mercredi 18 mars 2015


“Insane!? Much more than that! Deformator is a huge mosaic of psybient electronica wrapped of Berlin School's primary elements”
1 Consciousness Mill 7:53
2 Guards of Silence 9:31
3 Nude Lips 6:14
4 Love Daughters 8:13
5 Totalitarian Engineering 6:08
6 World Great Slogans 8:30
7 Wife-Beater 9:35
8 Slaves of Mythology 3:58
9 Deformator 8:16

Ricochet Dream | RD076 (CD 68:18) ****
(Experimental, Techno and IDM)
Definitely, the sound universe of Wladyslaw Komendarek is weaved in the originality! We would like to believe that the wizard of the Polish sounds, because he nests on the Ricochet Dream label, would make a style of EM concentrated on the Berlin School model. It not is nothing! “Deformator” continues where Chronowizor had stopped; either in the lands of the music without borders. An EM where the very experimental kind, the techno, the Ska, the Drum'n' Bass, the Hip-hop and the IDM spiced by psybient sauce invade our ears and makes our neighbors to shout. Certainly there are perfumes of Berlin School, in particular for the sequenced rhythms and the uncountable and very good synth solos. But for the rest, this last album of Wladyslaw Komendarek wears admirably well its name with disconnected rhythms, and melodies which are just as much, which nest in an impressing wall of percussions, voices as annoying as attractive and of dense orchestrations samplings which slow down the fury of the rhythms. It's an album with an even more trenchant and a more mordant Komendarek. A Komendarek who likes to take Frank Zappa's clothes in order to deform his satiric visions of the society and its global current events with a totally aggressive and off-the-wall music where the structures get lost and deform allegories which refuse any shape of esthetics. It's hard to tame but at the end we end by finally enjoyed this huge madness of his.
Percussions, bass pulsations as much agile as the sequences. The movement of "Consciousness Mill" is bombarded in a lively and fluid way. It jumps from an ear to the other with a series of 5 steps which stumble at times. It's a huge up-beat, almost a speed-beat, with curt and felted hits where the rustles in background and the jingles of tsitt-tsitt are panting behind our ears. If the rhythm beats of its minimalist pattern, the melodies which go and come show a beautiful diversity and make contrast in this rain of sound effects and iconoclastic stammerings which feed the very psybient side of “Deformator”. We like these structures of wild rhythms? We like to become breathless because we are dancing and jumping to madness? We are going to love the very driven and gluttonous "Nude Lips", which is real rhythmic marathon for the ears ... and the legs. The voice might annoy a bit but you better get used to it because Komendarek uses a lot of voices samplings, if not his own, by singing mad and rough tunes. And it fits perfectly to this setting where the immoderation is appropriate. "Slaves of Mythology" is a bit nuanced and its up-beat approach is flooded in a kind of Frank Zappa's quite unique jazz-blues approach. I like to think that it's the track that my neighbors hate to most! After an ambiosonic tinted by voice pads a bit angelic, certain are more warlike, "Guards of Silence" clubs our ears with jerky pulsations which make symbiosis with others more organic. Divided between its ambiences and its rhythm which becomes technoïd, "Guards of Silence" adopts an approach which reminds me that of Prodigy in Music for the Jilted Generation, in particular on Break & Enter.
Wladyslaw Komendarek is like a crazy horse and kicks in his structures with a total absence of commercial filter. The sound effects are intrusive and disruptive with big twists filled of reverberations and big sonic regurgitations.
Here as everywhere around the crazy rhythms in “Deformator”,
Komendarek uses in knowledge his synth pads filled of prisms and of orchestrations, giving an ethereal feeling to his indomitable structures. Rhythms which sometimes appear to us a little more in the Lounge style, a little quieter too, as in the Arabian charms of "Love Daughters" and its samplings of percussions, clanic flutes and singings which are flavoring a structure which jumps as when a vinyl album was jumping on our turning table. At first it's annoying. When the effect of surprise is over, we find out that it remains pretty attractive. Especially if we want to make our visit freaking out. A heavy beat which hammers our ears with notes of sitar over a structure as much unseizable as an oiled pig, "Totalitarian Engineering" brings a techno approach (tsitt-tsitt ) flooded in uncountable samplings of deformed voices and heterogeneous noises. It's rather indigestible, but the fans of psybient kicked down with hammerings and with effects of break-dance will be delighted. The Persian flute, the Tabla percussions bring a very eclectic tribal dimension which demonstrates that Wladyslaw Komendarek has no border and manages to inject effects and arrangements that will captivate your curiosity for sounds and tones. Off-the-wall and totally wild! "World Great Slogans" is, and by far, the most accessible track in “Deformator”. The approach is very Berlin School with a beautiful line of hypnotic sequences which rolls in loop in clouds of sound radioactivity. The music dives then in a moment of ectoplasmic ambiences before getting back with a more musical structure. There is good solos of a rather discreet synth. I liked it well and we stick to it at the first listening. "Wife-Beater" is as crazy as its naming. It flows with a zombie-like techno with pulsations clubbed with the regularity of a metronome, well as for its first part, before the rhythm becomes a little more unstable in second half. The riffs, voices, shouts and other sound elements are on the menu of this track which is doubtless the least creative in “Deformator”. It just gives you an idea of what the rest is made of. The title-track offers a wide range of unusual noises, cracklings, voices from beyond the grave and psychedelic sound effects on a soft rhythm. On pulsations which pound shyly in order to make more space to a these thick clouds of samplings which perfume the very avant-gardist, the weird artistic vision and the craziness of Wladyslaw Komendarek.
If you want to approach “Deformator” in one single listening, it would be possible that you run away and leave your perplexed shadow behind. One needs more in order to tame this sound painting soaked of boldness that is this last album of
Wladyslaw Komendarek. Techno - trash or IDM molded in high-level psybient! We are far from Berlin School and even from its by-products. Nevertheless the sequences, the arrangements and the synth solos cannot deny the paths dug up by Komendarek to be where he stands now. It is just necessary to dare. Accustom our ears to something crazy. And sometimes, it goes well. “Deformator” is to be tasted at small doses. Even if sometimes we judge that we can go through it without too many difficulties. A big A for the originality.
Sylvain Lupari (March 17th, 2015) &
You can find this album on the Ricochet Dream page here

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