jeudi 30 juillet 2015

SOLITAIRE: Altered States (1990/2015)

“With sonic essences extract from the musical roots of mid 80's, Altered States turns out to be quite an enchantment livened up by soft beats and by beautiful minimalist melodies”
1 Indian Garden 9:37
2 Heart of the Desert 10:25
3 Splendid Harmony 6:55
4 Indelibility 7:13
5 Altered States/Secret Illuminations 9:46
6 Raindance 8:00
7 Mescalito Exit 11:10
8 Altered States & Secret Illuminations 9:06
(Bonus Track performed in concert in Berlin on November 11th, 1989)

Projekt Records (CD/DDL 72:16) ****
(Ambient EM with a zest of psy-tribal)
I remember this time when I collected all that was sold, was shared and was traded on the Internet about EM. I was like a child in a candy store! Except that I was looking for a specific sweetie; the one with big juicy sequences and tasty synth solos. And one had also proposed me this “Altered States” from a band wearing a strange name SOLITAIRE. I had found the artwork too New Age to deign to throw a bit of my ear in it. Even not a breath! Nothing! Nada! It's a luck that this good old pal Sam Rosenthal has persuaded the Elmar Schulte/ Rüdiger Gleisberg tandem to dust the tapes in order to offer a very charming 25th year edition newly remastered in a much nicer artwork sealed in a digipack. Otherwise I would have missed something very good. For the story; SOLITAIRE was a duet made up of Elmar Schulte, a true fan of the Berlin School model a la Tangerine Dream, and Rüdiger Gleisberg who was, and still is, recognized for a more ethereal, a more cinematographic and a more ambient musical style. The duet was formed in 1989 and gave a first concert a few days after the fall of the Berlin Wall, a bonus track about this event can be found on this remaster. “Altered States” was their first album. A major album in the chessboard of EM that several criticisms of that era haven't hesitate to describe as being phenomenal, as being a masterpiece in the history of contemporary EM. SOLITAIRE will produce in the end only 5 albums, among which one with Steve Roach in 1991 (Ritual Ground) before looping the loop in 1997 with Nocturnes, an ambient and dark opus.
A very beautiful piano loosens its notes to offer a quite honeyed introduction to "Indian Garden". The music makes a very movie genre, one would believe to hear Florian Fricke's Nosferatu, with lines of mists which throw a perfume of melancholy over the first 2 minutes before a line of sequences untie its keys which bewitch our senses with a spherical approach. This sequence pattern pulls "Indian Garden" into a minimalist electronic structure knotted in the wavelets of oscillatory rhythms that some  tom-toms throw towards a more astral, a more tribal dimension. The rhythm rolls in loops and the tom-toms are drumming a peaceful rhythm whereas other elements such as a Mellotron, and its perfumes of flute, wiser percussions and dramatic electronic effects, which make sounding very 
TD of Le Parc years, are grafted and bring "Indian Garden" at the most electronic rhythmical level, with "Secret Illuminations", of “Altered States”. "Heart of the Desert" leads us in the more ambient lands of SOLITAIRE. It's a very quiet track, knotted in celestial synth pads which agglutinate in a compact mass and whose big dark cloud is scolding and swallowing the lonely riffs, which shows more intensity as the seconds fly by. Let's say that it's rather invasive as minimalist melody. But that's nothing compared to the approach of "Indelibility" which, after an intro molded in samplings of voices and percussions of the Middle East, plunges us in the devilish John Carpenter's universe and his famous Halloween music theme. Astonishing and mesmerizing. We understand a little more why the music of SOLITAIRE finds its place in movies such as Heat and Blade. As for me this art that possesses this duo to blend the genres and the ambient textures is the main strength of this album which is a real musical box full of nice surprises.
The dense pads of voices which open "Splendid Harmony" send me literally in the universe of French Skyline by the American duet Earthstar, released some 10 years earlier. The onset is very meditative and spiritual. It leads towards the breezes of a warm Mellotron among which the successive and minimalist breaths, marinated with pads of more celestial voices and those of a synth to the finely piercing harmonies, are falling in saccades and draw a kind of ascending procession. It's very like an ode for desert of dreams such as seen by
Steve Roach with a strong ancestry for the genre of French Skyline. "Mescalito Exit" is a very dark ambient piece of music based on a thick cloud of drones which gurgles in the secret and the ambient harmonies of a synth and of its scarlet shadows. Even there the influences of Roach are notable. The introduction of "Altered States/ Secret Illuminations" is very pompous, kind of music theme, where the angels are tearing the coat of the human race. The synth pads crowned of a Mephistophelian aura fall with fury, flooding the first minutes of a post-apocalyptic vision. A pulsation gets loose a little before the 3rd minute, pulling some heterogeneous noises and murmurs of Cyborg towards a more electronic structure. The structure is minimalist and soaked with these pads of Earthstar's seraphic voices. It shakes its passive keys around the 6th minute, introducing a quiet rhythm rocked by the harmonies scattered by a line of flutes and by a dense clouds to the colors of the emerald. "Raindance" also exploits this approach of minimalist melody as we heard on in "Indelibility" and "Heart of the Desert", but in a more oniric envelope, with some soft perfumes of flute, and slightly more livened up by nice tribal tom-tom. That reminds me enormously of the very beautiful main themes from the Cornucopia album by Matthias Thurow which was released in 1986. And this surprising album, a very beautiful surprise for me, ends with a fine live interpretation of "Altered States/Secret Illuminations" which finds a more ambient shape here.
I enjoyed a lot going at the discovery of “Altered States”. I discovered a very eclectic album which was strongly inspired by this very meditative movement of the 85-90 years with a vintage touch for the celestial voices synth layers. I won't go as far as saying that is a masterpiece, except that the parallels and the narrow links which unite it to the music of
Steve Roach, Earthstar, John Carpenter and Matthias Thurow are very exact and confer to this album a special place among the good ones of these years. If the meditative ambient genre livened up by soft beats and by beautiful minimalist melodies attracts you, “Altered States” is completely indicated to you!
Sylvain Lupari (July 30th, 2015) &
You will find this album on the Projekt web shop here

lundi 27 juillet 2015

MICHAEL BRÜCKNER & MATHIAS BRÜSSEL: Ondes Intergalactiques (2015)

“Here is a feast of deep ambiant music where our ears become the eyes which fix the night and its stars”
1 Ondes Intergalactiques Part I 17:38
2 Ondes Intergalactiques Part II 13:28
3 Ondes Intergalactiques Part III 15:11
4 Störtebecker (Encore) 7:15
5 Extension on an Early Sketch 20:00

Bruckner&Brüssel Music (CD-r/DVD-r/DDL) ****
(Ambient cosmic EM)
The Internet users and the fans of EM, especially the ambient form, discover more and more Michael Brückner's extreme versatility. The German musician/synthesist also forms a rather particular duet with Mathias Brüssel which is called La Mansarde Hermetique. And it's with the latter, who is a specialist of the diverse samplings with a strong propensity for those which are cosmic, that he was invited to participate at the Cosmic Nights Festival in 2015. Both accomplices annex their creativity quickly for this event while Michael Bruckner joins his cosmic and ambient textures of Mathias Brüssel's numerous intergalactic samplings in the frame of this festival which was held at the Belgium planetarium on May 29th, 2015. And as Michael Bruckner never makes anything half, the duet offers a CD/DVD box set which includes both a video presentation of the concert and all the music practiced and played during this event which is mainly for the lovers of ambient and cosmic music. And it's based on the improvised movements that the duet Brückner/Brüssel has penetrated the “Ondes Intergalactiques” of this festival which wins adepts more and more within the years.
Who says improvisation says sometimes long movement needed in order to establish a connection between 2 musicians who unite their cosmic visions for a first time in this concert. It's doubtless what explains the long introduction, I would have put aside the applauses, of "Ondes Intergalactiques Part I" where noises of frying, laconic pulsations and electronic clatters as heterogeneous as of sci-fi are flooding an intense opening embroidered in an ambient din. We hear hummings of gong, as well as other strikings on an intergalactic anvil, and cosmic voices describing a countdown. There is echoing hoops and sequences which unite their harmonies into an irregular stroboscopic thin line, whereas waves of synth, dreamy solos and cosmic choirs agglutinate on a background immensely soaked with a cosmic approach. We derive in the cosmos with an incredible precision for an improvised sonic banquet. A form of ambient rhythm emerges a little after the point of 7 minutes. We hear the echo of the sequences' shadows weaved a static rhythm which makes its organic aura pounding into dense, and the word is weak, tears of synth knotted by superb cosmic orchestrations. To say the least;
Michael Bruckner and Mathias Brüssel have knew how to adapt quickly their styles in a context of improvisation of an intergalactic music. Arpeggios skip in herds into a dense sound magma where are always flowing the tears of synth and spurt out their scarlet shadows with sharp lamentations. One would say singings of ghosts perfumed by the Martenot Waves. I liked it a lot! It's ambient but intense. We hear celestial bodies dominating the stars which parade like allegorical flames while the track soaks up its sweats in a very ambiospherical finale. "Ondes Intergalactiques Part II" proposes an introduction all in sounds where runs away a line of fluid and musical sequences which winds throughout a universe painted by dark voices. It's a movement which leads me back in the spirits of 
Tangerine Dream from their Phaedra and Rubycon years. Glass arpeggios are making their astral colors glittering, whereas a line of flute is charming a rhythm which little by little spreads its control with a livelier, and also heavier, movement. The movement is spherical and unties its minimalist loops which wave into some very nice and a subtle impulses of a bass line and whose shadows draw the lanes of intensity which haunt the singing made by the reflections of the celestial bodies. "Ondes Intergalactiques Part II" consumes its last sequences of rhythm which run away into the opening of "Ondes Intergalactiques Part III" where they pound furiously and make dance their organic shadows beneath the singings of a synth which always approaches “Ondes Intergalactiques” with a vision of sounds and tones experimentation. In the end, it turns out to be a solid e-rock, like in the vintage years, which concludes a solid 46 minutes of good improvised cosmic music.
From what I understand, "Störtebecker" is an encore that the Brückner/Brüssel duet had practiced four times before presenting it in its current shape for the needs of this festival. This is also a very intense and a very ambient music with a thick cloud of lines of synth which piles up in a very compact mass of galactic waves. And behind this curtain of sounds, a thin line of tones a bit nasal forms a movement of sequences of which the crystal clear keys remind me the universe of Software. The percussions fall and "Störtebecker" reveals the charms of a very good, and quite surprising, down-tempo. A cosmic down-tempo which will interrupt its mesmerizing cadence into atmospheres where the psychedelic approach is not really far from those attempts of Software to create a more experimental music. This is very good! I invite you to listen to it on the Bandcamp page of
Michael Bruckner and Mathias Brüssel. And when we speak about sound experiments, the 20 minutes of "Extension on an Early Sketch" is showing all its dimension in a rather intense ambient structure where stroll some lazy and brief structures of rhythms. It's more or less a track that we could considerer as a bonus one for the fans of the duet who will make a strong comeback in the skin of La Mansarde Hermetique.
Now, I know that “Ondes Intergalactiques” is an album from
Michael Bruckner and Mathias Brüssel, but I have to insist by underlining all the work of Michael Bruckner. No matter where he nests and what he is doing, there always emerges from his projects a solid and effictive EM. And it's exactly the case with this “Ondes Intergalactiques” and its cosmic ambient music, its slow celestial ambiospherical synth pads as well as its gradual and magnetizing structure of rhythms which are the beginnings of a sonic decoration where our ears become the eyes which fix the night and its stars.
Sylvain Lupari (July 26th, 2015) &
You will find this album on Michael Bruckner and Mathias Brüssel Bandcamp here

samedi 25 juillet 2015

SYLVAIN CAREL: Heritage (2015)

“Again, this is another fantastic musical journey from Sylvain Carel who is a master of the Middle-East soundscapes”
1 Last Song for a Vestal 6:18
2 Gladiator's Arena 5:57
3 Conquest for the Golden Fields 8:22
4 The Gates of Petra 6:09
5 Old Stones Memories 4:31
6 In the Court of the King 6:56
7 Here was the Pilgrim 7:25
8 Solar Priest 7:48
9 Exile 7:14
10 Jasmina Flower 5:09
11 Tribal Dance 7:19

Sylvain Carel Music (CD 73:12) ****
(Cinematographic, orchestral EM)
It's true that I am beforehand won when I listen to a music which possesses as backdrop the mysticism of the old Arabic civilizations. I am a romantic and the soft poetic perfume of the Middle East gets me exhilarated. Thus, you guess that I fell under the numerous charms of this last Sylvain Carel's opus. Nevertheless it's rather surprising, because each time I undertake the discovering of the music of the French musician/synthesist my ears retract. They become reluctant. Too much soaked with the complexities of EM? Or still the Berlin School? How to explain! Nevertheless the music of Sylvain Carel is everything, except simple-minded. It's embroidered in the imagination of an author who has a very sophisticated vision of EM. An author who approaches it with a philharmonic approach reserved to names as prestigious as Vangelis and, more recently, Bernd Kistenmacher. “Heritage” is an epic musical adventure which draws its inspiration from the ancient histories where the fragrances of the Middle East, the East and the Mediterranean Sea melt themselves in splendid orchestrations. The work has Babylonian and very cinematographic essences. Each intro possesses an ambient cachet tinted with romance and with mysticism. Sylvain Carel lays here some evanescent and evasive melodies which are sculptured in the diverse charms of many flutes, in the astral colors from many breezes and in the notes of an acoustic six-strings as dreamy as solitary. The voices, that Carel has borrowed from the diverse singers who accompanied his music over the years, are omnipresent and add a very esoteric dimension to this opus built upon the visions of a poetic globe-trotter. And each introduction follows its crescendo. A curve of emotions which leads to a panoply of fluid rhythms like an e-rock a la Jerome Froese or good Electronica. Rhythms and romances which are grasped by enveloping orchestrations and which will eternally be tamed by the violins of Eden. And that begins smoothly.
"Last Song for a Vestal" sets the tone with a rather ambient opening. The synth weaves breezes to the colors of abandonment and the violins cry the resentment of these breezes. A delicate oniric voice is murmuring over the shadows of a very meditative piano. The melody wraps itself of a line of flute a little bit muddled. It's somewhat as if some spectres wanted to make us feel their presences. The rhythm wakes up quite slowly. It's skip lasciviously in astral mists before receiving the encircling caresses of the orchestrations. It's soft without being ambient, it's lively without being strongly rhythmic. "Gladiator's Arena" proposes a slow but lively tribal rhythm with good clanic percussions which shape a smooth and hypnotic dance. The arrangements are finely defined with caresses of violin and also with soft jerky knocks. The structure spreads a slow staccato with exhilarating spectral voices and superb percussions, a hidden treasure in “Heritage”, where the violins dance and burst out in the dawns of the mists of the flutes. The wealth and the musical envelope is simply stunning. As all around here, everything is linked with a surprising duality in the atmospheres, the ballads and the melodies. And we hear of everything; tribal percussions, Mediterranean guitars, Babylon orchestrations, snake charmers' flutes and a skillful mixture of seraphic voices and of Berber spectral voices. It's rich and very seductive. "Conquest for the Golden Fields" is my first real crush of “Heritage”. The intro is forged in silk with celestial breaths which espouse the ambient charms of a heathen flute. The violins which invite themselves to this ambient dance are spreading a thick cloud of sonic caresses which seems to fall from heavens. It's very intense. There are notes of a very discreet acoustic six-strings which unifies its solitude in a movement which tames its soft jerks in the tenderness of an ethereal voice and in the ringings of a bell that only the fairies of the deserts know how to make so melodious. The effect is very kind of a biblical movie. Very Babylonian with a wonderful orchestral wealth. From ambient, the intro becomes a ballad finely knotted in the orchestral jolts where are added treasures of percussions and trumpets that we hear in those victorious parades. After 3 minutes sculptured in the intensity, the track dives into an atmospheric phase where the synths draw some many threatening shadows as well as some fluty breezes and where the spectral voices and the acoustic guitar are exchanging their charms.
"The Gates of Petra" follows with a quiet approach which little by little is transformed into a delicate rhythm embroidered in the riffs of an acoustic six-strings, electronic elements and always these fanciful violins which are extirpate from the East West/Quantum Leap synth. "Old Stones Memories" follows the same rule. It's a beautiful soft and very ambient ballad which is arise from the breezes of the desert and from its rattle charms. A delicate piano spreads its melancholy that a flute implants even more in the country of nostalgia. It's soft and it's tender, even when the percussions and the orchestrations shake the ambiences with a soft rhythm and even when a voice, as well as an acoustic guitar, caress those moods with a shadow of a melody a little bit secret. "In the Court of the King" propose a of Electronica dance after a very ambient intro. This is doubtless the most electronic track of this album and the addition of a kind of Sitar brings a very oriental flavor. "Here was the Pilgrim" is a nice poignant piece of music. An ambient track rich in orchestrations where the tears of violins cry on a piano as melodious as pensive. A Chinese violin and an angelic choir come to amplify the dimension of sadness which surrounds the most moving track from “Heritage” although that "Solar Priest" is not outdone, even with its delicate rhythm perfumed of the charms from the East which shakes its last seconds. Still there, orchestrations are delicious. We are doubtless in the quietest phase of this last
Sylvain Carel's album. "Exile" follows with a first portion very ambiospherical before laying down a structure of rhythm which uses the fragrances of a very Electronica approach. After an intro charmed by the singings of an Oriental flute, "Jasmina Flower" offers a finale where the sweetness controls a very beautiful play of percussions. "Tribal Dance" ends in strength and in beauty with a furious structure where the electronic rock and the Electronica fills our ears in a mixture of Tangerine Dream, Jerome Froese years, and of Enigma. Intense, furious and very lively! And what a way to conclude another beautiful adventure all in music from Sylvain Carel.
Sylvain Lupari (July 24th, 2015) &
You will find this album on Sylvain Carel's web shop here

jeudi 23 juillet 2015

STEVE ROACH: Etheric Imprints (2015)

“How can't we be seduced by an album which mixes the ambient perfumes of The Delicate Forever, the Immersion series and the great Structures from Silence? So here is Etheric Imprints”
1 Etheric Imprints 29:44
2 Indigo Shift 12:07
3 Holding Light 17:15
4 The Way Forward 14:49

Projekt | PRO319 (CD/DDL 73:56) ****
(Deep Ambient EM)
After all this time, how Steve Roach can have something to charm us? Through good times and bad and from album to album, the magician of cerebral waves always succeeds in raising his works at a level that few have reached. And when they make it, it's only for the time of one album. After his very interesting incursion in the universe of the ambient rhythms finely shaken by the delicious movements of sequences of the modular Synthesizer System, the bard of the intimately introspective atmospheres returns this time with an opus of purely meditative music. “Etheric Imprints” proposes 4 long tracks where the sound elements sculpt the imprints of instruments that our ears recognize throughout their slow dying vibrations. It's a monument of tranquility where the shadows float roguishly, a little as to half-open the doors of another universe of perceptions
The very long title-track opens with a kind of rustle which melts into a heavy sinister shadow. Some people will hear a long muffled drone or a stringed instrument which tortures its soul and complains slowly in guttural breezes, while others will perceive only the reverberations of the shadows which fall in the notes of a forsaken piano. The magic of 
Roach operates straightaway with this way that he has to stack his notes, and especially their shadows, in a sound mosaic which often wants to be a posology against the constant race against time which little by little crumbles our life. Here the atmospheres are as much immersive as in the Immersion series, but with the reflections of the notes of a very meditative piano. Notes which fall in a endless gap and decorate the walls where whisper the rustles of huge shadows and cry the reverberations of the lines of an absolutely black synth. Lines which will always agglutinate all along the track like a thick cloud of threatening shadows. "Indigo Shift" aims to be the mirror image of "Etheric Imprints". Here the notes of the piano are becoming shadows, while the synth lines spread a sibylline aura with a heap of sonic graffiti which weaken their lines into long lethal kisses. The ambiences are heavy. So much that we lose of ears the reflections of the piano keys. The layers wrap us with a powerful curtain of sounds filled of scarlet lamentations and where roams an appearance of cacophony which perturbs the ambiences of "Indigo Shift", contrary on the title-track which aims to be a slow cerebral sexual intercourse of which the only orgasm remains the reaching of our level of peace of mind. After this long sibylline ambient ode, "Holding Light" is the music piece which is closer of Steve Roach's usual ambient elegies. The happiness is in our ears! The color of the sounds is rich with some slow and long layers of synth which float and roll like some astral waves. A little more and we deviate towards the secrets of Structures from Silence. Thus, how can't we fall under the charms of "Holding Light"?"The Way Forward" doesn't go too far from the musicality of "Holding Light" by presenting a structure which mixes superbly both extremes of “Etheric Imprints”. The textural envelope of the synth lines throws a cosmic wave while the lamentations, more visible here than on "Etheric Imprints", are really sounding as a cello that we caress with a lead bow. It's slow and it's heavy while that other synth lines, more lively here, roll calmly, like these last waves which unwind the last fits of anger of the oceans.
Literally split into two visions, “Etheric Imprints” is Ying and the Yang of an ode where the contrasts are intimately connected by the needs for each other. As much it's sibylline, as much it's seraphic. And it's also something big from
Steve Roach who mixes skillfully the fragrances of The Delicate Forever to the black moods of the Immersion Series while tickling the ghosts of Structures from Silence. And let's admit with such an arsenal, we can only be totally bewitched! Magical and astonishing, this is what Steve Roach is giving us since years.
Sylvain Lupari (July 20th, 2015) &
You will find this album on the Projekt web shop here

lundi 20 juillet 2015

MAGNETRON: Photonic Waves (2015)

“Good old vintage moods with a zest of complexity. No, the music of Magnetron is not for all, but has all in it to seduce everyone”
1 Tachyon 22:40
2 Spherium 22:20
3 Illumination 6:20
4 Refraction 19:30

Magnetron Music (DDL 71:11) ****
(Vintage Berlin School mixed with modern England School)
Violent pulsations of white noises attack our ears from the opening of "Tachyon". The knocks are distant and are crumbling dusts of sounds which are wrapped by slow synth waves of which the caresses, as much morphic as cosmic, are floating like thoughts under the mists of a string orchestra. If the knocks persist in time, their resonances covers itself with felt-tip and their gap doesn't succeed in weaving a structure of continuous rhythm. And if the noises turn into a strange intergalactic language, the waves of synth become them some nice fluty lines. On the other hand, things evolve rather fast inside "Tachyon". A bass key skips in solo a little before the mark of 6 minutes. Whipped by sudden explosions, it draws a movement of minimalist rhythm which is braided in a solitary oscillatory movement where the fine nuances are undulating and stumbling in morphic mists. These mists and the fluty singings unite their ethereal charms, while the curve of the fluttering rhythm of "Tachyon" evolves with a subtle fluidity, if not a certain velocity with the arrival of the percussions. The rhythm became more sustained, and even rather lively. It gallops now in beautiful effects of synth where a rather hoarse electronic dialect grumbles occasionally among these soft lines of flute and these heap of fog of ether which are now the deserving morphic emperors of fine synth solos which are slightly too discreet.
We have to be in the mood in order to listen to
Magnetron. The universe of Steve Create Humphries and Xan Alexander turns constantly around the same orbits. Around divided rhythms which regenerate in the shape of minimalist loops and around psychotronic atmospheres where the perfumes of Tangerine Dream try to extricate themselves from the fragrances of Klaus Schulze. In brief! It's a rendezvous with time. This time where EM tried so much to seduce than to fascinate and where the gradation of the long music acts was sculptured in this art to want to redefine the standards but in an envelope and with a clearly more contemporary approach. We can hear it in the sound! “Photonic Waves” is a 5th album. An album that I would consider as more direct than Spherics, but which asks all the same to be as much tamed because the universe of Magnetron, even in its more digital cocoon, is as atypical as these old sonic intrigues of the vintage years. "Spherium" follows with lively beatings which drum in a dense ambiosonic envelope fed of slender and of slow sound braids and whose screeching are writing some acute graffiti over a wall of black silk. The rhythm evolves slowly by amassing the metallic fruits of the cymbals while the ambiences, a bit psychotronic, are feeding on wandering voices. Percussions and quavering sequences get grafted to the drumming while the phase of rhythm of "Spherium" moves towards a more nervous structure where a meshing of sequences and percussions raises  a structure which becomes a kind of mixture between a cosmic funk and a break-ambient-dance. A spasmodic structure which frees its minimalist hybrid shocks with a subtle swiftness in the movement beneath a dense psychotronic coat where organic sequences, graffiti of a nasal synth, fluty lines, tears of violin and solos decorate a firmament which has nothing to envy at these structures a little complex and a little bit psychedelic from the vintage years. After 3 listening, we become definitively hooked. The scattered impulses of a loud bass line which have also added an intense depth to "Spherium" are at the heart of the very ambient structure of "Illumination" which also stuffs itself of cosmic orchestration to be made redden Software. It's a heavy ambient track which finds its charms in its intensity. Here also rangy twisted tears of synth are to make the ears clean. The cosmic atmospheres converge all along “Photonic Waves” but were never so dominant as on "Refraction". Here, the orchestrations waltz slowly on a nervous structure of rhythm which unwinds its kicks under the caresses of the intergalactic violins. The main structure remains minimalist while a crowd of elements (pulsations, percussions and sequences) gets graft here to enrich its core, which remains all the same rather static, driving it gradually towards a nice crescendo, as much in the power of the static rhythm as in the atmospheres which were never so rich as here.
Yes, we really have to be in the mood to enjoy the music of
Magnetron! And when it's done, we discover an intense album where Steve Humphries and Xan Alexander provide the atmospheres of such a sonic wealth that our ears need more than one listening in order to assimilate all of these storms of sounds which suit to rhythms that we rediscover beneath another facet at each new listening. That's the mark of an album built upon creativity, on the art to want to redefine its own standards. I liked it well and my walls are still well decorated of it!

Sylvain Lupari (July 20th, 2015) &
You will find this album on the Magnetron Bandcamp page here