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

lundi 28 septembre 2015

ASHRA: Blackouts (1977)

“Blackouts is just as good as New Age of Earth and it's a timeless masterpiece of the vintage minimalist Berlin School movement”
1 77 Slightly Delayed 6:39
2 Midnight on Mars 6:51
3 Don't Trust the Kids 3:14
4 Blackouts 4:36
5 Shuttle Cock 8:29
6 Lotus Part I-IV 16:54

Polydor France (CD 46:43) *****
(Vintage Berlin School)
New Age of Earth had struck a big blow! An EM without sequencer, just with effects of guitars and synths where the rhythms were finely sewn in a highly esthetic work of Manuel Gottsching. That was just before that Manuel acquires a sequencer. And this is why the first chords of "77 Slightly Delayed" outdistance us so much from New Age of Earth. Although both opuses, three in fact it if we count Inventions For Electric Guitar, are confidentially connected by Gottsching's identity search, “Blackouts” and its structures of syncopated rhythms, will reorientate the music of Manuel Gottsching who will find the dens of Ashra in the following album; Correlations. Because don't be distract by a chronological history, this “Blackouts” is well and truly Manuel Gottsching's 3rd solo album. And if we dig farther, we could also add Dream and Desire, but this is another story....
"77 Slightly Delayed" starts the adventure with a plethora of bangings and pulsations with strange tones soaked of an industrial liquid, a little as if somebody is running in a tunnel with wet running shoes. A line of bass sequences pops out from there and waves frantically with keys which dance along the riffs in loops from a guitar which harmonizes its texture of rhythm with a synth and its hurdy-gurdies analog tones. Faithful to his vision, Gottsching multiplies the loops of his guitar, as much in the riffs as in the harmonies, on a lively tempo on which he also throws superb surgical solos. Precise solos which sing more than they improvise in textures as much ethereal, sometimes even esoteric, than these synth layers which add to "77 Slightly Delayed" an interstellar depth. It's somewhat as if Manuel absolutely wanted to bring the rests of Nightdust here. And that will be even more edifying in "Lotus". The chirpings and the cybernetic noises which open "Midnight on Mars" are a superficial finery of an era in what had to become a classic in Manuel Gottsching's repertoire. These fascinating noises (we are in 78) uncork towards a shape of rhythm that a bass line catches at fly by accentuating a delicious movement of sensualism. The tsitt-tsitt of the cymbals shivers on a superb line of bass sequences as much mesmerizing as a wave-like, lascivious and sybarite cosmic groove. Manuel is watering this structure of rhythm, which is as well very melodic as cosmic, with solos of a guitar bluesy and inspired. The delicacy of Gottsching in his solos is simply enthralling, otherwise voracious. "Don't Trust the Kids" brings us to another level with sequences which skip in a kind of a robot-like cha-cha. One would say robot wolves dancing a chaotic cha-cha. A synth whistles a peaceful melody which is pecked by riffs swirling in loops from a six-strings. The movement is delicately curt and hatched while the synth widens a balm of serenity. A fusion between the tones of the synth and the guitar bursts a little after the point of 3 minutes, watering this intergalactic cha-cha of copious solos floating of their ambiguous perfumes. The title-track binds itself to "Don't Trust the Kids" by pouring more ethereal guitar solos and by accelerating a pattern of rhythm become clearly more electronic.
"Shuttle Cock" proposes a more nervous structure with a meshing of sequences and percussions of which the flow is structuring an approach of broken dance. To me, it sounds like the ancestor of what was going to become Twelve Samplers. It's lively and Manuel affixes his riffs which nibble at the nervousness of the rhythm while spreading beautiful solos which become more aggressive as "Shuttle Cock" progresses. There is a beautiful permutation of the guitar and the synth roles around the 5th minute when the synth mists and the guitar, more silky here, brings a more astral, a more floating cosmic touch to the music. Even if the rhythm of "Shuttle Cock" tries to knock down the vapor. I always liked the long structures. In the hands of creative artists, they explode of ingenuity with splendid progressions and with surprising turnovers in their evolutions. It's exactly the grandiloquence of "Lotus Part I-IV". After a short intro, which lights in me this desire to re-hear Ocean of Tenderness, some bass sequences pound nervously while the synth still spits its perfume of esotericism. The guitar! It overflies the whole thing with of majestic solos, calming a little the convulsionary movement, by joining to a synth which, skillfully, borrows the same harmonious delicacy. This is big analog EM my friends. Maybe some of you will find annoying this hyper spasmodic and very noisy phase which terrorizes the atmospheres with an uncommon aggressiveness at the 6:40 point. But it's a passage obliged in the transformation of "Lotus Part I-IV" which afterward coos with so much serenity as in Ocean, but with more swiftness in the rhythm. Pure candy to my ears!"
Blackouts” is a real treat for the ears which, more than 35 years farther, preserves this unique cachet from Manuel Gottsching who had unify his minimalist structures, his spasmodic rhythms and his ethereal atmospheres in a sonic chassé-croisé that only few artists have reached. We often speak about
Klaus Schulze and Tangerine Dream and we tend to forget the impact of Gottsching in the chessboard of EM. His music was and still is always a front door for structures which become updated according to eras and modes. Magnificent! And when you will be bitten by the bug of “Blackouts”, it will go in your head and roll in loops, in loops, in loops....
Sylvain Lupari (September 24th, 2015)

gutsofdarkness.com & synthsequences.blogspot.ca

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

lundi 21 septembre 2015

MOONSATELLITE: Sleep Awake (2015)

“This is solid cosmic e-rock we have here with strong patterns of sequenced rhythms which are drowned into dense ambiocosmic moods”
1 Sleep Awake Part I 14:24
2 Sleep Awake Part II 6:48
3 Sleep Awake Part III 12:12
4 Sleep Awake Part IV 11:19
5 Sleep Awake Part V 7:20
6 Sleep Awake Part VI 9:51
7 Sleep Awake Part VII 6:55

MoonSatellite Music | (DDL 68:52) ****½
(Berlin and Cosmic French School)
I know! I see you, frowning and watch me with a bit of suspicion. But several listening farther, my perception towards “Sleep Awake” takes root more and more. Here is the best album of MoonSatellite! Intensity, emotionalism, tenderness and oniricity. Ambient rhythms, sometimes even lively, which born and run away in cosmic ambiences constantly enriched by layers of synth, sometimes foggy and sometimes toned by an astral choir, which pile together into an ambiocosmic pattern equal to the best poetic wanderings of Jean Michel Jarre. Solos which sing, layers which waltz and float weakly, graffiti of voices and cosmic electronic chirpings. Here is the scenery of this wonderful album of Lone Wolf who, once again, exploits marvelously and in solo, of night as of day, the possibilities of his new electronic machines.
A wide strip of intergalactic waves mutters at the opening of "Sleep Awake Part I". A silvery thin line escapes from it, diverting our attention with a mass of noises, chirping and reverberations of a line of rhythm which rests its fragility with arpeggios to the ambient and weak movements. Subtle, choirs flood the panorama of discreet singings while that the synth pads, dressed in slender effects of orchestration, float like the concerns of an adrift cosmic shuttle. Ambient and rich in tones and in emotionalism, the introduction "Sleep Awake Part I" is like a phase where the sleep speaks with the awakening. Everything is foggy and we hear the outside noise. And there, arpeggios dance with not much conviction near the point of 5 minutes. Little by little, an uncertain pattern of rhythm is cogitating while cleaning the mist of our ears. Another line of sequences makes skip its keys which, this time, have the firm intention to anchor into the atmospheres of "Sleep Awake Part I". Both lines dance in parallel when another line, heavy and pulsating, pounds and resounds, giving vitality to other arpeggios which swirl and hum in a heavy structure of tones and effects which remains motionless. The sleep has won, because "Sleep Awake Part I" is only of illusion where Morpheus still holds us prisoner of its breezes of ether. We fall asleep again, following the rules of “Sleep Awake”. And these breezes are transformed into cosmic waves which roll up and throw its marine sediments in the first seconds of "Sleep Awake Part II". They move in a misty choir of which the astral signings get melt down in the slow whoosh of the synth lines. A pulsation mutters behind these voices. A line of sequences makes shine and dance its arpeggios which roll on the cosmic waves, forging a rhythmic melody which bites and hooks our eardrums. Shadows get loose to forge a parallel rhythm, awakening the jingles of the elytrons of steel which clink between the spaces of both lines of sequences more harmonious and more ethereal than rhythmic. They invite some laconic pulsations to beat a stationary measure and percussions to make roll the rhythm of "Sleep Awake Part II" like a soft cosmic rock where our  fingers and our head move more than our feet. A rhythm a la
Jarre that Lone Wolf adorns of attractive cosmic electronic effects and magnificent solos which are more harmonious than guided by a spirit of wandering. The structure of rhythm, flooded in a soft comfort of electronic effects, finds its dens in order to structure a solid mid-tempo decorated with a line of sequences which coo a chant of freedom in a luxurious sound fauna where the limits seem indefinite. My friends; my ears are buzzing of pleasure. The first 20 minutes of “Sleep Awake” are the faithful reflections of what is going to follow while the rhythms extricate themselves from mists of the sleep to adopt forms of which the delicate nuances make all the charms. The atmospheres? Not only they are rich but they draw impressive electronic patterns similar to those from the vintage years of Jarre, justifying all the passion of the fans for the genre.
"Sleep Awake Part III" invites us to a superb ambiocosmic introduction weaved in an intense dramatic pattern. The first minutes are charmingly ambient and capsize the soul with long lamentations of the synths which cry their electronic souls. The effect is striking. And even more when another line mops tears with a nostalgic melody. Delicious! The rhythm wakes up at around the 5th minute with a mass of muffled pulsations of which the shavings resound in the reverberations of the clashes. That gives a pulsatory rhythm which develops its intensity with curt and stubborn knocks which resound in delicious twisted solos with a very esthetic sonic signature. God, that sounds so like if
Jarre has continued to delve into its cosmic territories still so very virginal. "Sleep Awake Part IV" cavorts on a structure as much ambiosonic as Part I, but with more warm charms in the choices of solos' tones and bends. The cosmic effects are even more intrusive here and the rhythm loosens a slender stroboscopic spherical reflection which weighs down its presence among those long resounding torsades. It's like floating in our head and to come up against the unknown. Soft rhythms lost in dense moods! That's the story of “Sleep Awake”. "Sleep Awake Part V" invites us in a stunning structure of rhythm with a threatening pulsatory movement which makes swirl a line of sequences soaked by the reflections of electronic chirpings. This rhythm undulates slowly and drifts in electronic vapors to tints of melancholy before going in a finale which refuses the embrace of the morphic atmospheres. With its lively rhythm and its very French School moods of the digital years, "Sleep Awake Part VI" is the jewel of “Sleep Awake” where one would believe to hear a mixture of Thierry Fervant who lost his melodious approaches in the corridors of White Eagle from  Tangerine Dream. It's an aggressive track with good juicy sequences where the fight between the influences of the one (Thierry Fervant) harms at no moment the dominance of the other (Tangerine Dream). "Sleep Awake Part VII" concludes this stunning electronic odyssey with a more serene approach. Serene, but not devoid of intensity! Here, as quite as everywhere in the 60 other minutes of “Sleep Awake”, the synth lines agglutinate and intertwine in order to weave an opaque mosaic which waltzes and floats with grace. Letting us even believe that the absolute black, the space which assails the phases of our sleep, are the friendliest. Intense and amazing, “Sleep Awake” from MoonSatellite is a must-have for those who adored the complexities of the cosmic works of that time. A must-have for those who fell in love with these lively rhythms which make us nod of the head and plough the space of our fingers. A must-have for the fans of Jarre, periods Oxygene and Equinoxe. And especially a must-have for those who like an EM embroidered around the Black Hole. Hat to you Lone Wolf because of album in album, you are simply as seductive as surprising! And this one is a killer!
Sylvain Lupari (September 21st, 2015)
gutsofdarkness.com & synthsequences.blogspot.ca

You will find this album on the MoonSatellite Bandcamp shop here