky line of sequences makes its keys to cavort and to skip secretly in a rhythmic corridor which is very familiar to us. The signature of Alluste then takes place between our ears while "Sirius" invites us to an electronic musical rendezvous which clocks nearly 2 hours of New Berlin School. This rhythm which beats secretly amasses brilliant hoops, the echoing riffs of deformed synth lines, ethereal pads and sighs of tearful violins which weave a cosmic harmonious envelope and of which the orchestrations are in the end chased away by the fluttering of sequences and the jingles of the percussions. A meshing which redirects the rhythmic structure of "Sirius" towards its ascending moves and especially to the delicate harmonies whistled by a dreamy synth. "Sirius" gives the kick-off to another album from the Italian synthesist where the soft rhythms, always as dreamy than harmonious, spread their long skeletons of centipedes crawling into figures of astral rodeos and of whose subtle mutations are rebelling in a sonic fauna a little more psychotronic than the previous albums of Alluste. In fact, “Forgotten Misteries” is a logical suite in the progression of Piero Monachello who makes himself a bit more audacious since Stelliferous Era, released at the beginning of 2014. A little as if the synth man revealed a small secret of his influences; either the ambiences of ether and the anaesthesias reveries of Neuronium.
"The Rama Empire" borrows the paths a bit psychedelicosmic of "Sirius". A delicate movement of sequence appears from its artificial fog. It makes gambol its keys, with schemas of childish jumps, in a delicate ritornello as well enchanting as hypnotic where are cawing some strange organic voices. Faithful to his rhythmic signature,
Alluste uses wisely the 9 minutes of "The Rama Empire" and breathe to it a new skin which spreads its skeleton in the secrets of soporific mists, seraphic riffs and the serenity of artificial voices. And with 12 tracks which are clocking an average of 8 minutes each, except for the short "The Giza Plateau" and its movement of sequences built on lively and jerky steps cutted through by good solos, Alluste has all the leisure to well restructure his rhythms and to draw ambiences over ambiences, as cosmic as esoteric. After "The Longyou Caves" which dreams and plays romance between ambient and rhythm phases, "Nan Madol" soaks us of an attractive cosmic approach with a superb movement of sequences where the rhythmic chords are glittering and sparkling in a very tight way in their shadows. The movement is progressive and the rhythm eventually dismembered itself in order to offer an attractive ride of sequences which run awkwardly under the jingles of cymbals, percussions felted a la Jarre sauce and solos more melodious than improvised. And the more we move in “Forgotten Misteries” the more we enter into a rather audacious universe where Alluste is not afraid of tempting new approaches. The voices which blow jerky harmonies in "Nimrud Lens" form a veil of ambient rhythm which bronzes its structure of Elfic voices. The harmony of the rhythm is contagious and gets its way in our ears like a solid musical itch filled of still unknown charms. The whole thing becomes organic in halfway before sinking into an ambiocosmic phase where is beating a rhythm which sleeps in a carousel of sequences to the crystalline tints but to abstract sonic coils.
In the kind, there is "Ancient Devices" which is as much bewitching. We liked the sneaky rhythmic approach of "Nan Madol"? We are going to crack for the superb morphic movement but how much magnetizing of "The Stone Age Tunnels" and its fluid stealthy rhythm which meditates in a splendid ambiocosmic fauna. A very good title which gets lost a little but which always makes good to listen again. Ambient and a bit darker, "Metal Cramps" gets rid of its repentant monk's dress to let hear another movement of sequences which dance, with the shadows of their small feet, in this pattern of movement of sequences of which the series flows like cascades and sonic canons wrapped up in an ambiocosmic influence.
Alluste always has some Software in the nose, as prove the lively and harmonious rhythms of "The Baalbek Enigma" as well as "Gobleki Tepi" and its ascending curves which crawl under suave nasal solos. And the title-track confirms even more the influence of the duet Mergener-Weisser on the artistic approach of Alluste with a very beautiful ambient rhythm which falls to pieces bit by bit in the fogs of astral voices, cosmic effects and sonic wavelets which undulate and shine on a brilliant movement of sequences and of its delicate mutations. These fragmentations of rhythms and their deviations into corridors which crisscross themselves finely beneath a sonic sky covered so much of these usual sweetnesses as well as these new boldnesses make of “Forgotten Misteries” an album which doesn't knock down at all the soft progress of Alluste but which always underlines and still the very big harmonious dexterity of the Italian synth wizard. A little too much music in the same vein, but always charming to hear!
Sylvain Lupari (October 6th, 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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