This webzine is online since August 2010 and is completely dedicated to Electronic Music (EM) identified as the Berlin School style and its derived. You will find interviews but mostly reviews of ambient, sequenced and symphonic EM with a glimpse on other related genres. You have questions or want your music to be reviewed? Please read the 123 FAQ section attentively. Bear in mind the main purpose of this Blog. So welcome in and I hope it will guide you into the wonderful world of EM.
(Vintage Berlin School) Three long minimalist structures of which the sweet evolutions are filled with the perfumes of the In Blue album from Klaus Schulze, “Warm Sequencing” continues where Init Mind had escorted the very beautiful Electronic Ballad. Cosmic rustles and astral moods open "Warm Sequencing I". Layers of voices soaked of celestial poetry and an intergalactic fog float on sizzling and tremulous chords. The effect of jerks of these chords sounds like worn out vuvuzelas. Quietly, Fryderyk Jona sets the tone in his last work with a very vintage atmosphere at the level of the effects and of the suspense. The chords skip, after the point of 3 minutes, in a timeless corridor sculptured by a hollow breeze. Some ringings dance in the background at the same time as sequences sparkle like bubbles of which the short-lived existence brushes the incomprehension. Hypnotic, this structure of ambient rhythm reinforces the tone around the 6 minutes with the appearance of fine percussions and the beatings of a good line of bass. The 1st transformation is smoothly made while a beautiful brook of arpeggios weaves a harmony where there is no place left to put another chord. The Tabla and Bongo percussions as well as these soft pulsations lead the rhythm of "Warm Sequencing I" towards a very good cosmic Groove where the percussions always play a divinatory role in the music of Fryderyk Jona. Always accelerating subtly the pace, "Warm Sequencing I" sniffs its end with very nice synths solos, reminding us that Jona masters marvellously the sequencer, the beatbox and the synthesizer.The trouble with “Warm Sequencing” is that it follows monuments such as Init Mind and Electronic Ballad. The effect of surprise is thus amputated by many, because the music evolves on the same minimalist patterns of Fryderyk Jona’s last 2 albums. The difference is in the nuances. The oscillatory movements of the sequencer always weave hypnotic rhythms which wave as the hips of a Baladi dancer in an intersidereal universe that Jona decorates of these delicious oriental percussions and sound effects borrowed in the galaxy of the 70’s. And always, the evolution of 3 phases goes on in subtlety. "Warm Sequencing II" adopts the same introductory tangent as the opening track before offering a more fluid and sensual movement. The synth layers are abundant, here as in the other 2 tracks, with very aerial solos while the percussions and the pulsatory bass line take care of barding the undulatory motion of the sequencer. Movement which also takes care of the opening of "Warm Sequencing III", by far the most addicting title of “Warm Sequencing”. Here, everything is more lively and rich in effects of rhythm and of meditation. In fact, it’s an attractive fight between both poles. The bass line eats our ears with an approach where the rhythm and the melody run out to copulate and incite our senses to float at the same diapason as the line of rhythm and its percussions oblige our feet to flood the ground of scattered banging noises. Magnetized, our senses collide the reality at around the 13th minute when Fryderyk Jona fills our ears of these soloes as unique as the tone of its synth. Magical! I know, I have already said … But the music of “Warm Sequencing”, of Fryderyk Jona, is as much intrusive and delicious as these first memories of the perfumes of our first teachers, as those first loves of our youth. Even if they are usual, they always have the same seducing effect on us. Inescapable for the fans of Fryderyk Jona and for the main part for those who regret this majestic period of Klaus Schulze! Ah these perfumes of tones … Sylvain Lupari (December 3rd, 2016)