dimanche 31 juillet 2011

TANGERINE DREAM: Purple Diluvial (2008)

A little as its 1st Part (Groove EP GR153- with Ron Boots), the intro of ''Armageddon in the Rose Garden Part II'' goes with a vaporous synth which zigzags according to choirs with breathes of silvered alto. The sequence is light and strums a more fluid rhythmic flow among a synth to symphonic run-ups. The musical whirlwind is stirring on yeller synths, recalling the anarchic sequences of Pinnacles and Stuntman on vocalize à la Purgatorio. Adversarial between so different eras, this 2nd edition of CUPDISC is also staggering as the 1st. This is some great Tangerine Dream as we wish it for years thanks to Thorsten Quaeschning contribution that seems to have the same impact as Johannes Schmoëlling on TD musical direction. If there is still someone who didn’t hear his work with Picture Palace Music, it’s about time to remedy it.
Speaking about Schmoëlling, ''Purple Diluvial'' opens with a soft romantic piano. We would believe being exactly in the Schmoëlling times with this piano sensitive to suspended resonances which float in a mystic foggy. This superb introductory melody embraces a rhythmic moderated of nice crystal clear xylophone chords which chimed on a fluty synth to obsessive harmonies à la Underwater Sunlight. A synth chiselled by choirs, of which strata are melting skilfully between riffs and lamentations of a whinny guitar. That’s a heady finds which pique someone’s curiosity in this sequential maelstrom which spins on wild percussions, initiating a feverish and muddled rhythm which spins without really embracing a melodious pace. This musical effervescence melts in the tranquility of a linear synth where a piano roams on guitar riffs and softened choruses. Babylon the Great Has Fallen starts with a melancholic synth with a whistling more acute than harmonious. It’s a soft sequenced ballad which borrows a shimmering path with a striking melodious approach. A bit more and we would be in snivelling New Age so much it’s that soft. A slow introductory procession which artlessly overturns on a slowly syncopated rhythm which we didn’t expect with hatched riffs, a hemming bass and anvil percussions. Still there Quaeschning disconcerts with a fusion of choirs and sumptuous melodious strata to guitar riffs and juicy solos on a more incisive tempo and more frenzied sequences. It’s another superb track which shows a quite interesting talent in Thorsten Quaeschning.


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=11051

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