mercredi 1 janvier 2020

SYNTH&SEQUENCES keeps moving

Dear readers and followers, I want to thank you warmly for this massive support of you in the evolution of my Blog Synth & Sequences. Unfortunatly, du to the fact that it has a lot of stuff and a long list of artist whose music is reviewed here, I have to move this Blog to a more convivial way to read it and to find reviews. So it's the main cause of why this Blog is switching for a real website.

Now SynthSequences will need a new way to search from you, but you will see the differences between it and this Blog Please take to time to dig it will continue to read here. But you will remark that reviews will diseapper and reappear on the new website. Allready, more than 235 reviews have been removed and put on my new website.

I hate to do this, but this site cost me an average of 500$ a year. This is the reason you see the Donate sign. It's not an obligation for anyone, and it will be remove once this amount is reached each year.

Thanks and advance and long live to Electronic Music :D

Sylvain Lupari

samedi 7 janvier 2012

JUSTIN VANDENBERG: Synthetic Memories (2011)

"Synthetic Memories' beauty has of equal only its musical purity"
1 From Below (9:29)
2 When I Walk (4:08)
3 Synthetic Memories (13:06)
4 67 (8:17)
5 The Path (7:30)
6 Dusk (8:05)
7 Drops (5:16)
8 Cold Brightness (8:58)


Oh! This is a wonderful one. It’s a small marvel of contemplative music and a pure musical delight that Justin Vanderberg offers as his first opus on the Spotted Peccary label. Weaved on reflections and questionings of memories as well as their realities, Synthetic Memories is flowing as if by magic into our ears to touch the slightest hidden recesses of our soul. It’s a majestic musical adventure which breathes by our bewitchment all throughout its taming. Synthetic Memories exudes tranquility on 8 titles with rhythms and ambiances which become entangled in a stunning symbiosis where morphic and oniric layers flirt with fine sequenced momentums. This 2nd opus from Justin Vanderberg is a masterpiece of poetry without words and a splendid album of an incredible musical depth which will know how to captivate your hearing as much as your feelings.
Astral winds and rustles jostle elements of life to introduce the wonderful "From Below", a track written with Jon Jenkins. Clanic percussions à la Steve Roach make their tom-toms resound through these synth waves which seem to caress spiritual water-waves, while a hypnotic rhythm submerges our aura. Fine guitars chords dawdle in ethereal atmospheres, drawing thin loops which float and run on a rhythm set on pulsations and hammerings became louder and heavier. This rhythm faces the emotional amplitude of our soul, while crystal clear notes of piano leap out from the forgetting to forge a melody lost among the ancestral rhythms which dance in these morphic atmospheres, sculpting musical souvenirs as distant as the first works of Patrick O'Hearn and those, more desertic, of Steve Roach. Doubtless one of the most beautiful track of 2011, "From Below" is bursting with passion and emotivity to reach its paroxysm in a finale that capsizes our last expulsions of passion. "When I Walk" follows the angelic ashes of "From Below" with a beautiful melodious approach where the notes of piano run with drummed pulsations under the breaths of an iridescent synth which push its astral waves towards the intro of "Synthetic Memories". The title-track of Synthetic Memories is also its heart. The peak of emotions converges there to filter doubts which will go out on more moderate and more poetic titles. But for the moment, the longest title of Synthetic Memories awakens its sequenced pulsations from the iridescent claws of a morphic synth. They run and undulate with delicacy, espousing the curve of the sinuous waves which blow such as enslaved choirs, mixing marvellously the ethereal elements and drummed sequences in a musical canvas where the constant rhythm adopts the tranquility of ambient elements. Pulsating sequences may be proud oneself on other pulsations more heterogeneous, metallic and cawing that it’s not changing at all the mood of serenity which prevails throughout the soft rhythmic evolution of "Synthetic Memories".
Fine oscillations modify subtly the long journey of "67", a pure ode to serenity where we perceive the clear influence of Steve Roach on Justin Vanderberg's ambient movements. Fragile, crystal clear arpeggios tinkle punctually and follow the fine inflections which feed this oblong linear movement where suave floating lines undulate and get enlacing into beautiful and dark angelic breaths. These crystal clear arpeggios are the core of the morphic and sequenced melodies that we find in Synthetic Memories. They glitter and swirl with the grace of the winds on "The Path", another good subjecting title where sequences of glasses spin around fine drummed percussions and around heavy silvery winds. With its slow morphic but all the same rather musical phases, "Dusk" transports the dusts of its slow and dark winds towards the melodious peace of mind of "Drops" and its notes of piano which fall with a beautiful effect of canon in a curious cerebral carousel. A beautiful melody escapes from it. Playing on mathematical keys, it slips into our ears with a virgin innocence to continue its tinkled road towards the musical tremors, the dark and iridescent winds of "Cold Brightness", concretizing the subliminal beauty of this wonderful opus that is Synthetic Memories.
I know that I tend to become passionate sometimes and that my emotions a bit juvenile resurface when my ears cross a work of such sensitivity. If Synthetic Memories from Justin Vanderberg is not typical of heavy sequenced works, the fact remains that its beauty has of equal only its musical purity. With its skilful dosage of oniric rhythms and celestial ambiances, Synthetic Memories will jostle your emotions. Doubtless the most beautiful musical work of 2011, Synthetic Memories is an imperative which has to be in your record collection, and that no matter if we are followers of heavy or ambient Berlin School because it’s a perfect symbiosis of 2 these genres but with more depth and limpidity.

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

jeudi 5 janvier 2012

TANGERINE DREAM: Mona Da Vinci (2011)

"Mona Da Vinci is not as fade as it may sounds on first hearings"

1 Calumet 5:30
2 Morpheus' Light 10:44
3 Phantoms and Oracles (Guitar version) 6:28
4 Mona Da Vinci 7:08
5 In The Storm of Serenity 7:39
6 Hunting For Illusions 4:43

It took me some time before reviewing this last CupDisc from the gang of Edgar Froese. After 2 superb albums in The Island of the Fay and The Angel from the West Window, as well as a very good CupDisc (The Gate of Saturn), Mona Da Vinci fell me in the ears with the effect of a cold shower by a chilly weather. I found that Edgar goes round in circles by undoing his musical ties and by falling again in his moods of candy rock electronic of the Miramar years. But with some additional listenings, I noticed that Mona Da Vinci was hiding some nice musical pearls. Now, knowing that the fans of the Dream already hurled themselves on Mona Da Vinci, whom addresses this review? Bah … Maybe it could influence the choices of the thinkers of Eastgate during the selection of another compilation or another Booster!
Played for the first time during the concert of Manchester, "Calumet" begins with undulating pulsations à la Flashpoint. Echoing percussions and sequences pounding on two ways shape a rhythmic skeleton which collides against the stream on more sober keyboard riffs. Without breaking the walls and with a typical melodious approach in what Edgar Dream lays since moons, "Calumet" pours without getting noticed too much and depicts the atmosphere maybe too much calculated which reigns over Mona Da Vinci. I think in particular of the title track which is submerged by a ghostly aura. An aura of mystery which glides over a rhythmic structure going round and round. That doesn’t mean that it’s not good, it’s just that it’s too familiar and that we already heard it so many times in the late TD years. Noticed that its progression ("Mona Da Vinci'') is all the same rather appealing. The longer title on this last Tangerine Froese's CupDisc, "Morpheus ' Light" is simply wonderful. Of long and suave angelic breaths cast a little bit of dark breezes on an intro which progresses such as a slow crescendo on a nest of percussions and sequences typical to the bipolar rhythms of the Dream. Edgar weaves a super melodious theme subdivided by resonant sequences and riffs which fall on other sequences pounding frenziedly under the breaths and winds of a poetic synth. It’s a splendid track where sequences strum a motionless rhythm. A rhythm trapped in a superb musical fauna which sounds so much like good old TD. Outstanding! "Phantoms and Oracles (Guitar version)" is an alternate version of Midas Touch which appears on The Hollywood Years Vol. 2 in 1998. It’s a big electronic rock from the Rockoon years. Sequences and hopping percussions forge an unbridled rhythm and the electric guitar of Zlatko Perica spits furious and incisive solos. "In The Storm of Serenity" is a beautiful ballad introduced on a slow rhythm. Surrounded by heterogeneous tones, the percussions are stunning and fall with imagination while the guitar sculpts great languishing solos. This is a nice track which hooks the hearing instantly. "Hunting for Illusions" ends Mona Da Vinci with a hyper-unbridled rhythmic approach where heavy sequences, slamming percussions and a starving bass line build a heavy and stormy rhythm. Mysterious, the synth throws good dark veils and short soloing breaths giving to "Hunting for Illusions" a harmonious depth which harmonizes pleasantly to its furious pace.
It’s a good think that I had to listen Mona Da Vinci a bit more before doing a final review, because it’s not as fade as it may sounds on first hearings. In fact it’s an honest CupDisc which has its failures as well as its small favourites, and this over and above the fact that "Morpheus ' Light" is totally brilliant and a pearl lost in a boiling sea of rhythms as superficial as well polished up.

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

* You can also view a video of a static photo sleeve of the title track here:

vendredi 30 décembre 2011

VARIOUS DiN: Index 02 (2005)

''Index 02 is a great compilation which airs all the available styles on DiN''

As its title let it guesses, Index 02 is the 2nd compilation of the DiN label. Following the same rule as Index 01, Ian Boddy carefully chose, mixed and edited 2 titles from the 9 albums released on DiN after Index 01 (DiN10).  It results from it a superb blend of styles which floods our ears with18 titles all so different which become entangled in an impressive musical canvas of 77 minutes.  Making of Index 02 an edifying witness of what brews in the corridors of DiN!
Subsonic Experience and Präposition’s "Regained Paradise" opens the ball. The rhythm is heavy, fluid and incisive. It runs with fury on an intense and wild mixture of percussions and beneath a sky gaily-coloured by streaks and strata coming from guitars and/or synths which tear the musicality with powerful hootings. Markus Reuter and Ian Boddy’s "History" calms things down with an odd bed song of which arpeggios of glasses swirl besides fluttered percussions to a surprising spiral as colourful as melodious. Dbkaos’ "Hydrosphere" brings us within floating corridors where chthonian breaths roam among glaucous and supernatural ambiances. Following are Ian Boddy's cosmic waves of  "Ecliptic" from the Chiasmata album. The rhythm is soft, to the limit very hypnotic, and is finely drummed inside a circle of crystalline arpeggios. A short introduction into the morphic spheres of "The Mystic" from Boddy’s Aurora album leads us to the tribal and intriguing rhythms of "Edge of Nowhere" from the duet Boddy / Rich. It’s very good title which mixes the subtlety of the soft clanic rhythms and the ethereal atmospheres of the Steve Roach's glaucous musical world. In the same stride, but with more vigour, dbkaos proposes a title as cheerful as experimental in "After the Migration". It’s the kind of track which asks that we investigate a little more this duet to very heterogeneous tones. "Arcturus" from Arc really doesn’t need presentation. But just in case, this is heavy and somber Berlin School in which Ian Boddy made a good editing with 2 tracks to antipodes of rhythms and ambiances.
The title track "Aurora" continues its astral surge with a wonderful divinatory melody, while the title track of Chiasmata shows a more aggressive Ian Boddy with good percussions which hammer a heavy and slow rhythm. A rhythm encircled by fine sequences which flutter in a beautiful harmonious pattern. Ian Boddy marinades skilfully the genres on Index 02, so the rhythm a bit funky and groovy of "This Life" from Reuter / Boddy’s Pure clashes from the morphic moods of "Tuning Out" from Boddy / Rich’s Outpost which really gets out of the clanic and floating territories of Steve Roach. The musical universe of Ian Boddy and Bernd Wöstheinrich is very coloured and set by spontaneous rhythms which skip and teem in beautiful synth layers. Stemming out of the Moiré album, "Moiré" and "Smash and Grab" are 2 titles for ears found of a parallel musicality and of which the attentive listening allows us to discern a stunning sound fauna. "Treasures of the World" makes us discover the other face of Präposition with an enchanting ambient rhythm where percussions prevail beneath superb synth layers filled by tones of old organs. It is simply delicious! It’s in the twilights of Blaze, the 2nd opus of Arc on DiN, which ends Index 02 with 2 titles to diapasons of their antipodes. If "Silent White Light" is dreamy and ambient, "Corrosion" drags its heaviness and its slow rhythm in the ashes of some good Redshift.
From glaucous to ethereal ambient while passing by heavy Berlin School and a more creative and a more progressive EM. Index 02 is a great compilation which airs all the available styles on DiN. There is for all tastes and styles which beneficiate of a good mixing and editing from Ian Boddy who which tangles all its rhythms and atmospheres with a master’s hand. A little as if Index 02 would have been the fruit of a single artist. And don’t forget; it’s free on Bandcamp
) until 01/01/2012.  After that, you will have to pay and still, it will be a good investment!
Sylvain Lupari (2011)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:
* Here is the link to download it completely free:
* You can find more info, and the complete track listing, here:

dimanche 25 décembre 2011

REMEMBER GREEN: Electro Shock (2011)

''Electro Shock goes beyond the stereotypes of the Bang Bang and Tsitt Tsitt''

1 Can you feel it/Electro Love 4:28
2 Electric Feeling 3:04
3 Electric Smile 4:10
4 Electricity through the Heart (With Nattefrost) 4:44
5 Electricity in your Eyes 4:26
6 Electro Dreams 4:39
7 Electro Shock (With Nattefrost) 5:08
8 Electro Technology 4:23
9 Get Electrified Now 4:20
10 Robot Song 4:19
Remember Green is the musical project of Danish musician and artist Steen Chorchendorff Jorgensen. Launched during the last Electronic Circus Festival on October 31st, 2011, Electro Shock is his first album. An album which benefits from the presence of Nattefrost on 2 titles and which offers 10 titles strongly soaked by a Kraftwerk approach, with robotics voices introducing most of the tracks and good Teutonic rhythms pulsating in the atmospheres slightly morphic of an eroded Berlin School. It’s a good hybrid album which will seduce both fans of synth pop and Berlin School.
It’s in a nice confusion of rhythms and atmospheres that opens Electro Shock. The sound is high and a hatched stroboscopic line encircles an ambience in fomenting which hang back between its rhythmic envelope and its floating elements. If the first tones of
"Can you feel it-Electro Love" let augur a feverish rhythm, its progression is something else. It’s rather an atmosphere full of restraint that is getting in our ears with circular percussions and pulsations which bombard broken rhythms around tones of industrial and electronic machines, robotic voices à la Kraftwerk and good melodious elements such as a piano line and cosmic mist. Moreover the piano offers beautiful melodious samplings which criss-cross all along Electro Shock. The tempo comes and goes, dancing on a plump bed of uncertain sequences, jerky pulsations and tsitt-tsitt cymbals. "Electric Feeling" plunges us into the lunar rhythms of Electro Shock with percussions / pulsations, rolls and jingles of percussions which run on a delicate rhythm trapped in a nice floating envelope and weaved by a synth filled by mellotron mist. The cosmic sound effects abound and enrich this dividing musical structure, quite as the 9 others tracks on Electro Shock. "Electric Smile" offers a more flamboyant, a more rhythmical and also heavier down tempo. The fusion of ambient and rhythm is charmingly provided by a beautiful sequence line which moulds a good hatched flow while the melodious approach is decorated by a piano whose notes get lost in a strong electro-cosmic atmosphere. A little as on some titles on Electro Shock, it’s with a vocoder that opens "Electricity through the Heart". And even with a nice circular and stroboscopic sequenced approach and percussions rolling like an odd spatial military march, the rhythm of "Electricity through the Heart" is hyper soft and to the limit very smoothing. And Nattefrost brings a bigger lunar depth with intense layers of mist which coat a waltzing rhythm. Working on a similar pattern, "Electricity in your Eyes" offers the first synth solos which sing on ashes of another beautiful down-tempo.Curt percussions and hatched sequences bear the slow and jerky rhythm of "Electro Dreams". The title soaks into a beautiful cosmic mood where the latent tempo inhales the rhythmic approaches of "Can you feel it-Electro Love". The more we move forward into Electro Shock and the more we dive into rhythmic structures which are alike but whose fine variances attract the hearing. And so we shall fall under the spell of the title track "Electro Shock" whose approach is very Kraftwerk. A very musical synth covers a bed of sequences and percussions which throb of arrhythmic palpitations. Still there the tempo is slow and flows like a zombie duping the bone, while lines of stroboscopic sequences shape an approach filled by rhythmic confusion. "Electro Technology" is a good cosmic ballad with slamming percussions and a superb spiral sequence which winds a lascivious title to nice reminiscences of Tangerine Dream. "Get Electrified Now" is another beautiful ballad filled with mist. A mist sometimes stroboscopic which encircles rolling percussions, jerky sequences and scattered notes of a piano which looks for itself in this lunar setting. "Robot Song" concludes Electro Shock with a strong technoïd approach of the synth-pop years. The rhythm is lively with its huge synth pads which embrace a waltzing rhythmic of the 80’s. Jerky pads curved on a beautiful sequences and percussions fusion which pound around piano samplings and galactic tones.
Variations and subtleties on the same theme! However this first album of
Remember Green offers about ten titles which are strangely alike with some fine variances mainly on rhythms. Except that Remember Green’s Electro Shock goes beyond the stereotypes of the Bang Bang Bang Bang Tsitt Tsitt with an interesting dosage of sometimes slow, sometimes heavy and sometimes more feverish rhythms which roam in morphic envelopes. If that destabilizes at the beginning, we let ourselves be charmed quite fast by this album coming out of nowhere and which deserves to go out of the anonymity.Sylvain Lupari (2011)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream

* If you want to know more about Remember Green  you can visit his website here: