dimanche 16 novembre 2014

HYPNOSPHERE: Timedrift (2014)

“Fan of retro progressive Berlin School, you're gonna love this one”

1 Trancenter 18:38
2 Sperical Movement 6:41
3 Escape from Dissonance 12:40
4 Ardent Drive 13: 22
5 Emphasis 11:03
6 Time Drift 13:26

Spheric Music |SMCD4005 (CD 73:00) ****½
(Vintage Berlin School)
After a silence of 7 years, the duet Hypnosphere comes back caressing our ears with a pure marvel of EM from the analog years. Establishing marvellously the limits and the evolutions of an album which passes in transit between a rather ambient and psychedelic cosmic rock of the beautiful vintages years, the duet Lambert Ringlage, owner of the label Spheric Music, and Wolfgang Barkowski presents in “Timedrift” an album that we savour like a complex work with surprises which abound where we expect the least. And you are going to adore! One listens to absently, I always begin in this way in order to cajole an album, by reading a book or by trying a beddy-byes. And we have the vague sensation to hear Tangerine Dream out of the Encore years. The foggy atmospheres, the soft and ambient rhythms which just skip just by the tip of their sequences, as well as these duels of guitar and synth which torment the psychedelic-progressive moods make of “Timedrift” one of the beautiful surprises, in the shelf of the unexpected, of 2014.
The beginning of "Trancenter" projects us in a forest decorated by peaceful chirping of birds which are courting a lazy flow of river. The singings of insects, the same as certain serenades of the four legs inhabitants, are as for them courted by a dreamy guitar which spreads its solitary notes over an increasing carpet of mist. One would believe to hear the ambient introductions of Pink Floyd. A line of bass sequences structures a rhythm to the peaceful oscillations. Little by little the magic of the Mellotron and of its mystic fluty breezes are making our ears sensitive to a more attentive listening. Although very ambient, "Trancenter" is waving quietly like a river which tumbles down a light slope by a beautiful sunny Sunday. A river which gilds its serenity under the hot beams of Mellotron and which shakes its delicate race towards clouds with light jolts and static eddies, plunging "Trancenter" into a false debate between the ambient and the meditative rhythm. Lambert Ringlage's guitar is magnificently restful. Freeing riffs and lyrical notes, it sings beautiful solos, sometimes tormented, which split into thick cloud of mist, releasing a strange perfume of
AshRa over the idle rhythms of the Encore years. The intro of "Sperical Movement" is dark. The guitar brightens it up with a series of notes with hybrid harmonies which sing, cry and swirl in a slow maelstrom weighs down by a cosmic mist. The moods win in intensity, in particular with some nice orchestrations coated of fog, but we are always in the ambient phases of “Timedrift” which feeds mostly its first minutes with the incantations of a dreamy guitar. And then "Escape from Dissonance" falls in our ears. Its intro rests on nomadic breezes which collect rippling singings to the slightly alarming aromas. Comes then a Mellotron hymn which frees a rhythm that we find in those rhythmic boxes of those old organs. It's a galactic rumba a la Jarre with clouds of mist which tighten the innocent pace. A storm of jumping keys turns up. They are several. They pound and skip fervently in contradictory tints and tones. The beauty is that they also bear a superb synth solo which spreads out more harmonies than floating thoughts. The rhythm of "Escape from Dissonance" gives way to a furious attack of sequenced keys which always peck at the suspicious pace of the cosmic rumba, while the synth solos harmonize their acuteness with the stormy flow of other sequences with more buzzing resonant tones. This is a great cosmic cacophonous rock as we hear too rarely of nowadays.
Although being more static, "Emphasis" stays in the field of quite lively electronic rhythms. It structures its rhythmic approach with sequences which pierce the contemplative clouds in order to pound in a rather static linear mode. The synth lines to the orchestral perfumes are divine and surround a rhythm which makes waltzing its movements of sequences with juice in tones and with jolts imprint of finesse which caracole beneath some languishing synth solos. The rhythm is progressive and changes subtly its skin in front of the repeated attacks of those long twisted solos. It lowers the cadence around the 6 minutes with a thick cloud of jumping keys which plot on a conveyor fed by a mist filled of suspicious voices before returning heavier below solos of synth which click such as lassoes in a sky blackens of cosmic sea spray. "Ardent Drive" adopts a bit the same model, but in a more ethereal approach. The finale is simply superb while the title goes adrift downright in the ambiences of
Encore, but with a more contemporary tone. The guitar solos are as much scathing than the synth solos on "Escape from Dissonance", while the movement of the jumping keys is more compact and heavier. Once again, it's a solid electronic rock. After an ambient intro, eaten away by an acidified guitar which spits riffs and twisted harmonies, the title-track releases a beautiful movement of fluid sequences which reminds Peter Baumann's harmonious rhythms. Except that "Time Drift" is conceived in the dissonance. In the disharmony which had unified the evolutionary and removable rhythms of the previous three tracks where the kicks of sequences have establishing a harmonious structure constantly decried by evasive synth solos and by sharp synth solos. But the result remains rather blazing. Like these great electronic rocks of the psychedelic years with a sonic crossroads which meets the unchained harmonies by AshRa, the oscillatory rhythms of Tangerine Dream and the cosmic moods of Jean Michel Jarre. Admit that you are going to adore this superb sonic journey in the heart of the years which began this wonderful story of contemporary EM. I did! Superb and it's even better with the ears released from headphones! Because the sound travels…travels…travels.
Sylvain Lupari (November 15th, 2014)

gutsofdarkness.com & synthsequences.blogspot.ca

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