mercredi 30 septembre 2015

WELLENVORM: Toene des Nebels (2014)

“This is a stunning album of....I just don't know. But it's utterly great”
1 Toene des Nebels 9:46
2 Fliegende Sequenzen 6:45
3 Weinender Mond 7:49
4 Der Singende Sinus 8:13
5 Sequenzerliebe 5:43
6 Sonnenstahl 7:04
7 Herbststurm 6:35

MellowJet Records | CD-r wv1401 (CD-r/DDL 51:57) ****
(Dark ambient beats a la Düsseldorf School, New Berlin School) 
What a pleasure it is to discover something totally new. Something that we can't tie to anything we know. And it starts with a a kind of hollow breeze which is blowing its lugubrious perfumes whereas that hoarse pulsations widen its metallic brilliances by outstripped knocks. "Toene des Nebels" unfolds its dense mystic mist where our ears perceive with difficulty skeletons of sequences fraying and distorted clamors, while jingles resound like deformed synth lines which float while dropping the beginnings of a flabby structure of rhythm. It's a kind of Chill, maybe even a Groove, mixed in vapors of Hip-hop which little by little takes shape with a delicious bass line, beatings of more accentuated bass sequences and some vaporous gases which act like unfinished percussions. There you go! This is the main pattern of the rhythms which battle the cemetery fogs of “Toene des Nebels”. Some rich synth lines weave the canvas of a glaucous ambiance with ghost shadows and effects of echo which float with a subtle orchestral perfume. Down from its 10 minutes, the title-track orchestrates its vaguely progressive structure of rhythm with sequences which oscillate slowly, as in a waltz for coma patients, allying their tones of metallic gurglings to percussions always so indistinct and sometimes gaseous while the synths decorate the atmospheres of a mist filled with industrial drizzle and with reverberations which wave with piercing shouts in their tones. "Toene des Nebels" sets the tone to an album as much appealing as unexpected. The noise of mists, the sound of fogs and the chants of the iridescent drizzle which lose their brightness in the glaucous atmospheres of cemeteries; here's of what is made this fascinating album where the structures of rhythms are totally dominated by the mortuary atmospheres of “Toene des Nebels”. Our spirit and our senses navigate in a hallucinating sound decoration where everything seems to us unreal, so much everything is blurred, as in our most famous nightmares, where we are plunged in the core of horror B-movies' ambiences .
It' quite a whole surprise that this album of WellenVorm, a project of Uwe Rottluff who is a musician synthésiste and especially a sculptor of sounds and atmospheres from Chemnitz, Germany, and who offers here an album which seems to be taken out of the fires of hell. “Toene des Nebels” is going to turn you upside down  at several levels. If it's not by the brilliant sequencing patterns, it will be by some incredible psychotronic outer-world moods. Like a real sound film-maker, WellenVorm proposes 8 stories in constantly evolving sounds, rhythms and ambiences which are small pearls of fear. We could so entitled this album; music for donjons. Both poles of EM, analog and digital, are in confrontation here with a rich sound texture where sequences and their wild capers are completely tamed by a wall of ambiences where the chants of the mists are accompanied by pleasant and very relevant orchestrations to make shiver those who listen to this “Toene des Nebels” in the most opaque blackness. The psychedelic effects of the synths abound with imperfect hoops which make their echoes shining in mists and choirs as well psychotroniques than very sinister. They open "Fliegende Sequenzen" and gild its intro of a dense morphic veil. A thin line of sequences makes roll its keys in background, weaving a kind of rivulet which sparkles as the strings of a harp behind a heavy curtain of unstable sound shadows. Enormous vampiric waves spread their orchestral wings in a pattern of deep black ambiences where the rhythm reveals a structure in constant procrastination with sequences which sparkle in orgiastic black shadows and sudden orchestral jerks. "Weinender Mond" is more lively and more livened up than the title-track but offers a sound decoration just as much typical of the fright moods which fill the ambiences of this first album of WellenVorm on the
MellowJet Records label. The sequences are fat, juicy and unfold waves of white noises in steady knockings. And the fog! Always so intense and apocalyptic as its curtains of worries which separate the living flesh from the zombies' appetite. We always stay in the theater of horror with "Der Singende Sinus" and its introduction to be made go pale Peter Vincent in Fright Night. One fluid line of sequences extricates itself from these atmospheres, making unwind its keys which dance as skeletons of invertebrates of which the somber osseous spasms wind some clouds of mist which cover the gutters of cemeteries. A macabre melody comes then in order to make roll its notes towards half-time, increasing even more the dark atmospheres of "Der Singende Sinus". Some heavy sequences undo the metallic fogs of "Sequenzerliebe" to swirl heavily with residues of percussions in another pattern of sinister fog. The rhythm is ambient, even if the jumps of the keys are lively, while the moods are always tetanizing and iced of dread. I have the impression to dive back in my memory and downright into the subterranean graves of Phantasm. "Sonnenstahl" proposes a slow introduction filled by chants of Trolls in agony which start to run by following the paces of heavy resonant sequences. It's a good track where the rhythm makes itself shyer while "Herbststurm", by far the most powerful track of  “Toene des Nebels”, concludes this album with a steady, heavy and very kind of movie action rhythm of the medieval times when the Trolls were running away from the rebellion of huge archers. It's a whole sound pattern where the horror is in reach, so much in the ears as the imagination that they feed.
Very surprising for a first album, this “Toene des Nebels” from WellenVorm is a rendezvous for those who want to exploit at deep the infinite songs of mists which escape from ectoplasms. And there everything becomes possible, according to the limits of your imagination. One thing's for sure, if mists sang really in this way, I shall make picnics late in the evening near cemeteries. A very beautiful album. Audacious and creative, it's modeled on the infinite possibilities of EM toys and instruments, as analog as digital. I guess that's what people call a must! Well...I do.
Sylvain Lupari (September 30th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the MellowJet Records shop here

samedi 26 septembre 2015

PETER IROCK: Horizon (2015)

“Horizon is a solid album which mixes a wall of influences in the modern EM in a pattern of constantly evolving structures where the synths equal the battle of the sequencing”
1 Horizon 8:01
2 Mountains Dream 8:03
3 Everest 7:47
4 Phenomenal 8:24
5 Moonlight 10:49

Peter Irock Music (DDL 43:06) ***½
(Mix of Berlin School with cinematographic outbursts)
A new name in my firmament of EM, Peter Irock is nevertheless not a newcomer in this wonderful universe of sounds and tones. Italian musician/synthesist who emigrated in Switzerland (Swiss), Peter Irock began his sound quest as soon as in his 17 years by composing and by performing his music during various festivals. Self-taught like his biggest influence, Vangelis, he then teams up with Lionello Ferrazzini in the 80's under the shape of the duet named Fairlight. Duet which hasn't made any known records yet but which gave numerous concerts of a more cosmic kind of EM. In 2010, Peter Irock makes a return with an album soberly named The Return. “Horizon” is a 4th album which turns out to be a very nice surprise where Irock reveals all the paths of his main influences with a big 43 minutes filled of unexpected developments.
Tomita,
Tangerine DreamJean Michel Jarre and Vangelis! The title-track explodes of these influences with a big and very pompous electronic rock where symphonic explosions a la Vangelis and Tomita splashes an electronic structure in perpetual movement. An unstable structure which ablaze some unchained moments where the rhythms and its sequences kick down and nibble at our eardrums with perfumes of Tangerine Dream from the Miramar period. The whole thing starts with a wave of sequenced pulsations where the bass keys skip in a stroboscopic linear movement decorated of electronic graffiti. The approach is dramatic a la Vangelis. A line of sequences makes spin its ions which flicker in the shadows of heavy reverberations whereas, always, the sonic scrawls explode like ink stains on blotting paper. Synth lines, with harmonies torn between the influences of Vangelis and Tangerine Dream, temper the sound elements with beautiful harmonious solos while the explosions always shake the rhythmic crumbs of "Horizon". Then comes a more ethereal movement, softened  by tribal voice breezes and essences, which floats heavily under the threat of cymbals and of snoring and crawling bass lines. There is a scent of jazz in these synths! The title switches afterward for a more progressive of electronic rock structure with the presence of the alto saxophone of Hellmut Wolf, rooting down more this perception to be in the corridors of the Tangerine Dream's Turn of the Tides era. The music always remains anchored in a threat of rhythmic explosion with sequences which oscillates frantically in the strikes of the percussions while the saxophone clears the room in order to make space for a synth which is as much harmonious. After another brief ambiospherical phase, the rhythm stabilizes again. It's heavy and lively while the harmonies are pleasantly competed between a synth, a traverse flute and this alto sax blown by Hellmut Wolf. It's from this pattern that Peter Irock will expose the next 35 minutes of his “Horizon”.
The introduction of "Mountains Dream" is forged in the indecision. The atmospheres, fed by celestial voices and by explosions of electronic percussions, spread their threatening shadows among synth lines filled by a volcanic intensity and by very film orchestral effects. It's rather intense and gradually the movement adopts a more rock structure with good synth solos, one of the strengths of “Horizon”, which exchange its airs for those more rock of a guitar, played by Frank Steffen Mueller. The approach reminds me the good moments of 
MorPheuSz and I would like to draw your attention on the subtle play of the percussions rattlers which amplifies all the charm of this 2nd furious part of "Mountains Dream"."Everest" is a beautiful electronic ballad which reminds me extremely the best of Vangelis. Orchestrations, sequences which dance in their echoes, percussions which stamp in the shadows of others, big rolling of percussions and the superb voice of Nanda Natukovis make no doubt as for Peter Irock's influences regarding this track. "Phenomenal" propose an intro sculpted in the supernatural with a multitude of rustles which whisper in a cosmic fog and in some very threatening breezes of a synth. Percussions click here randomly while the track goes to a very rich ambiospherical phase where the synth takes the shape of the apocalyptic airs of the descendants of Maya. There are lots of sonic flashes which remind me in the 82-83 years of Tangerine Dream here and the genesis of the rhythm is weaved in mystery with strange tones, sequences and percussions which sparkle in synth lines perfumed of ether. These sequences channel their fury to braid a plentiful flickering line which rises and comes down, pushing the rhythm of "Phenomenal" towards a solid e-rock arched on technoïd booms-booms. It's a short furious phase, very TD by the way, because the track is returning rather sooner in its ambiospherical envelope. "Moonlight" closes “Horizon” with the same strength as the title-track has opened it. It's an intense track which is crushed by its multitudes rhythmic and ambiospheric turnovers where the influences of Tangerine Dream, for the tones, and Jean Michel Jarre, for the cosmic effects, merge on a structure of rhythm which allies both influences; rock and technoïd. It's a great track with a finale which plunges us into these apocalyptic moods of Vangelis.
This “Horizon” of Peter Irock will doubtless knock down your senses at the first listening. Its numerous turnarounds and its plentiful references to the big names of his influences will doubtless destabilize your ears. But there is an impressive mosaic of sounds behind this music where the synths bring us to the reason with a strong presence that several artists refuse to exploit, giving a beautiful wealth to an EM where his main flaw is to run after all the flavors of its influences. A flaw of which the main quality on the other hand is to offer a music in continual movement with progressive, ambiospherical, rock, film and cosmic approaches boosted by great sequencing patterns and moderated by superb synth solos. A find which is worth investigating!
Sylvain Lupari (September 26th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on iTunes for the moment
You can also watch a video trailer here

jeudi 24 septembre 2015

DIVINE MATRIX: Cloud Surfing (Soundscapes Volume 1) (2015)

“The artwork says it all, this is cosmic ambient music deeply soaked into harmonious New Age”
1 Cirrus at Siargao 9:48
2 Cloud Surfing 8:48
3 Contrails 9:13
4 Mammatus 7:12
5 Ne Swell 6:52
6 Nimbostratus 7:25
7 Ominous Sky 7:39
8 Riding a Mackerell Sky 9:47

AD Music | AD141 CD-r (CD-r/DDL 66:44) ***½
(Ambient, cosmic, New Age)
Divine Matrix is a little jewel still unknown in the universe of EM of the ambient style. Nevertheless, the music of Steve Barnes reaches points of the soothing emotionalism since his very first album Invisible Landscapes where Divine Matrix has barded its meditative structures of fine New Age harmonies. The following two albums showed a beautiful control of the floating rhythms of the New Berlin School sequenced moves, always perfumed by esoteric mist. Steve Barnes pushes his reflection on the ambient music even farther with “Cloud Surfing (Soundscapes Volume 1)”. As long as I had a vague impression to travel back in time. In the 70's! Even the artwork follows this path where the New Age glittered with an immense pond of sonic priests who exploited the benefactions, the mysteries and the wealth of the esotericism. Each track here is forged in the intensity of mass of synth lines' movements to the colors of the psychedelism. The movements are slow, sometimes dark and rather often radiant. Yep! A little as in the old time.
"Cirrus at Siargao" attacks our ears with such an intensity that one would believe that the celestial bodies of Orion split into one thousand crumbs. Hoarse breezes, and their radiant echoes, muted hummings and thin synth lines with azured sharp edges untie their shadows which float like goddesses' tears frightened in a firmament which leaves little room to the solitary arpeggios which sing with the fear of being buried. The sound image is equal to a big synth chord launched at high speed in heavens and of which the impact creates slow sound spatters which spread their mists like smokes of fireworks spread their mirages in a dark sky. The movement is very ambient and also very cosmic with larvas of synth which agglutinate as those of a volcano which implodes. Intense and slow, "Cirrus at Siargao" is the main cradle of the sources which light this 4th album of Divine Matrix and finds its echo up until the borders of the title-track, and far beyond, I think in particular of "Nimbostratus", with always some intense movements of air mass, which are powdered of crystalline drizzle, and of heavy cruises of the clouds which split the blue azure of the sky or the dark ebony of the cosmos. A little as the innocence of the good, "Cloud Surfing" spreads a charming cosmic melody among which the dusts of arpeggios are rolling over intense layers of bass and of enveloping orchestrations which exult a very esoteric approach. Everything is Eden here. Even with the cosmic tones and breezes! I have the feeling to be in the moods of Steven Halpern's universe with these bright arpeggios and their harmonies as fragile as to the chirpings of the miniature birds which whistle them. Birds that we also find on the dark and bit of a rhythmic "Ominous Sky" and which bronze under the caresses of the voices of astral nymphs! Everything is very New Age here and also very enveloping. There are also good dark and hollow moments. As in "Mammatus" with its resounding waves which multiply their echoes in the whimperings of lines in suspension. That does very Michael Stearns, because of the cosmic approach, while the spaces of open-air caves of "Ne Swell" and its wall of tears which ooze reminds me the Western Spaces' era of Steve Roach. It's a good track. "Riding a Mackerell Sky" concludes this incursion in the esoteric soundscapes of Divine Matrix with a very Zen piece of music where the vapors of synth spit the colors of the zenith in a structure which seems to look for its place in forbidden territories. It's also very deep with beautiful small phases of spiritual bewitchment which are hiding behind every effect. Relaxing, Zen, spiritual and esoteric with a beautiful dose of ambiences as cosmic as earthly; it's the ambient mosaic of “Cloud Surfing (Soundscapes Volume 1)”. A nice rendezvous for those who search above all a meditative and introspective music.
Sylvain Lupari (September 24th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the AD Music web shop here

mardi 22 septembre 2015

WIM: Enchanted Journey (2015)

“Enchanted Journey is indeed a delightful voyage which reveals its numerous charms in a sound mosaic which holds constantly the listener on the alert”
1 Butterfly Tales 4:39
2 A King is Born 6:35
3 A New Dawn in Milburg 4:56
4 City Wanderer 4:12
5 Enchanted Journey 7:35
6 Moonlight Serenade 5:43
7 Open the Gates 4:50
8 The Eagles are Coming 3:52
9 Tonal Siege 4:49
10 Diamond in my Soul 5:54

AD Music | AD151CD (CD-CD-r/DDL 53:06) ***½
(Electronica, cinematographic and New Age)
One has to admit that there are very beautiful things happening on the side of the English label AD Music. The house production of David Wright brings out beautiful old-fashioned things with a revamped tone and continues to promote a clearly more esthetic music where the New Age flirts constantly with Électronica, if it is not with this e-rock such as built up and delivered by Froese and son at the edge of the 90's. Like this last opus of Wim; “Enchanted Journey”. As in the usual, we are far here from those long psyche-delicious corridors of wanderings of the Berlin School style or of its by-products. We are rather in a crenel which will attract rather those who, just as me, like to dip themselves from time to time in an electronic ambiance where the rhythms and the melodies fasten their fate into sumptuous orchestrations to the perfumes of the Middle East with a little bit honeyed Electronica which scatters its structures of diversified rhythms in the fragrances of cinematographic romances. Between Tangerine Dream of the Miramar years and Enigma, while passing by Kitaro and Mike Oldfield, “Enchanted Journey” is indeed a delightful voyage which reveals its numerous charms in a sound mosaic which holds constantly the listener on the alert.
The first chords knock down my ears with a mixture of
Tangerine Dream tones of the 94-95 era and with harmonies eater of eardrums a la Mike Oldfield, period The Songs of Distant Earth. The rhythm of "Butterfly Tales" is heavy but at the same time slow. It quivers on a beautiful meshing of bass pulsations, sequences and percussions lost by their tribal essences. One would say an Electronica trapped in a slow spiral which suffocates in its slow orchestrations clouded by powerful fragrances of the Middle East and by the chants of an imaginary nymph whose charms are sculptured in the artificial. The orchestrations are Babylon like! The rhythm gets free of these seraphic influences at the same moment that a bagpipe is freeing  airs of conquerors. When I spoke about Oldfield! In brief, it's a whole sonic arsenal that Ketil Lien, the man behind Wim, has built for his 3rd album. What will charm people in this album, will also maybe annoy others; the lack of homogeneity of a very big diversity, both in the rhythms and the ambiences. From track to track, Wim shows the area of his control of the genres by digging the vast attics of modern EM. Thus, "A King is Born" is a long, and the only by the way, moment of dark atmospheres where the pulsations and the orchestrations which sing to adrift brings us near the cosmos. "A New Dawn in Milburg" will adopt an approach a bit cosmic New Age a la Kitaro with a supple structure which waves lazily under beautiful orchestral strata and the twinkling singings of the stars. The more we move forward and the more the track flows towards Chill moods by a slow and lascivious rhythm decorated with pleasant percussions which little by little reduces the effects of the beat in an industrial din. "City Wanderer" bursts with a very livened up structure which is tinted with a very New Age romanticism. The rhythm is very lively and the orchestrations are to make you dreaming. We swim at full in the dance music of ERA and Enigma here.
The title-track is the most delicious of them all. The pulsatory rhythm takes completely unexpected forms, even if the subtle orientations always return to the starting point. And the sequences which flutter all around, as well as the pulsations which make it resound, engage a beautiful movement of Berlin School with stroboscopic strands which wind everything around the very ethereal harmonies of the violins and of the murmurs of a seraphic choir. I find that it makes very filmic. In the black era of
Picture Palace Music. Definitively, it's the track which jumped to my ears immediately. There are lots of references to Software and Rainbow Serpent. Top-notch! "Moonlight Serenade" follows and preserves the moods with a so very attractive and slow circular structure which is lead by a mass of arpeggios of which the bright tones are floating and sparkling against the current of the slow whirlwinds of the violins. The power of orchestrations is very edifying here. And what to say about these Amazonian flutes? There are a lot of music and sounds in this album that the ears lose their folds by trying catch everything. It's rich and intense and I like that. On the other hand, some people will see a kind cacophony here, even if everything is extremely very symmetric. And we are undoubtedly in the best moments of “Enchanted Journey” here and that's go on with "Open the Gates" which starts with a series of chords which sound like a pensive guitar. The track is as much dark as very melancholic with a zest of cinematographic scents. And it ends by being a very silky ballad where our dreams waltz with beautiful orchestrations filled by Arabic perfumes. Sorry but I was not able to endure the torture of "The Eagles are Coming" which is a wild and very e-rock piece of music fed of distortions and aggressive effects. I did try though... "Tonal Siege" is very dance and reminds me of Stefan Erbe. Wim spreads fragments of fluty harmonies on a structure with spasms round, juicy and jerky. After a rather quirky intro, "Diamond in my Soul" sets ablaze a structure of rhythms knotted in sequences which flicker of their silvered keys before sinking into a delicate electronic charm operation with a beautiful ballad to be made blush Abba. Not my kind it's true. But that has its effect!
A little as wrote higher, the too big diversity of “Enchanted Journey” will confuse more than one. But in the end it gives an album which seduces much more than annoys. There are some pretty good moments in this album which, I am certain of it, would make a great hit if we would grant to it a good visibility on the waves of commercial radio where the hits, the synth-pop or even the New Age well crafted in tribal rhythms and filmic orchestrations are popular. It's done properly. Our ears are filled with pleasure, even if sometimes they feel a little bit scratched. Another good hit in the Electronica field from
AD Music!
Sylvain Lupari (September 22nd, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the AD Music web shop here

jeudi 17 septembre 2015

PARALLEL WORLDS & SELF OSCILLATE: World Adapter (2015)

“World Adapter is mainly for those who want to push the limits of the sound beyond the usual patterns of Psybient”
1 My Window View 4:54
2 Day 1 3:51
3 Ground Warmth 4:36
4 May 4:28
5 Mental Station 5:05
6 Obscure Market 4:25
7 Ceramics 5:37
8 Peeled Branches 6:05
9 Legend Silence 6:35
10 Liquid Movement 4:21

DiN48 (CD/DDL 50:14) ****
(Ambiospherical Psybient & Electronica)
Ringings of bottle which bloom like stridulations, words and/or organic chirpings as well as lively but concise beatings, open the fascinating soundscape filled of quirky  tones of “World Adapter”. A delicate harmonious thin line spreads its charms with four obsessional chord which float like leafs tracked down by winds between two dimensions, dropping here and there some remainders which are charmingly as harmonious which roam and get lost between two soundscapes of which the borders caresses the onirism and the psychedelism. The marriage between the pulsations and the particles of frying lost by the successive ringings sculpts the structure delicately hopping of "My Window View". The rhythm and the melody, charmingly childish, gambol hand in hand, amassing at the passage the mooings of a bass line of which the greedy appetite gobbles up the mysticism of the ghost harmonies of the main line. Thus is added a choir of locusts which sing in traps more and more increasing of clouds of mist. And so goes "My Window View" whose crescendo of din diminishes with the addition of percussions which strum like a horde of fingers lost on a tense drum skin and the embraces of the very stylized violins which draw a phantasmagorical panorama. Noises on rhythms! Rhythms on very creative noises! So goes the fascinating din universe of Parallel Worlds and Self Oscillate.
World Adapter” is the 3rd collaboration of the Greco-Germanic duet who had united the fruits of their madness in
Current Flow, under the name of Interconnected in 2004. If more than 10 years separate both works, the will to sign a unique music which is beyond the standards of the psybient style always remains the same. There was in fact an EP, Mechanic Environments in 2013, which had let floating an orientation towards a very ambient music, but Parallel Worlds and Self Oscillate had something else in mind. Centered on 10 tracks which exploit the mirages of the electronica and the passive rhythms of the IDM, “World Adapter” is a real sound catalyst for those who feed their phantasms on the strange. The duet works marvelously the infinite possibilities of an arsenal of analog equipments to create a sonic world which would go marvelously with the frenzies of a Guillermo Del Toro at the top of his shape. But beyond the noises, there are always vampiric melodies, I think of the somber "Mental Station", and these structures of rhythm which stamp and run like mice boosted by cocaine, hopping and roaming in a labyrinth of which each of the levels in spiral get more and more narrow. This is what I call stagnant but lively rhythms which make our fingers interwoven to madness! As exactly in "Mental Station" and "Day 1" whose atmospheres are also black and sordid. Each track has an abundance of a sonic fauna which becomes more and more hallucinating!
If the screeching of "Day 1" are a almost musical, they are simply troubling on "Ground Warmth". The rhythm pulses underhandedly, smothered that it is by these multiple deformed hoops which scratch the sonic firmament of all of “World Adapter”. Here, the approach of the noises is more organic, while the rhythm skips and puts on airs like a Hip-hop painted of jerky effect of ambiences. One could say that it's a Hip-hop marinated in break effects of moods. Pearls frozen in the mercury are tinkling in the opening of "May" which waves like a morphic down-tempo eaten away by a bass line which crawls as a wildcat in the middle of night lit by the dins of mocking insects and the perverse sniggers of ectoplasmic creatures. It's haunting! "Obscure Market" presents a very filmic sonic image with a rain which streams on a society lost in its slump. The rhythm is slow and the bass line, as well as the ceaseless bangings of the percussions, revive the memories of the soft and sensual rhythms from Massive Attack. "Ceramics" is a track for those who absolutely want to test the patience of their neighbors, and especially their life companion. The track emerges from the limbos with a mass of synth lines which undulate like big lazy boas on a big rock in the sun. A structure of rhythm, I would say a quite moderated mid-tempo, emerges between these morphic embraces in order to skip delicately in clouds of synth and their colors which are now hallucinogen. The rhythm and the ambiences collide gradually in an increasing raise of noises and cracklings of which the crescendo floods a pulsating bass line which has lost its rhythm in a pond filled of electronic frogs and of their organic chants broken by the spasms of the cracklings. After two listening, Lise and I had enough! "Peeled Branches" reconciles us with this symphony of noises swallowers of rhythms and ambiences with a rhythm which crumbs from all sides, the play of the percussions is rather brilliant here, from where shines a delicate melody puffed by these glass ringings which are an object of seduction all over “World Adapter”. "Liquid Movement" reminds me of these bridal melodies of the spectres such as put in sound by
Klaus Schulze, and later in the melodies for insomniac of Remy, with a beautiful piano which expiates the shadows of "Peeled Branches". A beautiful track in an album which includes several and among which the barbarism of the sounds and the worship of the baroque noises of Parallel Worlds and Self Oscillate switch off hardly the romps of the rhythms and the melodies which are bordering with grace what the dark and iconoclastic psybient has of more beautiful to offer. This is for those who want to push the limits of the sound beyond known grounds.
Sylvain Lupari (September 16th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find info to how getting this album on the DiN webshop here

samedi 12 septembre 2015

DAVID WRIGHT: Live at the London Planetarium (Remastered 96/15)

“Live at the London Planetarium explains by itself why David Wright has become an icone of the England School EM movement”
1 Landing 3:22
2 Enchantress 5:07
3 Rysheara 7:35
4 Images 4:51
5 London 4:53
6 Love Theme 2:59
7 Running Cloud 12:15
8 Bridge to the Sun 1:32
9 Buffalo Run 10:41
10 Berlin 9:40
11 Nomad 4:44
12 Legend of the Tundra 9:40

AD Music | AD101 Digital (CD/DDL 78:40) *****
(Melodious and rhythmic England School)
Good news for those fans who have discovered the music of David Wright late in life. I'm one of them! iTunes has just ordered 2 remastered versions of two main album in David's discography. After Ocean Watch, the English musician/synthesist, the founder of the label AD Music, revises the sound of his album which redraws the main lines of his concerts given at the London Planetarium on October 13th and 14th, 1995. With “Live at the London Planetarium” we explore another facet of David Wright's immense skill who seems to be inspired here by the tales and legends of the aboriginal peoples. With the exception of three tracks, this live album presents original material written during the last two years. And the music fits to the framework of these two evenings. Always stigmatized by the sound colors and the arrangements of Vangelis, the friendly English musician invites us to a concert where EM embellishes itself of its most beautiful assets in the presence of Nik Smith on guitar and over loud and pulsatory rhythms which progress constantly towards an incredible power. Rhythms sometimes violent and/or sometimes ambient, certain will be even motionless, which make noise in heavy ambiences, as ambiospherical as cinematographic, where are hidden discreet melodies eaters of eardrums and are stylized some luxurious arrangements which push further and redefine the limits of England School of which he is a proud ambassador.
We are at the London Planetarium! So what a better way to start things with a very cosmic ambiospherical introduction? This is what proposes "Landing". But as soon as the interstellar veils are raised and as soon as the dark winds sweep the new sonic horizons, some heavy and black tom-toms castigate the atmospheres. Ambient, the movement is not less a Babylonian with heavy strikes and drum rolls as well as faded voices which murmur in a pattern becoming more and more dramatic. The tone is set! "Enchantress" takes back the aboriginal gurglings of "Landing" into an even more apocalyptic atmosphere where a crowd of electronic noises fights among the bites of Nik Smith's six-strings. The futuristic and bucolic duel, one would say
Blade Runner in an Irish wheat field, gives a quite well done surrealistic pattern. The layers of angelic voices are charmingly captivating and the synth pads which make this link between the somber and the brightness are awakening sweet memories of the Dream of the Le Parc years. Pulled out of the Dissimilar Views album, which I haven't heard yet, "Rysheara" explains why I am an unconditional fan of David Wright. Chords are fallen such as those of a flamenco guitar at which castanets peck cleverly. The angelic choir feeds the pulsations which are turning into good strikes of electronic drum. The rhythm is supple and undulate like a cowboy who gallops, or rather waltzes, on ethereal plains. The guitar of Nik Smith adds a very poetic depth with a meshing of riffs and solos which adopt the curves of the synth winds adorned by a soft piano and of its pensive notes. Between an e-rock and a cinematic ballad, "Rysheara" is a strong track which feeds my curiosity to dig into Dissimilar Views. "Images" follows with a superb melody perched on a beautiful keyboard which scatters its chords like a series of drops falling of a circular sky. The approach does very sibylline with a dreamlike structure and a rather intriguing setting. "London" brings us to this heavy, passive and circular structure of rhythms which made the delights of Ocean Watch. The play of the percussions is very accentuated with heavy knocks which propose a rhythmic motive near the essences of an Amerindian cerebral trance. The guitar injects riffs and pieces of solos which are scattered in the harmonies of a synth and of its discreet anesthetic voices and of its breaths which sound like a trumpet smothered by a cornet. This is high class sound my friends!
"Love Theme" proposes a soft ambient and relaxing moment with a saxophone which cries in a night made up of cosmic sound effects. That does very
Vangelis. And we slide slowly towards the tribal ambient, a bit psychedelic I may say, of "Running Cloud". This long track skims a fascinating ambiospherical evolution with a rather effective motive of percussions. The synth and the guitar decorate a panorama of sonic schizophrenia while the rhythm is panting of spasms and cardiac pulsations fed by a pattern of solid pulsations and percussions rich in eclectic tones and echoes. David Wright weaves arrangements which draw a surprising sonic paradox all over "Running Cloud" which is also obsessing, otherwise more, than Desert Storm; my favorite track on Ocean Watch. The storm runs aground in the brief sweetnesses of "Bridge to the Sun" before  resuming with more vigor in the very agitated and very animated "Buffalo Run". The movement is frantic with good percussions and their shadows which outsize an imaginary tribal rhythm that David Wright paints with an incredible touch of surrealism. The synth navigates on this sea agitated by the spasms of the percussions, whistling a very New Age air which calms the riffs of keyboards taken away by the always increasing outburst of the percussions. Only the guitar of Nik Smith succeeds to calm down the storm. But it's only one for a short moment, feeding rather the fury of the 11 minutes of "Buffalo Run". Very intense! We glide in a portion of cerebral rest, always so draped by phantasmagorical elements and by disturbing pulsations, from where is born a melody as unexpected as splendid which makes sound its sequences in a disturbing melody a la Halloween style. Still here, the guitar of Nik Smith is a superb complement to the arrangements, always very in tune and in tone, of David Wright. "Nomad" is even wilder here than on Ocean Watch, accentuating the ceaselessly increasing intensity of “Live at the London Planetarium” with a Nik Smith who ruminates his six-strings like a very concentrated Richard Pinhas. Our ears buzz in front of so much assault of the pulsations which modify constantly its textures and echoes. And the beatings pour towards another powerful track; "Legend of the Tundra" which equally comes from the Dissimilar Views album and which concludes this live album with a surprising ferocity but also with a harmonious approach weaved in David Wright's unique arrangements. It's another intense track which ends with strength this wonderful journey in time which simply didn't need iTunes to justify its remastering. Hat to you David! And if you wonder why I am so in love with his music, the answer is here. In “Live at the London Planetarium”!
Sylvain Lupari (September 11th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the AD Music web shop here