samedi 30 juillet 2011
"Rubycon 2010" gets a soundlift. After an intro filled with heterogeneous tones, the heavy sequence which is so much familiar to us jumps up with its unbridled chords which shape a nervous chaotic rhythmic accompanied by a bit more delicate synth. The big strength of this remix is doubtless the reconstruction of sequences and percussions which are more violent and noisy in halfway. As for the rest, "Rubycon 2010" offers an updated tone where we really seize the orientations to come from the Baumann, Franke and Froese trio. It’s good but was it necessary? As far as I’m concern it didn’t erase the feelings and nostalgia left by the original.
"Zulu" is the new unreleased track on this 6th Mini Cupdisc. And when I say unreleased, it’s with a vague hesitation so much I have the strange feeling of being in heard ground. Is it of the period of Tyranny of Beauty? Lily on the Beach or Destination Berlin? Because the sequences play is quite heavy even if fluid and is also near the Hiroshima series. I hesitate because that sounds so much as what Edgar made since the last15 years. It’s good but not really brilliant; especially that it precedes another remix in "Order of the Ginger Guild 2010" which is also very near "Zulu" sounding, exception made of the African choirs. I like this sequenced heaviness which sits in the middle of the track but I am not really a connoisseur of this Tangerine Dream era (1997) to draw a credible parallel. Let’s say that it’s a big synth pop rock. "Norwegian Wood" is a solid version recorded in studio, instead of the live version that we find on Under Cover-Chapter One, and it’s always as good.
There’s not a lot to talk about this 6th Mini Cupdisc from Edgar Dream. It’s evidently well done and it rocks solid. Edgar seems to have fast seized that the pockets of his new generation of fans seem deeper than those of his older's one. Them who never stop hoping in some brilliant moves from old Edgar and who cannot be resolved to get rid of this old girlfriend that gave us so many great moments.
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: http://www.gutsofdarkness.com/god/objet.php?objet=14509
mardi 26 juillet 2011
When I’m talking about a band which looks for itself and, sometimes, misses cruelly of imagination "Mombasa (Tuareg Remix)" is the striking example. Taken from DM V, the musical structure of this track is nevertheless full of potential but Edgar, as Jerome, will never manage to blast off these static rhythms which go round in circles... around a synthesized voice. Placed here, "Zulu" seems to possess more charm and its bass and undulating sequences sound really better in this context that on the Zeitgeist Mini Cupdisc, except that in a long run it’s flat and boring. Please, give a little juice of arm my dear Edgar! Hum...I love this new version of "Going West 2009 ". It’s wilder and much nuanced at the same time. This version played in concert in Japan (Live Izu 2009) shows that the Baumann, Franke and Froese trio was really ahead of its time. The acoustic guitar makes contrast to Linda Spa's flutes and I find that it gives a quite new depth. I know that some hated … With its tinted approach with a strong melancholy and a pain to survive coming from his guitar shrill of lamentations on a soft slightly wave-like tempo, "Devotion" is one of The Endless Season's beautiful track, quite as "Breaching Sky" which is on the other hand more nervous. "Long Island Sunset on 2010 "? Can’t stand either! ''Paddington at Five" from Flame is always so frustrating. We have the feeling to go round in circles there. It seems to me that all the ingredients are there to make it an explosive track. This version of "Purple Diluvial" seems to me wilder with abrupt rhythmic changes and more nervous sequences. The differences are small but considerable. Both versions equal because they possess the same structures and modulations.
Lean years give a so-so compilation and Booster IV is less honest than the quality of its tracks. It seems to me that Edgar, or Eastgate, should have wait another year or even 2 years. But the damage is done, needs to be flatter and to find reasons for being there. The complete insertion of Purple Diluvial is a sensible and respectful choice for the fans that were not lucky to get this excellent mini CD. The Endless Season's tracks are also a good choice whatever I would also having chosen Virtue of Hope or The Seven Barriers instead of remixes of A Streetcar Named Desire or Dominion 2010 or Long Island Sunset 2010. That would have been different, while respecting Booster’s precepts. By the way, do they exist? In fact, all the possibilities are probable so much there are holes badly filled on these compilations which years after years are looking for a reason to being other than to make some cash. Not evident the world of Eastgate … No, not evident!
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: http://www.gutsofdarkness.com/god/objet.php?objet=14508
And if I started by talking about the new to say stuff? Let's go with "Mombasa". It’s a dark track which draws its origins on nasal synth lines and fine percussions to African flavours. The intro is particularly good except for choruses which remain as platonic as a cold distributing machine. On the other hand, Papy Froese exercises a beautiful control of his synth pads, which are rather sober, of which he does a skilful mixture with his guitar strata. The music is dramatic and increases gradually its level of intensity without really exploding, a little as on the Nagasaki albums where Edgar seems to want to keep any forms of explosive rhythms underground. In brief, it’s a long track in which the interest decreases with minutes hard to grape out. "Sunshift (Moonmother’s Mix)" was originally on Booster II. It’s a track that I hadn’t even noticed and which move on nervous sequencers, embracing the same endless structures that Edgar cheers for the last years where nothing is really going on and is original. A music with a pale rhythm where everything seems to lean on these damn mechanized vocalizes which remove any emotions out of those nice mellotrons, creating a sweet rhythmic paradox in a track of which the length has no justification. Third new release is "Astrophel and Stella (String Version)" and I got to say that it’s very good. It’s a nice remix which makes forget an insipid original nesting on an album to be forgotten and which takes a quite new form with its synthesized violins. I really liked "Remote Viewing" new mix. In fact, I quite like most of the retouches that Edgar is doing on TD’s original works. It doesn’t any harm. Even that sometimes it sounds better than the original as it’s the case here with a beautiful addition of percussions which suits quite well to the original sequences. It’s a nice remix that fills me well. Another remix that gives me an enormous pleasure is the one of "Kiew Mission" (I know, it is not a new released – as listed by Eastgate- but I want to speak about it) where I can finally appreciate the new mastering and the dust removal without getting stuck to myself with this damn mechanical voice which turns in loops on the very not necessary Birds In Search Of A Cage. These 2 remixes from Exit are particularly well done.
On numerous sites and Blogs devoted to Tangerine Dream, several fans describe "The Halloween Cast" as being Edgar's last wonder. Well diehards, I don’t want to upset you and be kind and pleasant to incur your sympathy but explain me what is so special about this track? After a droplet à la Meddle from Pink Floyd, choirs and whistling synth roam in a foggy before that the rhythm bites this funeral prayer. A tempo became cheerful where riffs of acoustic guitar are moulding to automatons keyboard keys which glean in a sound world stuffed with percussions. There are permutations in the rhythm which deviates towards a little Far West approach with nice guitar notes and a synth which whistles on the plain of percussions and sequences which tumble and tumble. In short, if we want to be honest, it drags on and Edgar looks like a one-man band with all these percussions (rather good I may add) which hammer a strongly orchestrated structure. But from there to shout to genius! There is a margin that I won’t cross. With its percussions slamming in a universe of mist, "Kilimandscharo" is of a beautiful melancholy. Edgar goes of beautiful guitar solos there to make dreaming on a structure used so many times by the same man. As if the originality and permutations in TONES was a thing that Edgar had left to his ex colleagues. Take ''Ayumi Loom's'' new version as example, it’s much diversified as in rhythms and orchestrations. When Edgar wants, he sure can!
In brief, Booster III ...well I’m looking carefully for my words but nothing comes in mind except that it’s an average compilation. How he could it be superior to Booster II when Thorsten Quaeschning (the new soul of TD which is not used enough) is not even there?
Sylvain Lupari (2009)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=13731
lundi 25 juillet 2011
"Cloudburst Flight 2008" is among new tracks but not "Scrapyard 2008"! Try to understand something on Eastgate management! However these 2 new versions are more rock, with good guitars and synth solos in a Froesian ambiance. "A Streetcar Named Desire" is a real new think. It’s a track in the purest TDI mood which starts with an ethereal wave floating on a bass as discreet as choruses. The movement is livening up on a keyboard with flickering chords. The percussions come along and we are in the mould of the 90-00 years with the touch of Iris Camaa. Nothing very new there, it’s TD of what could be more simplistic and even Edgar seems to sweat behind his guitar. Another new track is "The Last Wave". It’s a pretty good one with a beautiful sequenced percussions play, encircled of nice wrapping strata and these damned insipid choirs that Edgar lugs everywhere on a tempo which crescendes with many feelings. Another new one? "Desert Dream" is classified as unreleased material when in fact it’s an extract of Monolith from Encore which was also on Tangent. Argh....
We have to wait until "La Boca Race" to really put something new in our ears. Another very Froesian track that smell the Pinnacles/Stuntman era with a nervous synth and mad sequencing which spins in wide loops. And yes... always those damn choirs. But I got to say that it’s quite a great track that will amaze more than one, quite as "Tomorrow Never Knows" reworked by Thorsten Quaeschning. "Sunshift" is another unreleased track which seems to be coming out of the Hiroshima project with its morphic approach which grows on a nervous sequence but surrounded with very pronounced chorus. "Beyond the Cottage and the Lake" is a superb melody which goes out of Legend mould. One would almost believe to hear a remix.
Don’t get me wrong here; Booster Vol. II is a nice and good compilation. If you possess everything from TD, it’s still worth it because certain new tracks and remixes are very good. And I got to say that the tracks selection is quite thoughtful and I also like a lot the versions of "Cloudburst Flight" and "Scrapyard". We doubtless find there good moments of TD from the 2007 and 2008 eras (Yep...) annexed to other tracks from an imprecise period. It’s heavier and more rock electronic with good arrangements. In fact there is really no weakness on Booster Vol. II except at the level of the marketing... which is a big lie.
Sylvain Lupari (2008)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=12004
Another TD compilation! And is it really necessary to talk about it? I think so, because Booster is a different collection that TDI (or is it rather K-Tel?) is used to offering. A 2CD that has certain charms for Tangerine Dream collectors. And God knows that there at least 500 or 600, maybe more...But enough kidding and let’s talk about that double set compilation rather short on time because there is enough room for more material, at least 40 minutes empty to put more of Ça Va - Ça Marche - Ça Ira Encore, Space Flight Orange, 40 Years Roadmap To Music or Metaphor.But I guess that’s the way it works when greediness takes over rational. It gives compilations that have all the appearances of traps for idiots.
With Booster we are far from being in the kingdom of great music. It’s pure contemporary TD; cold, acid and devoid of sound creativity. Edgar is definitively the Dr Jekyll and Mr Hyde of contemporary e-music, because there is a whole world of difference between both opuses of Nagasaki, these EP on this compilation, the remixes as well as the new tracks which seem to be created on artificial feelings. We find 3 out of print EP which are sold at high price on Ebay; One Night in Space, Bells of Accra and Sleeping Watches Snoring In Silence. We also have extracts of Metaphor, 40 Years Roadmap to Music, Space Flight Orange, Ça Va - Ça Marche - Ça Ira Encore, remixes and 2 new tracks that aren’t absolutely worth the spending.
Of course, those who have all these EP are also targeting be Eastgate which considers them as compulsive buyers with this advertising: "Of course you will hear music you've probably heard before -- no-one forces you to stress your credit card again! :-). But for some of you it will become a collector's item as a pack of tracks which definitely will become 'classics' out of the first decade of the new musical Century. The first 200 CDs will come with a signed card by Edgar Froese himself." Hum … Genius as advertising stratagem. So, are TD hard fans and collectors innocents and simpletons? According to Eastgate promotional citation, it looks like it.
As new releases we find "All Thirsty Angels Pass" and "World Away From Gagaland", 2 tracks to soft structures and very New Age which have nothing to do with the heavy rhythmics to technoïd tendencies that the Dream is pushing in our ears with track as "Lady Monk"."Big Sur and the Orange from Hieronymus Bosch" can be interesting if Goblins Club or Tyranny of Beauty had an effect on you. It’s a nice track but which doesn’t brings anything new in TD’s world with light rhythm and felted guitar. Logos is slightly modified with more hammering percussions while Tangram (Chin Part) would have made it on any Dream Mixes. On the other hand if you don’t have any of those EP, I think that the purchase of Booster can be a good thing, because there are good tracks as Bells of Accra, where Edgar finds a breath of creativity, Hyper Sphinx (Yes I do like the honeyed guitar) and Metaphor which is however incomplete.
Booster is another Tangerine Dream compilation which has the defect to be incomplete and incondescendant, as high as Edgar and his accountants can be. But I also do believe that the advertising quotation spreads the values of Eastgate and that the fans should protest by a boycott. But I also know that there is and still will be always impulsive fans that will hang on to the Dream. But who doesn’t?
Sylvain Lupari (2007)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=10698
samedi 23 juillet 2011
"Beneath the Roots of all Things" is a very good track which takes root with a guitar to echoing loops rolling on pulsations from the bass-drum. It’s a track which takes Arabian airs with a good steady tempo, where synths and guitar trade riffs and solos which transcend in a tribal world with oriental fragrances. Short, catchy and efficient, "Beneath the Roots of all Things"s refrain is the kind that creates earworms. "Ground Connection" is a long mesmerizing minimalist track which starts with a delicate synth wave, adorned by fine bells’ ringing and guitar notes a bit discreet. The synth singing is surrounded by a fine reverberation from where begins a subtle caravans of dunes procession with a bass line with weak undulations and Tabla percussions. And "Ground Connection" will evolve in a minimalism mode on its long journey wrapped with light riffs of guitars and synths as well as spectral layers of a synth to Arabian aromas. A little after the 16th minute, the tempo increases gradually but without ever exploding. It follows a hypnotic tangent, draped that it is by multiple layers of synths and guitars, and always livened up by latent and hypnotic tribal percussions which will guide it towards a more astral finale.
Ground Connection is a very nice album which unties the links which are entangling between progressive, psychedelic and electronic music. WintherStormer reached his) musical maturity by offering an album where the harmonies are more present and less scattered than on his previous works. If the album is less caustic than Electric Fairytales it remains nevertheless more nuanced and accessible, thanks to a very delicate subjugating melodious approach. Except for "Connection Lost", which can be difficult of approach, the rest of Ground Connection is taming as easily as its progressive bewitchment.
BAJKAL RECORDS: 222020
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: http://www.gutsofdarkness.com/god/objet.php?objet=14507
WintherStormer's website is at: http://www.wintherstormer.no/music/groundconnection.html
You can also view a short promotional video on YouTube:
Noises, heterogeneous sound, rolling in waves in a cosmos sparkling of sounds limpidity open Cucumber Salad. It’s an intro high in acoustic colors which unlocks on a heavy sequence to eroded hesitations. A sequence which hiccups a tempo with chaotic undulations, wrapped of a beautiful fluty mellotron and vaporous keyboard keys which recall the musical years of Tangerine Dream. Once these 3 first minutes gone, Cucumber Salad takes a more accessible musical direction, while maintaining its aura of complexity where a rhythm is skipping nervously and measures beautiful mellotron pads which float around the lamentations of an electric guitar and twisted synth solos. Odes at once spectral and attractive which sail in shady waters, purified by moments of nice vaporous stratums which sometimes ease and sometimes illuminate this pace built in abrupt and random beats. For the Love of all Things Electronic present another side of WintherStormer. A WintherStormer clearly more musical and poetic which spreads beautiful ethereal layers from which oniric sounds waltz around soft pulsations which shape a thin languishing pace. An impromptu sensuality which is taking refuge in soft waves à la Göttsching guitar, from which solos glides among a cadence a bit accentuated by the striking of a heavy drum and encircled by reverberating circles, bringing a surrealist touch to a beautiful music inspiring for making love.
Rising Ashes intro is plunging us again into the very psychedelic and multicolored musical universe of WintherStormer with an elongated intro where cosmic tones flood in with an acuteness worthy of an anarchical world. At around the 7th minute, a soft pace pierces this oxidized din to mold a nervous rhythm which rests on good percussions, a strong bass structure and a fusion guitar / synth which explodes a ferocity equal to the hammerings of a more and more punctuated drum that’s getting solidarity of this rhythmic which becomes more and more furious. This psychedelic heaviness crosses less ardent corridors where steams of ethereal Berlin School moderate the aggressiveness of a structure which spreads its striking to the heterogeneous meanders of its intro. It’s a heavy and long track, faithful to Woodwork frame, which pursues its sound imprints on the title track which is a fusion of noises and diverse tones shaping brief musical inserts in a rebellious sound universe.
Electric Fairytales shows the commitment of WintherStormer for music without borders and identities. Music which oscillates between some very daring psychedelic moments and beautiful electronic passages that are situated in the era of Schulze and Ashra Tempel. It’s an album where the creative paradoxes swim contrary to the harmonious poles, but which is taming a little better than Woodwork. For very curious and risky ears!
BAJKAL RECORDS: 222018
Sylvain Lupari (2010)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=12956
vendredi 22 juillet 2011
Heavy and stationary, "Omnipotence" begins with pads of a synth violin while percussions fall and shape a curt but heavy tempo and while the bass stretches its heavy notes. We enter in a more orchestral sphere of Heart with many hatched violin pads which provide an orchestration of the most unpredictable. A synth embraces this languid rhythm which evolves inside the parameters of paranormal with a very dark approach, schizoid and imprinted by mystery with these hardly perceptible lamentations which hoot in secret beneath resonant guitar layers which are crumbling in fabulous solo. A punchy beat, sometimes ethereal, "Omnipotence" progresses on a tempo permuting subtly in a heterogeneous sound fauna wrapped of nice strata from a little bit metallic synth and a heavy pulsating bass, but above all a very Crimsonian ambiance. More rhythmic and very aggressive, "Odilon" offers also a structure very near the Crimson soils, in particular because of the demonic guitar and percussion beatings à la Bruford and also bass notes which harpoon a rhythm between free jazz and post progressive due to its structures as unpredictable as modern psychedelic. It is heavy, incisive, jerky and sometimes very fluid and it is also ground up by a very aggressive guitar. You shouldn’t trust the rather honeyed intro of "Heavily Dependent", because the track topples over a universe of the most anarchic where the rhythmic and harmonious structures of "Omnipotence" and "Odilon" are seen again and corrected with a more daring, heavy and just as much unpredictable approach, where quixotic violins scrape the pulsating rhythm while making it waltz between cacophony and melody. Let’s say that it’s a track for well evolved ears. Selected for an Austrian advertising "Alluvium" is Heart 2nd ballad and a very good one otherwise. It’s an electronic ballad which evolves on the other hand on a heavy rhythm and which begins with delicate twinkling arpeggios which make the flock on a tempo weighs down and slows down by good drum strikes. At once taciturn, sensual and heavy Alluvium progresses with wonderful tinkled notes which cross of tender and dense layers of a docile synth which flees its solos and hooting loops in a din tamed by its soft arpeggios which go and come, reminding us all the sweetness which is at the origin of this great track. Very beautiful! "A Change of Heart" concludes Heart with a track which has very elaborated orchestrations on lighter rhythms. A rhythmic structure which is a little less complex even if constantly evolving where everything rests on the strangeness of sounds and a very progressive philharmonic approach. Although evolutionary, the rhythm remains alive on beatings of more fluid and clear drum and the harmonies are being made by a synth with light solos which mixes marvellously the symphonic approach to a little more soppy progressive rock.
I have to admit that it is with an obvious apprehension that I approached the music of The Redundant Rocker. I imagined a musical abstract world where the sound fauna and the heterogeneous noises would fill the minutes, but it was all the opposite. Heart is a powerful album where the sound effects accompany an EM which goes out of its bed to flirt with a more rock, indie and progressive approach on surprising rhythmic structures to unpredictable forms. Always melodious structures, even in the most anarchic and intense moments, when each of 9 tracks of Heart possess a musical imprint of a previous track, pushing even farther the already very fickle musical reflection of the tandem Wöstheinrich / Reuter. You can get the album as a free download at; http://iapetus-store.com
UNSUNG RECORDS: UR009CD
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lundi 18 juillet 2011
Awenson, who was known under the name of Awen on these days, kicks things off with the core of the boiling Witche’s Trance from the album Shadow. A track which is a powerful mixture of Schulze and Tangerine Dream styles of the vintage years. Here there is no floating intro. Witche’s Trance tumbles with great heavy sequences hits of which chords cavort on a wave-like movement. Tom-toms hammer an echoing tempo which is flew over by acid and metallic synth layers which tear a heavy psychedelic atmosphere with blows of synthesized claws. The rhythm is furious and spits its sequences and unbridled percussions, surrounded by incredible twisted solos from a weighty and nasal synth. Simply powerful, even if extremely minimalist! Nightbirds, from whom it’s the very first time that my ears cross their music, follows with a nice minimalist carousel in System Merge Part I. Calm and mesmerizing, with some sparkling of cymbals, System Merge Part I turns delicately on sequences and arpeggios which skip slightly among beautiful mellotron pads. This gyrating arpeggios’ dance is fading away in a mist filled of lamentations and metallic streaks while being fly over by iridescent shouts. It’s a steel kind atmospheric finale imprinted of a multitude of composite and experimental sound effects which spoils a bit the beauty of its intro. La Dixième Dune’s intro is punctuated with this fusion of silvery sounds which are intermingling to delicate layers of a soft romantic synth. A synth from where appears a fluty sonority which fly over a series of sequences moulding a hesitating tempo which feel one’s way, indulging Bertrand Loreau's very fluid melodious style. Subtly, this entire introduction with fragmented harmonies converges on a structure to divided melodies which flows with an astounding sweetness beneath a soft synth and a string of sequences sparkling of a chords multiplicity to echoing doubloons on a fine rhythm with hypnotic pulsations. And, towards finale, violin strings tear up this mesmerizing arrhythmic march with soft slow and poignant movements, leaving room to a delicate sequence which swirls sensitively, depicting Bertrand Loreau’s entire romantic universe.
Olivier Briand's Libourne Dream’s is doubtless the most amazing surprise of this concert. It’s a track of a strange complexity where the rhythmic approaches postpone beneath superb influences of Tangerine Dream from Hyperborea and Poland years. A very abstruse track due to its phases which are linking, Olivier Briand reproduces a hybridity of TD’s which join these albums (No-Man's Land and Tangent) on atmospheres of a surrealist jungle, rhythms in constant permutation and wonderful amalgams electronic sequences / percussions. Very good and especially very impressive, I don’t recall having heard being so near of the Dream sonorities of Poland years. There was indeed Danger in Dream, but this Libourne Dream's is very different, especially with its out of tune violins which borrow the paths of Beatles in Sgt Pepper years. Simply brilliant, Hat to you Olivier! Christian Richet is a whole character in the universe of French EM. Very unpredictable, he is capable of melodies as cacophony. Here with Live at L. - The First Step, he offers a powerful and strange cacophonous parade tinted of an edifying paranoiac delirium. Heavy pulsations are building the canvas and mellotron strata fall as axes to tear this secret passage which take desperate spirits, trying to escape the Black Hand. Horrifying and extremely uncomfortable, the ambiance which is reigning through in this demoniac track is of a heaviness and metallicity to cute all the gathered breaths, even if the finale throws a stalk of harmony. A curt and jerky harmony which tries to avoid this infernal tempo. Fairway / Seabirds from JC Allier is a track in two movements. Fairway is a powerful minimalism movement with strong sequenced beatings which strum heavily a circular tempo. Keyboard / synth chords dance, sing and are courting on a circular movement which turns until drown itself in the waves of Seabirds and its nice approach of a melancholic fluty synth that a more wonderful piano accompanies with its nostalgic notes which fall as tears of souls.
Closed Encounters of Electronic Music carries admirably its naming because we are discovering in it an impressive variety of EM. Honestly, and without complacencies, I don’t see how one couldn’t like this opus so much it covers a vast ground of EM styles. There is of everything in this compilation which is nevertheless drawing in only 6 tracks; stationary ambient to curt, wild and dark rhythms with long melodious surges which fit so well the varied temperaments that can live in us. There are reminiscences of vintage Berlin School quite as those Dream last strikes of genius. It is an excellent compilation which shows that there are effectively lot of things happening in the lands of Jean Michel Jarre, Space Art, Frédéric Mercier and the other pioneers of the 70’s French EM.
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: http://www.gutsofdarkness.com/god/objet.php?objet=14504
vendredi 8 juillet 2011
The Third Geometry introduces to the soft poetic universe of Sanfilippo with a very fine ethereal line of synth which oscillates of its sparkling chant on a delicate structure livened up by a mix of soft percussions and pulsations. It’s a mixture which shapes a soft and suave rhythm with strikes that roam in an iridescent synth mist, weaving an eclectic unreal universe both ambient and tribal. A musical world imprints of mystery with this electric mist which bewitches on a sparse rhythmic structure and a soft synth so near astral singings. Santa Luminosa’s intro is tearing by a heavy metallic reverberation before finding again the tranquility settled by The Third Geometry. It’s an oniric peace of mind with this soft and bewitching astral singing that the synthesist who now live in Spain likes to sculpt from his synth. A little as on The Third Geometry, the delicate rhythm of percussions and the twinkling arpeggios which skip among pulsations is ennobled by synth layers which sing as celestial mermaids and lamentations of violin, creating a thousand of illusions and passion from a Middle East tribal universe. Continuing in the same vein, but with a clearly more ambient approach, Spirit Allies flood our ears of a sulphurous melody which bewitches with its lamentations sculptured in the tones of a synth with soft poetic tendencies. It’s a superb track impregnated by a strange serenity, quite as Slipped Time and its piano from which solitary notes pierce drill a beautiful mellotron mist as well as Pulsum Sacrum and its great choirs which float around astral bells and synthesized pulsations à la Vangelis. It’s quite nice!
It’s with long synth breeze in slow oscillations that Intrinsic Fluctuations begins. Synth layers are interweaving to form an oblong mist procession where the echoes of an odd tribal world can be heard midway. Delicate lonely arpeggios sparkle there and skip delicately on a glass fauna, among misty flute breathings that sound like Berber tribes tones and of repenting souls walking towards an enchanting world where oasis are outlining on the horizon. Imprint of mystery Subliminal Pulse evolves on nice pulsations surrounded by oniric spectral chants. Like in Alchemical Powers, the rhythm is hardly present if it’s for a delicate alternation in fine pulsations which beat in a universe buried by a subliminal tenderness. Mantram is another delicacy coming from Bruno Sanfilippo's hybrid tones synths. Between tearful lamentations of heart-rending violin and a mystic morning mist, Mantram unwinds as an ode to sadness or a call to melancholy.
As Bruno Sanfilippo describes it so well; Subliminal Pulse is an astral musical journey where inner impulsions try to converge on those more cosmic. At this level Subliminal Pulse is an opus of an infinite tenderness where astral chants are moulding perfectly well to the soft ambiances of a world of which tribal fragrances seem to be the key of our spirituality. Like most of the Spotted Peccary label works, Subliminal Pulse sails between celestial ambient and progressive New Age, evolving through a strange and stunning fusion of a cosmic and tribal universe with delicate rhythms, breaths and Berber lamentations and a synth divided between its singings of celestial sirens and the tears of its violins which shape strangely unreal odes. It’s a nice nightly opus where reminiscences of Vangelis can be heard here and there, but on more honeyed than complex structures.
SPOTTED PECCARY: SPM-1901
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: http://www.gutsofdarkness.com/god/objet.php?objet=14479
You can have more info on Bruno Sanfilippo by visiting his website here:
You can also view a video of Subliminal Pulse on YouTube:
mardi 5 juillet 2011
Recorded in concert at the Hampshire Jam VII, in November 2008, Redshift 08 is an adaptation of the eponym track from the very first Redshift album released back in 2008. We find on it the same spirit and the same fusion between the ethereal ambient and the heavy rhythms of the original, but with an airier and a suppler approach. Fans of TD will be delighted to hear a spectral finale which contains the beautiful mellotron lines of Mysterious Semblance at the Strand of Nightmares. Shift to Blue is a new version of Blueshift which encloses the first Redshift. It’s a reworked version which suffered of a sequencer performance, during the concert. A problem corrected from the rehearsal recordings where Mark Shreeve mixed both performances giving thus a superb result. Beyond this problem inherent to live performances, Shift to Blue is shortened by nearly 20 minutes focusing much more on the sequential rhythmic approach which oscillates between the sweetness and the fury, on superb melodious synth layers and a divine mellotron which preserves the main part of the ethereal movement but without the soporific part of the 1st version. I do prefer, and by far, Shift to Blue to Blueshift that I found rather long on Redshift first opus.
Schlachthof-fünf is the last encore, and the missing one, of the2004 Eindhoven concert which gave us Toll. This way, we finally have the whole concert. It’s a wonderful track in the purest Redshift tradition which starts with scattered electric piano notes which float in an ethereal cosmos. Limpid, these keys are wrapped by spectral breezes and bizarre noises which may come from doors of darkness or dusts letting dragged by fallen angels who furrow the purgatory. From this oblivion in suspension is drawing a sound arc which is waddling as a devilish bed song, kicking away a sequence which roars out its heavy reverberations to introduce the booming guitar, with riffs of steel and howling solos, of James Goddard. Yet this is another great track which allies the fragility of spectres to big metallic reverberations beneath Goblins’ mechanical sniggers moulded in tempered steel. That’s some great Redshift there and the best track on Wild. A caustic breath opens the first measures of Broken World, an unreleased track written in 1996. The breathing is turning into dark choirs which float in between world, on a symphonic synth which filters a harmony that is very near the soil of Mark Shreeve on Legion and Assassin, there where psychedelic streaks penetrate this long dark intro and open the way to a sequential movement which hiccoughs beneath an austere synth. Broken World doesn’t explode. It follows a harmonious tangent in a dark universe, on sequences sometimes heavy and howling sometimes docile and peaceful in a harmonious musical paradox. A paradox that is the links between Mark Shreeve solo works and Redshift first opuses.
Wild 3 is a wonderful Christmas gift that every Redshift fans have to possess. And for those who still doesn’t know that band, it’s an excellent way to discover it because the English group cuts in ethereal lengths to exploit profoundly the heavy sequences which are the trademark of Shreeve and cie. Redshift 08 and Blueshift are two amazing reconstructions of Redshift early works. If it can offend some purists it’s going to please those who, like me, believe that the music has to evolve with its time and its gears during concerts. Mark Shreeve invites fans of the mythical group to a sound orgy which gets out of darkness entrails. You have to admit that it’s kind of hard, even impossible, to refuse such invitation.
DISTANT SUN PRODUCTIONS: DS011
Sylvain Lupari (2009)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=12694
Heavy and threatening wind which howls like metal in pain. Dark and angelic chorus fly over devastation which sticks to mind. The world of Redshift is sordid and nuances its colors and emotions from its sequences and synths. Moreover a fine sequence emerges candidly from this blackness to forged a counting rhymes à la Friday the 13th, but disguised in the morning purity of a Machiavellian way. The sequence waves of an intriguing minimalism while the echo is multiplying its tempo. A new tangent is taking shape, approaching the hypnotic nervousness in a misty dark which oscillates on a slinky mellotron. Darker than intense, Turning Toward Us progresses in a pulsating and droning universe with a marvelous Eastern paradox which is degusting thoroughly the ears. It’s a great track exploited with smoothness which astonishes by its evolution and reaches a form of serenity, always as dark, in a final as lugubrious as its intro.
Redshift opens a new way to EM with a heavy and musical EM that has a good touch of progressive. A daring turn, Turning Toward Us is the most darkest and reckless opus from Mark Shreeve’s band while having a more musical approach than Redshift earlier works. It’s resulting in a dark and progressive EM which is sounding very near to King Crimson dark area but with a higher musical level. That’s great Redshit, maybe the best to date and definitely a must have to any Redshift fans and also fans of dark and progressive music.
DISTANT SUN PRODUCTIONS: DS010
Sylvain Lupari (2008)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=11736
As soon as the cavernous intro of Tormentor can be hear, the atmosphere fills up of heavy reverberations from the analog monster which is the enormous Mark Shreeve synth/sequencer. Sound stigmas are escaping, purifying an atonic atmosphere from its unpredictable trembling. A little as on agony, Tormentor progresses of multiple ascensions tormented by hybrid pulsations which form bubbles of restricted explosions. The movement is slow and sinuous containing a sustained violence which abounds of spiralled melodies, moving and disappearing like frightened snakes. This is some nice spectral Redshift with spontaneous musical effusions as we always like. Vaporous on synths filled of intriguing drones, Nightshift forms a musical ascending curve to the astounding following track; Last of which the intro is reflecting a counting rhyme from horror movies with its arpeggios multiplying in a minimalism echo. The atmosphere is lugubrious and drained by synths concerned in creating a pure diabolic effect. The tension is superb and the sound arch contracts with plasticity to offer a dark melody which is breathing with a bewitching ease. The sequencers play is, as usual, superb and the Shreeve brothers extend a series of harmonies which dance with an echoing flexibility that leads to dreams. It’s a beautiful moment, soft but imprints of a dark beauty, because of the undertow effect of Redshift waves.
DISTANT SUN PRODUCTIONS: DS009
Sylvain Lupari (2007)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=10381