vendredi 28 novembre 2014

YAREK: Berlin Ratusz (2014)

“Electronica and World Music trapped in Berlin School moods; that's the menu of Berlin Ratusz which is as good as Last Train to Berlin”
1 Minaret 9:03
2 Ultrabas 4:37
3 Black Water 6:19
4 Carima 4:19
5 Dream 4:09
6 Ocean 4:27
7 Imagination 4:33
8 Moon Walk 2:53
9 Nostalgia 4:29
10 Serce Lasu 4:24

Ricochet Dream | RD072 (CD 49:12) ***½
(Electronica and World Music)
Here is the perfect example of an album that it is necessary to listen carefully before throwing it to stinging nettles. Not that “Berlin Ratusz” is difficult to access. Quite the opposite. Faithful to his style, Jaroslaw Degórski proposes a wide musical range with a vision of a more balanced electronica which bubbles in a delicate hint of Berlin School  with these floating synth layers which interlace in delicate orchestral arrangements and huge trolls' rustles. And when the whole thing is tinted by dreamlike aromas of the world of Aladdin, it can only give a result that surpasses the expected. We loved Last Train to Berlin? We shall like this album which doubtless has draw the main lines.
And that starts on hubcaps. A mixture of breaths and hummings, which remind the uncomfortable tones of gigantic Trolls on a foot of war, sweep the introduction of "Minaret". The chirpings of a line of sequences with organic ions are deeply oscillating. One would say a strange ride in unreal territories. Especially with these Gregorian voices layers and these vampiric waves which crisscross and wrap a rhythm which takes more and more tonus with the addition of big nasal riffs and electronic percussions which couple their strikings to a troop of flickering sequences. The rhythm is heavy and incisive. Very just like what we shall hear on “Berlin Ratusz”, its jerks are taken by a delicious  mixture of sibylline vibes where hoarse voices hum some black airs. The riffs breaks out in a continuous mode and bite the feverish beatings of the electronic percussions, while the sequences continue to oscillate violently. Set apart for the starved riffs, the e-guitar also throws nice solos. Moving thus a little the violence of the movement which refutes the brief caresses of some more seraphic voices and the peace of mind of a brief more moderate passage. It's with a hard and pure e-rock, dipped into Mephistophelian ambiences and encircled with an electronic veil to the thousand hearing pleasures, that Jaroslaw Degorski invites the spectators to an electronic Mass, rich in sound colors, for this concert performed at Rathaus Schöneberg within the framework of the 40th anniversary of the Berlin School movement. But in spite of the event, “Berlin Ratusz” has little to see with the Berlin School genre. Except for these ambiospherical synth layers which enclose a host of rhythms very near to electronica, the music of “Berlin Ratusz” glitters in a kind of crenel of a World Music prepared in a technoïd sauce. Bang-bang it hits hard, flap-flap it caresses!
If "Minaret" is throning in absolute master on this collection of tracks, "Ultrabas" is not too far behind. The rhythm is curt, nervous and is stoned to death by good resonant riffs, ploughed by bass sequences and hammered by percussions which deeply swirl in another violent up-tempo. Here, as almost everywhere on “Berlin Ratusz”, the music is strongly soaked by an approach of the Middle East and the voice of Lukasz Kolakowski is very feminine. The rhythm, always knotted of nervous jerks, of "Black Water" is a good mid-tempo with an approach a bit bicephalous; with an electronica sneaking in spaces a little softer. The synth pads, rather ambiospherical, remind that we celebrate on the 40 years of the Berlin School. Except that I find that it is closer to World Music, to Arabic techno. Suffice to hear the tribal hymn which is "Carima" to be convinced. Otherwise, the beautiful and very ethereal ballads which are "Dream" and "Ocean" will erase all the doubts. If at the beginning the voice of Lukasz Kolakowski annoys, because she's rather omnipresent, we eventually get bewitched because shes sounds very oniric and the music of
Yarek abounds in a wealth such as what we found on Last Train to Berlin. "Imagination" is a kind of drum'n'bass a bit groovy which is filled of resounding hoops and  by curt, abrupt movements. The approach is always rather melodious, Yarek having emptied his gall on "Minaret" and "Ultrabas"."Moon Walk" offers a nice structure of bouncing rhythm with a superb synth which spreads an attractive Arabic veil. That reminds me moreover Jean Michel Jarre and his collection of ethnic rhythms in Zoolook. A perception which is rather present all over “Berlin Ratusz” by the way. "Nostalgia" is a good FM piece of music and a beautiful down-tempo, very Jarre, with a slow rhythm shimmering of slamming percussions which is painted of beautiful synth veils as floating as orchestral and above all very melodious. Just to remind us that “Berlin Ratusz” is a festive event which surrounds the celebration of the 40th anniversary of the Berlin School, "Serce Lasu" fills our ears of a soft ethereal music. It's an ambient track which rests us a bit, as much as the voice of Lukasz Kolakowski, and which concludes an album disconcerting certainly (if we look for of real Berlin School EM) but of which the roots are not really that far.
Sylvain Lupari (November 28th, 2014) &

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