1 Penultimation 18:23
2 Inertial Seconds 19:38
3 Greensequent 18:43
4 Astley Return 14:46
5 To the Known Unknowns (Bonus) 10:04
6 Inertial Seconds Slowmix (Bonus) 18:02
Retrochet Records (CD-r/DDL 99:36) ****½
We tune up the synths! We warm the machines by extirpating some elongated hoarse breaths and by multiplying electronic effects which feed the drones and the growls while scattering some thin lines voices of chthonian as well as noises of fauna and its tiny organic beings. It's in this way that "Penultimation" binds in our ears. Three minutes of metapsychic atmospheres which justify the dark approach of the track. Carillons are ringing and a kind of jerky industrial panting, one would say an engine which works by burning souls, extricate themselves from these atmospheres where deformed voices try to slow down the progression of a rhythm, while another one is hatching out of nowhere. A line of sequences lays down a gallop. An electronic rodeo which flees this genesis of the darkness with a very nice electronic rhythm whose soft oscillations, as well as their delicious faux pas, are perfumed by the heat of the analog years. Effects of mist, which evaporates in the wind, caress the delicate modulations of a structure of rhythm which tries to overflow its bed while very TD electronic effects out of the Exit years and thin lines of loops flood the quiet minimalist increasing of a rhythm that percussions succeed to make go off the rails once or twice towards its finale. There is no denying, we are really in the lands of Higher Green Session. Two years later, to the day, GrahamGetty and MichaelWhitlan meet again in order to make a follow up the to first night improvisation session which was going to uncork in an album very appreciated by the fans of EM retro Berlin School style ; Higher Green Session. This time, the duet does more in the originality by sticking names soaked of mysticism and of double-sense to the 6 structures of “Even Higher Green”, among which two bonus tracks, which in the end reach nearly100 minutes of an Berlin School where the perpetual influences of Tangerine Dream, as well as those of Klaus Schulze, slow down not at all the hatching of an imprint that the Getty/Whitlan duet masters of a surprising cohesion for an album thought and made in one afternoon.
The opening of "Inertial Seconds" exploits a little the same atmospheres of this discomfort which lines the borders of the horror which we found in "Penultimation". And nevertheless, we are for another level; that of the cycles of the oscillations and their rotatory movements which swirl slowly in a membrane of white noises. There also, the rhythm extricates itself from those noisy gaps around the 3rd minute. And it's lively! Pressed on a movement of sequences where the keys run in single file inside a narrow cylinder, a little as an millipede on LSD, the movement unties its loops of circular rhythms which move forward while the cylinder turns on itself. It's a pure electronic rhythm where our fingers follow the pace and where the tsitt-tsitt add a sensation of swiftness which is doubly supported by the addition of other sequences. The synth solos which drift over this rhythmic panorama are perfumed by the Tangram era. This rhythm dissolves around the 10th minute when a sequence gets loose in order to pull out a long pulsing line which will jump in a syncopated way for a good 3 minutes before that "Inertial Seconds" goes back to its initial structure under the ferocity of delicious synth solos which spin and attack the music like we hear too rarely these last years. A great track! Its slower version, "Inertial Seconds Slowmix", is just as much delicious and sounds so much like the cosmic moods and beats of late Michael Garrison. "Greensequent" doesn't have an ambiosonic opening! The rhythm attacks straight away. The sequences are nervous and stir in a movement of ascending chassé-croisé with effects which shift the tones. We get used fast to this movement which becomes as a sensory shadow with a structure of rhythm which makes more ambient because of the pile of effects and mist from the synths. Another line of sequences makes its keys glittering which dance innocently in reverse in ambiences that enormous anesthetic synth layers make bushier. So goes "Greensequent" beneath powerful solos whereas the rhythm splits under the arrival of a stream of sequences whose the jerky debits compete with the drummings of percussions. Became more harmonious, with a brilliant structure of rhythm and with layers of seraphic voices, "Greensequent" is changing subtly its skin and questions the truthfulness of the fruits of this session here, so much everything seems to us here so skillfully orchestrated. Like the best moments of Green Dessert. Yes! It's a superb track of which the constant evolution seems so in contradiction with the word improvisation. And especially without re-recordings on it! GrahamGetty and MichaelWhitlan are really on the same wavelength. We take Klaus Schulze's Body Love moods and we add on it a little more pace and that gives "Astley Return". My ears are still under the charm! "To the Known Unknowns" begins with a serenade for electronic piano which little by little widens its gloom mood over the muffled beatings of which the heavier and more insistent march structures a steady rhythm. A movement of crystal clear sequences encircles the melancholy of the piano which little by little disappears beneath these sequences which skip and cavort as the feet of a deer under Tierra del Fuego, whereas solos of synth fill the airs and swallow a piano which we had already forgotten in mists.
I am always seduced as much as I'm fascinated by these artists who manage to play and to create a music among which the parameters and the borders were exploited many a time until usury for more than 40 years. Graham Getty's name, and with good reason, cannot be separated from these artists who, through good times and bad times, reinvent themselves in this style which always seems to fade without disemboweling in the corridors of our memories. And that's why I have found this “Even Higher Green” clearly more successful as Higher Green Session. Because by dint of continuing to explore the mazes of time, Graham Getty, in solo or in duet, always manages to find the way of the originality. Excellent! I already look forward to December 30th, 2017.
Sylvain Lupari (March 25th, 2016)
You will find this album on Graham Getty Bandcamp page here
You will find this album on Graham Getty Bandcamp page here