lundi 3 octobre 2011

SENSITIVE CHAOS: Emerging Transparency (2009)

1 Emerging Transparency 7:52
2 Erase Yourself 5:53
3 Fifty Light Years from Home 10:20
4 Bazaar Behavior 11:01
5 Luck of the Draw 7:32
6 Tanzen Filter 11:50
7 Emerging Transparency (Radio Edit) 5:13
8 Fifty Light Years from Home (Radio Edit) 4:17


Emerging Transparency is a find in the musical universe Jim Combs and Sensitive Chaos. Astride the melodious sequences of Berlin School, more particularly Tangerine Dream, the experimental rhythms of free jazz and the hatched tempos of a music navigating on the borders of Funk and Break dance, Emerging Transparency is to Jim Combs what Zoolook is to Jean Michel Jarre. A very good album to lively rhythms and catchy melodies, in a musical universe where the audacity is next to the ingenuity and solos of guitars, synths and saxophones are fastened to keys, percussions and bass as caustic as starved. In brief, it’s an album which fills our ears and holds us on guards.
This superb musical adventure begins with a synth line which undulates and winds around a somber cosmic wind from which breaths shake slow oscillations. After 3 minutes of a floating introduction, "Emerging Transparency" gets out of cosmic limbs with a beautiful sequential line, which looks strangely like the structures of Tangerine Dream on Mojave Plan, with chords zigzagging of a sinuous movement. Resonant bass notes bite this segment, whereas ringings of shimmering chords reduce the heaviness and percussions falling with strength increase the pressure. On a franc rhythm, "Emerging Transparency" progresses and falls under the spell of beautiful synth solos and wandering choirs, plunging the music of Sensitive Chaos towards a rare movement purely electronic with more conventional instruments. "Erase Yourself" offers also an electronic structure recalling the one of Synergy on Games with a hopping rhythm, a little like the gait of a gang street. On spasmodic sequences/pulsations, synth pads and arpeggios to hybrid tones collide in a melodious transparency; "Erase Yourself" evolves with various keys and ringings which decorate a cadence well accentuated. Simply splendid, "Fifty Light Years from Home" starts quietly with carillons which ring on the opening. They are encircled by somber synth winds which roar among these gleaming resonances. A saxophone emerges from this broth of breaths, supported by quixotic violins which give curt strikes of bows whereas, always suave, the saxophone strangles its contemplative lamentations. The tinkled arpeggios reappear. They float and resound in suspension, while that hypnotic percussions transcend this ambient universe towards a more technoïd one. Knocks of a virtual xylophone collide with strength and follow an ascending progression under a sky streaked by sinuous and heavy as well as howling and colourful synth layers, reminding again the musical universe of the Dream. "Bazaar Behavior" transports us in a universe more free jazz than electronic with kind of tribal percussions. Percussions which ally the notes of an elastic and undulate bass, to weaved a bewitching minimalist structure which pulses in a stunning heterogeneous sound fauna. The rhythm skipping in the hands of Tablas percussions and decorated by unpredictable melodies, "Bazaar Behavior" progresses by collecting all the musical jewels on its road, including solos of xylophones and wonderful guitar solos as well as a powerful synth guitar, without forgetting the saxophone which enchants with its piercing songs, beneath scattered synth pads floating here and there.
"Luck of the Draw" awakens our dislocated dancer's instincts with a rather funky and noisy approach. Percussions pound a curt and hatched rhythm, the keyboard spits keys which jump nervously and the synth articulates a jerky language to multiple technoïd tones. Nice synth layers float over this hatched rhythmic, which is the Rockit of Jim Combs, adding a strange depth which is to the antipode of this tempo of a Break dance kind. Layers floating again when the rhythm gets out of breath, a little as to erase the draws but waste of time we became hooked on this tempo with heterogeneous mixes. Frenzied with keyboard keys which skip and gallop, "Tanzen Filter" offers a good rhythm where keys to multiple tones are mixing pleasantly well to abrupt percussions. The bass bites of its slow and heavy notes this rhythmic structure where keys spin, flit and draw stroboscopic musical circles. Moreover, in a middle-route there is a delicious dance of keys which hop of a dislocated way under the yoke of a rumbling bass line. A great track which still mixes the Funky and Break dance approaches; "Tanzen Filter" turns in loops, with some barer passages here and there, watered by nice guitar solos. Shorter and makes for radio, "Emerging Transparency (Radio Edict)" goes straight to undulating and circular sequential movement à la TD. It’s a very good edit, quite as the radio version of "Fifty Light Years from Home" which is essentially concentrated on the rhythmic approach.
Emerging Transparency is an album as powerful as stunning. An album which, tracks after tracks, amazes and subjects us, so much by the rhythms, melodies and finds which abound throughout this brilliant opus where the boldness is not an obstacle to musicality. I adored this album which spreads out a astonishing musicality with a rich sound fauna where sequences, percussions and the bass shape diversified rhythms. Rhythms where Berlin School and experimental EM are wrapped by superb synth, guitars and saxophone solos, weaving a musical universe to paradoxes as delicate as mordant.

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

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