vendredi 12 décembre 2014

F/R-F: Structures of Paradise (2014)

“This is a striking album. One of the beautiful finds of 2014 where EM goes from ambient to lunar techno then e-rock and finally into a powerful EM prog rock”

1 Creation of Paradise 19:32
2 Paradise Consumed 21:20
3 Paradise Lost 21:22

Independant / Bandcamp (DDL 62:14) ****
(Mosaic of EM styles)
A long drone breeze unfolds a somber aura where float cosmic gases and soft lamentations painted of orchestral mist. And the percussions come crashing down. They roll madly, like some angelic thunders, in the layers of a synth to the  fragrances of an old apocalyptic organ. It's the creation of the Paradise, such as seen, as imagined by Neil Fellowes. Neil Followes!? F/R-F is the fruit of a collaboration between Neil ''Geigertek'' Followes and his son, then 14-year-old, Callum Raeburn-Fellowes. The duet father-son offered a live performance during the Awakenings Evening of Ambient and Electronic Music event, held in Branston in July 2013. But to be completely honest, and not just to make you too much languish, “Structures of Paradise” is everything but ambient. It's a long structure which feed its 62 minutes with a fascinating, an obsessive crescendo towards a furious electronic progressive rock which is going to rock you up and down.
The first 20 minutes of “Structures of Paradise” are the equivalence of a passage obliged in the sibylline corridors of the purgatory with astral voices and a divine flute which float with a feeling of purity in a skillful mixture of silky orchestrations and the cosmic elements, but also in the heavy resonances and the nebulous lamentations of a synth and of its ambient coat. The approach is as serene than threatening with this mixture of clarity and dark which pulls "Creation of Paradise" through the meanders of a somber and hollow ambient New Age with artifices of serenity and spirituality which remind the great Kitaro. Heavy echoing beatings, a little as the resonances of an ultrasound, are putting to sleep the heavy ambiences subdued of white noises which cover the introduction of "Paradise Consumed" of an annoying sound pallet. Somber buzzings, mixed up with supersonic noises, are dragging enormous parasitic furrows which moo in the knocks of percussions fragiles like wet woods crackling. The first 9 minutes are as black than carbonized coal. The crackling and the sound implosions draw a kind of noisy aura of radioactivity where everything seems unreal, like an end of times. The percussions, that I considered harmless, eventually awaken a very good structure of rhythm which is very near the roots of New Berlin School. Ambient!? Not really! The sequences hiccup and unroll some lines of jolts where the keys are feeding a lively and steady rhythm which swirls in the asymmetric beatings of the percussions which, at times, overflow a little of their repetitive frame. It's a good lunar, a morphic techno. A little like the good moments of 
Robert Schroeder's electronic beats. Because if rhythm there is, it makes more waddle of the head or clap the fingertips than feet. It's effective, lively and it's constantly expanding. And the synths remind us the real charms of EM with great solos, as well as a beautiful father and son duel, whose harmonious approaches will make us whistling certain airs some minutes later. After a short more or less ambient phase, "Paradise Consumed" starts again its phase of rhythm with twisted solos which bicker constantly, reviving the beautiful years of EM with very omnipresent synths. Narrations of a robot kind of voice and shouts of sirens remind us that the paradise is really consuming itself in a beautiful electronic approach where orchestrations and fine fluty lost melodies still remind us the charms of Kitaro.
A brief moment of respite and a voice, with a drive as a seller in a fair, guide us towards the totally unleashing "Paradise Lost". And hold your hat! This time the pace is livelier, heavier with a pulsating approach that will give you the dizziness. Sequences and percussions, very techno genre, are beating a mad pace which resists to the charms of the synths and to the veils of mist. And "Paradise Lost" falls in a furious electronic rock with what sounds like guitar solos that will make turn pale
Jerome Froese's rhythms of his Guitartronica. A cavalry of riffs and twisted solos rain down on a powerful structure of rhythm which oscillates in countercurrent in the envelopes of deep padded orchestrations. Between techno and rock, "Paradise Lost" floods our ears with a heavy rhythm which hangs onto the orchestral impulses and to the voices of angels of which the rustles have difficulty in piercing this wall of rhythm. It's infernal and totally furious. This is classical e-rock! Little by little, this rhythm lower its guard and scatters its wrath in a kind of drum solo whose lively knocks are rolling within the notes of a woolly bass. The rhythm shines even more now with an organ which perfumes itself of the fragrances of a wild Deep Purple. In reality, F/R-F has lost his Paradise. In fact, if we count the last minutes of "Paradise Consumed", it's beyond 20 furious minutes that the duet Fellowes piles up in our ears. And this Paradise tries to reborn with slow orchestrations, cosmic gases and whistlings of celestial bodies which come from all sides in the charms of seraphic voices. Do Neil and Callum Fellowes found their Paradise? Maybe! Except that our ears still buzz , as much as our walls ooze of these wild riffs which stuck to it, from this huge electronic rock which transcends for sure the frames of a festival of ambient music. I loved that thing! “Structures of Paradise” is undoubtedly one of the beautiful finds of 2014. All the phases of EM find their places, their roles on this opus that will unscrew you ears. Guaranteed! Available only on BandCamp, here is a work which deserves certainly a better fate.
Sylvain Lupari (December 10th, 2014) &

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