lundi 18 octobre 2010

KONRAD KUCZ:Railroad Paths (2008)

After a heavy, syncretic and tenebrously ambient album in Via Vita Contemplativa Litania, Konrad Kucz hits the bull's eye by offering a splendid album filled of vintage moods and sonorities. Railroad Paths is bordering an analog world where fragrances of Jean Michel Jarre and Tangerine Dream marinate on lively structures with rhythms in constant movements of duality. Interchangeable structures where the ambient espouses with wonder rhythms and sonorities of French EM of the 70’s (Jarre, Space Art, Heldon and Fervant) that meet precepts of Berlin School style à la Schulze and Tangerine Dream.
A beautiful flute harmonizes its melody on a rivulet which scintillates in opening of Path I. The notes are high and draw arch poetries on a musical canvas of enchanting forest. A synth wraps of its sinuous waves this ode of Centaur, bringing it in underground dens. There where beautiful musical hoops undulate, forgetting the rhythm and running gracefully on a linear movement. A movement that perspires heavy synth waves. They swarm in a powerful tuneful work of art where strong layers of a dark organ shape its movements in a maelstrom filled up of baroques and sinister choirs, before concluding in a sound din with analog eddies. A long black intro, ambient and sinuous which frees its cadenced anger on Path II with a synth with hems which roll in jerked loops, of which the meshing of ferrules moulds a sequence undulating below a sky overcasts of sonorities as analog as motleys. This train of intermingled sequences follows its race under beautiful wavering layers, finishing its race in a honeyed quietude, where choirs and chirping form a nectar of serenity. Path III is more powerful with its chords which spin in cascade on zigzagging spirals. A strange syncretic ballet on a heavy movement which embraces more ventilated and definitely more progressive tangent, pointing out the universe of Heldon with its percussions which hammer a very cosmic rock beat and its vocodor which sounds so much like Richard Pinhas on East-West. A good piece of music that adds to Railroad Paths’ multi dimensionality.
Path IV offers a superb sequenced structure which rolls like a train under superb synth solos. Solos which wave and zigzag with a very beautiful dexterity, recalling the synth and sequence synchronism of Klaus Schulze. In constant progression, the rhythm plunges in a sparkling mellotron softness before taking up again the rhythmic rise identical to Path III intro, in order to plunges again in the hazes of dense and black mellotron with whining layers. A wonderful track that will wake up lot of ear memories for the music lovers of the 70’s. Path V opens with a beautiful mellotron pad which extends its coat until the first 3 minutes.Thereafter, an undulating rhythm curves a structure filled up of fog. A fog which is dissipating, letting foresees a rhythmic anarchy which curls under flutes of a hybrid mellotron. A track where the rhythm pains to pierce the density of a mellotron with thick fog and bewitching flute before concluding in the half-lights from a train running off the line beneath Tangerine Dream misty fragrances. With its mechanical rhythm and its hyper melodious vocodor, a little bit à la Kraftwerk, Robotic Missions is out of keys from this enchanting universe that surrounds Railroad Paths. But still there, Konrad Kucz tergiversates between the simple melody and rhythmic complexities which pullulate on this brilliant opus that is Railroad Paths. A quite simply genius album from the Polish synthesist, whose only defect is to have passed unperceived. Thing that, I hope, this chronicle will try to correct.
Sylvain Lupari
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le pseudo de Phaedream;

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