mardi 24 janvier 2017

AIRSCULPTURE: Vanishing Point Volume 2 (2016)

“Vanishing Point Volume 2 is a superb album which will please all those who had their blast in the 70’s with an inspired music which brought us where we still did not know the boundaries”
1 Infinity Halt 46:30
2 Vanishing Point 46:48
3 The Main and Great Proposition 16:32

Airsculpture Music (CD/DDL 109:50) ****½
(Minimalist and Sequencer-based EM)
The music of Airsculpture is the perfect example of a music which it's necessary to listen to carefully and not just to hear like that. Otherwise, we miss all sort of details. As the opening of "Infinity Halt" and this delicate pulsatory movement which escapes from the magnetism of an astral choir. If the notes of a piano, rather nostalgic, accompany these seraphic chants, the quietness of the movement wraps us with a pair of sedative wings. You should not fight against these moments because a series of light beatings welds our senses in expectation. Especially that a fluty breeze embraces a tranquil rhythmic which gets lost in fields of ether a little before the point of15 minutes. "Infinity Halt" falls then in an intense ambiosonic phase where the winds mutter and moo in a kind of magnetic storm with arrangements which will remind to some of us these claustrophobic atmospheres in the enormous The Fall of the House of Usher from The Alan Parsons Project. During almost fifteen minutes, this phase of atmospheres for tortured minds goes towards a good structure of ascending loops of rhythm of which the echoes and the adjacent sequences forge a continuous minimalist structure which skips with its imperfect and jerky jumps in some silky coat of ether. Synth colored larva deliver beautiful seraphic harmonies which sound like these distant perfumes of Tangerine Dream, era Baumann, while the rhythm increases speed and strength towards a delicious final of hypnosis with technoïd pulsations and effects of percussions which reminds to us why it’s imperative to listen carefully and not just hear the charms of Airsculpture.
After several months of deadlines, here is the promised follow up to
Vanishing Point Vol. I! “Vanishing Point Volume 2” follows a little the premises of its younger brother of sounds with another collection of titles performed only in the USA within the framework of The Gathering Concerts in November 2011. And contrary to the first volume, “Vanishing Point Volume 2” exploits 2 very long titles which always show how Adrian Beasley, John Christian and Pete Ruczynski are always on the same page, year after year. One warms the equipment and one put the public, very enthusiasm by the way, in the moods with long intros filled of electronic tones which are the privilege of the long improvised titles. But the engines are already warmed for "Vanishing Point", without a doubt the most homogenous track of the England trio, which get uproots out of these tones as well as from a push of hollow winds and of glaucous pulsations to make it sequenced chords limp, sounding a bit like these uncertain figures of rhythm of Klaus Schulze in his contemporary era. Tears of synth whine with elegant ethereal veils while the structure staggers constantly under the salutes of the silky synth layers. Knockings get in, always emphasising the gap between a structure of ambient rhythm and another one more pugnacious. It’s in this way that takes place the 40 other minutes of "Vanishing Point" which always wraps us of a big synth comfort while the rhythm accentuates slowly and constantly a swiftness coated of a certain heaviness. The synth layers are like these mirages of a waltz of clouds while the trio carries constantly other sequences which sparkle, skip and limp in a huge magnetizing rhythmic tapestry. The structure becomes more vintage near the 23rd minute with a superb movement of sequences which shifts marvellously the measure between each step, bringing "Vanishing Point" towards one finale as much infectious as "Infinity Halt". Amazing! "The Main and Great Proposition" banishes the principle of long introductions weaved in the ambiguous moods and the interstices of EM equipment. The rhythm takes off as soon as a hopping sequence is capable of getting rid of its solitaire jump in order to spread a lineage of sequences and resonant pulsations which structure the very atypical rhythm of "The Main and Great Proposition". The title dives into the heaviness of a good electronic rock haloed with great effects and with superb synth solos which always crown this rhythmic weaved in the disorder. This is some great Airsculpture and a superb album which will please all those who had their blast in the 70’s with an inspired music which brought us where we still did not know the boundaries.

Sylvain Lupari (January 24th, 2017)
gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Airsculpture Bandcamp page here

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