1 Phileas Foggs Dream 4:22
2 Around the World in 80 Days 6:24
3 Across the Mediterranean Sea to Egypt 6:56
4 Steamer to Bombay 10:11
5 To Calcutta by Elephant 7:42
6 From Calcutta to Hong Kong 8:31
7 From Yokohama to San Francisco 8:32
8 Across the Atlantic Ocean 9:35
9 It's Off to Liverpool! 3:13
10 It Seems the Wager has Been Lost 7:31
11 The Triumph 6:59
Groove|GR-224 (CD 78:58) ****(Cinematographic EM)
As with Jules Verne Forever, writing a chronicle about this last album of Mythos is not an easy thing. Here, there is nothing as somewhere else, set apart Jules Verne Forever. A wave of sound spreads its reverberation which languishes in groans of didgeridoo. Tribal voices hoot whereas a line of sequences makes oscillate its keys in fine kicks of horse and that percussions spring out such as jets of blowpipe. The rhythm of "Phileas Foggs Dream", as well as all the universe of “Jules Verne - Around The World In 80 Minutes” is rather difficult to describe. Sometimes it oscillates as a big boa and other times it drums as a pony taken in ice. Without forgetting these moments of transitions which facilitate the passage of the one towards the other one. But each time, it's forged in sequences and percussions as organic as electronic with a harmonious portion which remains stuck on eardrums. This harmonious texture is moreover just as much fascinating with a caricatural approach which oversize a very tribal bucolic sound envelope in a sound fresco which brings us back to these big cinematographic deployments where traders of fairs and acrobats of circus walked around in crowded streets. Here we are, and it's completely identical to the 80 minutes of this other Stephan Kaske's odyssey, at the heart of the universe of Jules Verne. Here, everything is as much attractive than difficult to seize. In fact “Jules Verne - Around The World In 80 Minutes” is an album to which one becomes accustomed rather with difficulty so much the sound texture which extricates from it is as much audacious than unpredictable.
The rather Tibetan opening of the title-track leads us in a sound universe which challenges constantly the imagination. The ringing of bells is swallowed by a structure of rhythm which sparkles with its thousand pulsations and with the brilliance of these bells in order to crawl finally like shadows of vampires before flying on a more fluid phase where dramatic and imaginary elements are in confrontation in a baroque structure filled with sound effects and with bucolic elements as realistic as these grandiloquent movies inspired by the world of Jules Verne. "Around The World In 80 Minutes" throws itself into "Across the Mediterranean Sea to Egypt". The rhythm is very electronic with a meshing of sequences, filled of criss-crossed acrobatics, and of percussions which click and resound such as wooden clogs. The sequences are feeding as much the fire of the percussions as the thin lines of harmonies twittered by absent voices and by effects of flutes. Every title here are tied in a long mosaic of 80 minutes with structures which are similar while being very distinct. So the structure of rhythm in "Steamer to Bombay" is a fascinating symbiosis of the first 3 titles but in a more hopping envelope. It's indisputably the first crush in “Jules Verne - Around The World In 80 Minutes” with this rhythm which cavorts cheerfully under the bites of the low sequences and the grapeshots of percussions so much shining than attractive. The effects of flutes and gurgling sound are built around so many mysteries as charms. "To Calcutta by Elephant" pursues the quest of elegance with an indefinable structure decorated with beautiful harmonies extirpated of a synth always in creative mode. The rhythm is ambivalent and enslaved in an atmosphere of jungle filled with dramatic effects.
"From Calcutta to Hong-Kong" follows with a structure always also batrachian but in an envelope of more ethereal oriental melody. A chinese violin and a mandarin flute accompanies the hatching of a green and abundant musical fauna while the track undertakes a more dramatic tangent with good harmonious oriental glassfuls. "From Yokohama to San Francisco" adopts the shape of a slow tempo, a little in a nuptial march mode, adorned of nice moments of harmonies of which the effects of jerks and of whirlings give the impression of hearing the fall of stars, some are falling with nice melodies here, on a boreal night. We enter into the quieter core of Mythos' last opus. Lighter but just as much mysterious, "Across the Atlantic Ocean" proposes a peaceful hopping structure with a mixture of tones in the movement of the sequences which offers a delicious crescendo between its phases of ambient moments. Very charming, the synth offers two lines of fluty harmonies which skip in unison with the delicate rhythmic growth of "Across the Atlantic Ocean". "It's Off to Liverpool!" is the 2nd track of “Jules Verne - Around The World In 80 Minutes” to propose a more electronic rock structure loaded of Tangerine Dream's perfumes in their Jive era. It's a good title with a circular melody which swirls in electronic effects very near of Legend. "It Seems the Wager has Been Lost" is as much lighter than a Jazz music of a night club where some last lovers look each other with desire. The tribal approach which hides behind this curtain of romance offers a completely delicious cachet to this music which discloses its finale in jolts of cascades. "The Triumph" ends this other impressive work of Mythos with a magnificent melodious approach where effects of voices caress a beautiful movement knotted in the limpidity of a rivulet of sequences. The title evolves afterward in a beautiful down-tempo and reminds me enormously these attractive movements tinted of romance which decorated the music of Thierry Fervant or yet Walter Christian Rothe in his majestic Let The Night Last Forever.
Fascinating and audacious! Such are the first words which come in mind to describe better the universe of this last Mythos opus. Still surfing on the dreams and the fantasies of our childhoods, closely linked to the tales of Jules Verne, Stephan Kaske always succeeds gallantly this audacious bet to put in music the tales and the visions of the famous writer from Nantes. And as indicates it so well Mythos, you have to give yourself the chance to listen to the album as a whole, with good earphones, in order to be taken by the waves of his last creation. And that comes rather fast.
Sylvain Lupari (June 25th, 2016)
gutsofdarkness.com & synthsequences.blogspot.ca
gutsofdarkness.com & synthsequences.blogspot.ca