samedi 31 mars 2012

INDRA: Interactive Play (The Essential) Vol. II (2011)

"Indra deserves to be finally recognized for his true value"

1 Walking on the Moon (excerpt from Space) 3:46
2 The Living Forest (excerpt from  Seven) 5:38
3 Golden Ray (excerpt from Seven) 4:38
4 Prelude (excerpt from Plenitude) 3:14
5 Sheherezad (from Tales from Arabia) 3:14
6 The Holy Dance (excerpt from Magic Collection) 4:40
7 Passing Pulse (excerpt from Magic Collection) 3:26
8 Veda (excerpt from Cosmic Sound) 7:38
9 Turning Away (excerpt from Turning Away) 6:07
10 Rustic Pictures (excerpt from Kingdom of Light) 4:25
11 Plenitude (excerpt from Plenitude) 4:25
12 Synapse (bonus track recorded in 2007) 25:17

This 2nd volume of Interactive Play proposes a darker and more introspective side of Indra with more ambient and atmospheric titles where rhythms pierce iodized and iridescent membranes. Only vestige of the “Space” album, "Walking on the Moon" starts this 2nd compilation with a title which flows into our ears with a soft musical perfume of the psychedelic years. Waves of synth and keyboard are enlace into movements of invading and floating layers on percussions which thunder and resound, shaping a bewitching rhythm of cerebral trance where fine arpeggios appear towards the end. The intro of "The Living Forest" is submerged by cosmic breezes and puffed rustles which feed a muffled poly-sonic agitation. Sighs of violins are rising. They open the door to a heavy rhythm which plots a slow ascending race of which the steps weight in clouds of mist, moulding a steady and symmetric tempo. A tempo transported by the caresses of violins, hit by percussions and doubled by other keys of more crystal clear sequences. Also from the “Seven” album, "Golden Ray" leans on a rhythm pulsating slightly in the clouds of violin mists, bringing with it the soft melancholic fragrances which seems to reign all over this album from which I just can’t wear off this strange link that I do with Adelbert Von Deyen and his album “Atmosphere” It's very beautiful. With its chords which fall as a metronome on acid, "Prelude" gets ready to weave the cocoon for a beautiful ear worm. The flow is strangely mesmerizing, even if devoid of rhythm, with fine modulations in its progression. Sitar chords are tinkling behind this hypnotic tick-tock which quietly becomes soaked with iridescent mist and iodized choirs while percussions fall a little before the 2nd minute, solidifying the harmonious impact of this innocent ritornello. After an incursion into the tribal dances of the nomadic peoples of sands ("Sheherezad"), "The Holy Dance" offers a hesitating rhythmic approach with chords which sway on a bed of iridescent mist. The rhythm is fuzzy and delicate. It skips with lightness under lovely inspired synth solos, which perspire an astral serenity and unite their poetries to fluty breaths.
More in a staccato form, "Passing Pulse" shows its rhythmic cavorts by the means of percussions of which the irregular flow suits to the pinched chords, forming a light rhythmic whirlwind which swirls by the strength of the winds. Violin strata snap up this harmless rhythm and surround it of a beautiful staccato movement, like snowflakes swirling in a storm blown by choirs, perturbed by tams-tams and fed by voracious violins. I sure would like to hear the rest of it! "Veda" is a title of atmosphere where the synth waves are swirling and get tangled up among the keys of harp and droplets of water. It’s a long ambient passage, like "Plenitude" which is more orchestral on the other hand thus more moving, where the synth/mellotron plays a preponderant part by multiplying the amphibian waves which modulate a psychedelicosmic and surrealist approach, as in the first works of 
Tangerine Dream (Zeit and Atem). "Turning Away" is one of the first titles that Indra composed and it's a wonderful one which exploits completely its 30 minutes in its original version. On Interactive Play (The Essential) Vol. II, we have the finale part where the sequences swirl under morphic and waltzing synth layers which encircle a circular rhythm from where are escaping fine percussions to felted banging. It’s very beautiful and representative of the minimalist style of Indra, quite as "Rustic Pictures" from the album Kingdom of Light.The excerpt proposed exploits the heart of the harmonious envelope of this track with percussions of which the echoing hammering is wrapped by violins ate by continual jerky knocks of bows. Violins which dance with fury, seconded by choruses which hum with softness under the repeated knocks of percussions of which the echo goes gradually astray in a distant cosmos. Emerging out of iodized sighs, "Synapse" flaunts its rhythmic arsenal with a panoply of sequences which crisscross and fuse their tones as well as their circular movements around fine shimmering arpeggios which try to mold the breaths of an innocent melody. Sequences wind the movement, such as wings of dragonflies, weaving a finely stroboscopic movement while percussions fall to oversize an already very well fed rhythm. Synth chords chirp among the celestial breaths, enveloping this rhythmic crossroads which sounds strangely like the last works of Tangerine Dream with its synth breaths which enfold this fragile melody filled with forsaken arpeggios. This first rhythmic phase of "Synapse" dies away in the resonances of a long pulsatory movement from which the resonant outlines release another rhythmic phase. More robotic and slightly technoïd, this 2nd phase is developing over the oscillating waves of a residue of flickering sequence, laying the foundations for a very beautiful melodious approach which flows with a harmonious sweetness on a zootropic rhythm arched on pulsating percussions and fine melodic sequences which support the hypnotic hammering. Waves and choirs, as well as cosmic tones, surround this slowly bouncy rhythm which dances in our ears for about 8 minutes before that the last phase, more morphic, does switch off the charmer rhythm of "Synapse" which dies in the threatening reverberating breaths of its intro.
Obviously, Interactive Play (The Essential) Vol. II is the perfect complement to the volume I. All the 2 CD offers a very beautiful overview of Indra's first works which are regrettably mislaid in the abysses of time and of its imponderables. I continue to believe that it’s a compilation made to measure for fans, so allowing them to follow the evolution of the Rumanian synthesist for a period of splendor in compositions and productions because Indra has produced not less than 12 albums for the era aimed by Interactive Play. As for to the titles offered in bonus, they are very good; "Synapse" being my preferred. In all honesty, I believe that both are worthy of the money puts on buying each CD which contains very good music in a pond of titles which demonstrates all the creativity of this artist which deserves to be finally recognized for his true value.

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:
* If you want to know more and discover the musical world of Indra, here is his website:

jeudi 29 mars 2012

INDRA: Interactive Play (The Essential) Vol. I (2011)

"Interactive Play is a beautiful compilation of titles lost in the erosion of time..."

1 Sequence (from Kingdom of Light) 2:12
2 Beduins and Camels (excerpt from Tales from Arabia) 3:38
3 Colosseum (excerpt from Colosseum) 5:37
4 Prophet (excerpt from  Plenitude) 5:21
5 Clairvoyance (from Self Game) 5:31
6 Malini (excerpt from Kingdom of Light) 2:57
7 Dynamic Trance (excerpt from Magic Collection) 2:40

8 Higher (excerpt from Self Game) 3:22
9 Up-to-Date (excerpt from Self Game) 4:03
10 Coming in the City (excerpt from Maharaj) 5:13
11 Temple (excerpt from  Plenitude) 3:38
12 While in Oz... (Bonustrack recorded in 2007) 24:24

EAGLE MUSIC EMCD0312011 68:35

Indra's career is doing great and knows a very considerable increasing popularity. Over the years, albums and concerts, the Rumanian synthesist has collected a legion of fan which devoured his discography with passion, requiring from the poet of Hindus' incantations that it dusts his archives to hear his first works. A request that Indra has fulfilled with the reeditions of Turning Away, Kingdom of Light, Parallel Time, Plenitude and Cosmic Sound. Except that the other recordings suffer from the wear of time. They are partially, otherwise completely, destroyed or impossible to reedit. Interactive Play (The Essential) is a compilation which groups exactly some fragments of melodies that Indra managed to recover from these recordings lost in the magnetic erosions of audio tapes. If the quality of the sound varies, that of the compositions demonstrates a very beautiful progression of Indra who parades his influences to finally master them and find his identity in the breaths rhythms and ambiances which are enlace to make room to melodies which are the core of his sibylline approaches.
Indra's musical caves open with "Sequence", from the album “Kingdom of Light”, and its drops of metallic ions which fall in a reverberating pond, moving the caustic waves which insufflate the life to a delicate iridescent harmony. All in contrasts, "Beduins and Camels" offers its arpeggios pinched in the strings of a celestial harp which flow in the vapors of Arabic violins on a heavy bass line of which the threatening notes oscillate as on Pink Floyd's introduction on One of These Days. It’s heavy, powerful and deafening with fine nuances in the strength of the sound that some noble orchestral arrangements wrap of an Arabic veil. Veils which also enfold the swirling rhythm of "Colosseum" and its polyformic sequences which crisscross in a rhythmic chassé-croisé wrapped up by enveloping stratas. It’s a rhythm which reminds me strangely the claustrophobic atmospheres of Remy and Klaus Schulze which hide in a beautiful morphic melody dominated by a melancholic piano and angelic choirs. "Prophet" continues to exploit the dark and nightmarish moods with an intro paved by pantings of synth which measure pads with tones of organ. Without sequences the rhythm is drew by staccato knocks of synth which crisscross with lovely modulations in the movement. It’s a well crafted track which reminds me "Sequence" due to creative approach. "Clairvoyance" is a very charming melody where the dexterity of Indra on piano makes no doubt. The limpid notes flutter and flirt with innocence near fine lines of flutes, at the edge of the caustic resonances which encircle this cosmic melody of an aura of malevolence. The beauty and the beast, the day and night seized in a so short lapse of time! "Malini" is a wonderful title from the “Kingdom of Light” album. The short extract proposed reveals the net influence of Schulze on Indra. As quick as lightning, "Dynamic Trance" twirls of a sequential approach sits on a bass line fed with wild undulations and synth layers which undulate with the strength of winds. The rhythm is fiery and the approach reminds me a kind of crossing between Space Art and Edgar Froese with very vintage synth solos and cosmic tones as well as envelopes of Mellotron which free some thick clouds of astral choruses. A night-melody which also recalls the musical poetries of Bertrand Loreau, "Higher" flows with its melancholic chords which dream in the sheets of mist and pillows of twinkling feathers. In spite of a sound which has badly aged, one can’t hide neither the beauty and nor the sensibility of this title which floats on stars pushed that it is by the mists of Venus.
Another extract from the “Self-Game” album, "Up-to-Date" coos with the same melodic fluid as "Clairvoyance" and "Higher". Chords skip with candour on synth lines to silky tones. If some sing, others flute over this pact of sequences which pound according to their resonant and limpid tones, clicking and resounding with the duality of their harmonies. "Coming in the City", from the “Maharaj” album, is another small jewel on this Alibabic collection which is Interactive Play Vol. I. It’s a mesmerizing track which lies beneath a minimalist structure as only Indra knows how to decorate them with insertions of tones as attractive as unexpected. Fine tams-tams, with a kind of peak-wood tones, initiate the intro. Strikings of xylophones to tones of glass are dancing around these tams-tams, while the bows sway the hypnotic rhythm which draws the mainline of "Coming in the City" which is flooded by the massive arrival of the percussions' random knocks. Enchanter the rhythm limps with its alloy of percussions and its superb orchestral arrangement up to the notes of a surprising acoustic guitar which does court to a flute, parading all the knowledge of Indra to draw ambiances as solitary as poetic on evolutionary minimalist structures. After the waves as well as the abstruse and iodized tones of "Temple", the sequences which alternate of their muffled strikings, shaping the sequential marathon of "While in Oz...", to go astray in the madness of the xylophone strikings, brings us back into a more contemporary era of Indra. The intro swarms with arrhythmic palpitations which pulsate in all directions while a stroboscopic line waves and opens the rhythm to percussions which hammer a heavy and lively tempo, near a techno trance style, before being out of breath and caressed by the astral waves of a lyrical synth. A singer and dreamer synth, of which the iridescent layers float and wave such as the magnetic vocalises of the cosmic mermaids before the rhythm takes back its rights with percussions which resound on echoing pulsations of an irregular flow. A superb synth wave wraps this rhythm with so much hold that it seduces its ardour. But the pulsations escape and dig between two realities, roaming in an ambiance of space before bursting in a passage of rotary trance where everything pulses and swirls in a movement imprinted by invariability. And "While in Oz..." moderates the heats of its pulsations in the dins of an illusionary void at around the 13th minute, with synth waves which float in an oblivion fed by eclectic lamentations, cosmic breezes and intergalactic disturbances. A bad patch of a long sequential marathon which finds a 3rd breathe, near the 17th minute, with increasing sequences of which the lithe tones are melting to those of glass to skip in all senses under the breaths of a synth which widens its morphic melody until the dawn of its last ochred breaths.
Interactive Play (The Essential) Vol.I is a beautiful compilation of titles lost in the erosion of time which will undoubtedly thrill the fans of Indra. As for me, it allowed me to discover the vestiges of an album which seems to me very interesting; Self-Game. It’s a pity that it’s seems impossible to reedit it. And the bonus track is an excellent complement. Far from clashing in regard to the whole compilation, it’s rather representative of the rhythms, ambiances and melodies which decorate this first anthological phase. While respecting the sequenced structures that Indra used at that time "While in Oz..." also reveals the evolution of the Rumanian synth man in his rhythms and ambiances with nuances in his structures which distance the Indra of nowadays from his initial influences.

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:
* If you want to know more and discover the musical world of Indra, here is his website:

jeudi 15 mars 2012

RON BOOTS: From the Forgotten Rooms of a Lonely House (2011)

"From the Forgotten Rooms of a Lonely House is a quite a musical gift"

1 Bielefeld by Night (MorPheuSz) 5:40
2 Another Timeroom!!! (MorPheuSz) 7:36
3 Da Capo (MorPheuSz) 8:36
4 Lost Stars 4:36
5 Vocat Cataclism 16:18
6 From the Dark Cellars of the House 9:24
7 Spinning out of Control 8:13

From the Forgotten Rooms of a Lonely House, what a title thought, is a CD gift that Ron Boots gave to his fans who attended to his concert at the Bochum Planetarium on December 30th, 2011. It’s an album of unreleased titles where Ron Boots has searched in the hidden recesses of his studio, from where the magnificent title, to dig out titles which show all the versatility of the Dutch synthesist. The first 3 titles are interpreted by MorpheuSz, while the 4 following ones come from Ron Boots' creative attics. Titles to the rhythms and ambiances very diversified which are linked in a long opus of 60 minutes where all the unreleased material sounds vaguely familiar, a little as if it would have been of use as basis to titles scattered here and there in the repertoire of MorPheuSz and Ron Boots.Recorded at the 3rd EM Festival of Bielefeld in September 2010, "Bielefeld by Night" plunges us into the hybrid ambiances of MorPheuSz, there where progressive rock meets EM. It’s a beautiful electronic blues/ rock where Frank Dorittke's plaintive guitar weaves some suave solos filled by emotions on good percussions. The synths vaporize clouds of mists and modulate waves which undulate while subdividing their winds into brief solos on a soft structure where the dream borders lasciviousness. A little as in Garden Gnomes and Goblins, "Another Timeroom!!!" transports us towards the borders of the sands' peoples with a languorous tribal rhythm built on nice Tablas style percussions. Synths, as guitar, embroider a world of whim with fine iridescent layers and melancholic notes which float, shine and sigh in an Arabic setting. "Da Capo" is a magnificent title pulled from by the album of the same name, written by Eric van der Heijden in 1998. It’s a gorgeous melody of which the harmonies are stolen by the splendid romantic guitar of Frank Dorittke. The intro is in a very Vangelis style with synths to angelic breaths which blow on rotary cymbals and harmonious guitar riffs. Dreamer, the rhythm strolls between the layers of a synth which also frees notes to tones of harp and the harmonic guitar solo which sing on percussions of which the steady strikings structure a boleric rhythm. And at around the 5th minute, riffs and strikings insist in their tergiversations. And bang! "Da Capo" trades its dreamlike structure for a more rock approach where Frank Dorittke makes figure of an octopus with his furious solos and Harold van der Heijden hammers an infernal rhythmic, pushing back "Da Capo" within the limits of a deliciously melodious electronic rock 'n' roll. It’s very good and its gives me the taste to know a little bit more about Eric van der Heijden's music.
The dark winds of "Lost Stars" introduce us into the 2nd portion of From the Forgotten Rooms of a Lonely House; that of Ron Boots. These caresses of Aeolus are blowing in our ears, making sparkle the stars and roll harmonious waves into a fine harmonious refrain. "Vocat Cataclism" is the jewel of this collection of unreleased tracks and it’s unthinkable that Ron Boots forgot this title in the meanders of his house! A fine sinuous line, molded in the Arabian curves, rises of an intro stuffed by winds and atmospheric tones. Glaucous and slightly resonant pulsations structure a pleasant down-tempo where dances this superb synth line with very suggestive ideas. The percussions fall, giving more mordant to a rhythm which embraces a languorous Berlin School of Klaus Schulze style and his digital era. The tempo is fascinating and hypnotic with its heavy percussions of which each strike resounds around a line of synth to outlines as sensual as intriguing. A tempo becoming heavier towards the 5th minute with more hammered percussions which slam under twisted synth solos. And "Vocat Cataclism" to continue its rhythmic journey of electronic insurgent with a more psychedelic approach in its 2nd part. Even if the synth solos whistle with a good cohesion above a rhythm of lead, the synth and the keyboards weave superb lines to tones of old progressive hymns of the vintage years Flirting with the illusion of an approach which seems well structured, "Vocat Cataclism" navigates on airs of improvisation where every knock of percussion nails us in our armchair and every synth fly transports us in the years of the chemical dreams. It’s a wonderful track which worth alone the buy of From the Forgotten Rooms of a Lonely House. Discreet percussions of which the furtive strikings get lost in imaginary rustles (or real ones) and oblong sinuous reverberations frame marvellously the naming of "From the Dark Cellars of the House" which is a long atmospheric prelude to "Spinning out of Control" which, as its title shows it, is molded into spinning rhythms. The cymbals make run their tsitt-tsitt, trying to escape the pulsatory percussions and other ones which resound and drive towards a pulsating rhythm. A heavy sequence throbs and encircles a rhythm which is decorate by fine hatched synth pads, aligning their melodious spasms in a long stroboscopic strand and propelling "Spinning out of Control" in the rhythms of dance-floor.
For a gift, From the Forgotten Rooms of a Lonely House is a whole beautiful one. It’s a good collection of unreleased titles which flows with a strange homogeneity for titles scattered in the attics of time. There are beautiful jewels in this collection which also contains nice musical charms. And fortunately there are still some CD left of this stunning collection which will delight for sure the fans of Ron Boots and MorPheuSz. And for those who still hesitate, it’s a good way to be introduce in those worlds, especially that the price is quite OK.

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:

samedi 10 mars 2012


"It’s by listening to D. MO Vol. 3 that we seize all of Robert Schroeder's impact on the evolution of EM"
1 The Meaning of Time (1982) 6:09
2 Soft and Lovely (1983) 4:00
3 Wonderland (1981) 5:18
4 Passing Landscapes (1986) 5:40
5 Santo Domingo (1988) 7:59
6 Higher Than High (1989) 6:24
7 DreamSpacer (1991) 7:34
8 Met Mr. Miller (1989) 5:35
9 Emotional (1989) 10:27
10 Tragedian of Love (1989) 4:43

Here is another rendezvous with time that the fans of Robert Schroeder are always expecting with impatience. From Paradise to Driftin', D. MO Vol. 3 overflies an era where Robert Schroeder was looking to perfect some new sound textures on his robotic rhythms. Symmetric rhythms well arched on hybrid sequences which mix their rhythms with percussions to tones as much of lead as silk. Melodies! They always flow with this harmonious ease into stunning innovative sound paintings. Avant-gardist, the synthesist of Aachen has always looked to exploit the maximal capacities of his synths and sequencers with a marigold of the detail for his rhythmic and melodious structures. If his musical visions tended to get away from the roots of pure Berlin School, he implanted on the other hand a new dimension to EM which was going to facilitate the emergence of a cloud of new comers in the mid 80’s. D. MO Vol. 3 is the front door into this universe that the purists have sulked at that time and who gradually start to enjoy by the music of artists exactly influenced by the approach of this precursor of rhythms and sequences. It’s like being in the entrance hall after having taken the back door.
Nostalgic, the meditative intro of "The Meaning of Time" shakes its musing with percussions of which the light hopping strikings frame twisted reverberations to let filter a soft lunar lullaby which sometimes croons in our head and sometimes roams in a cosmos streaked by galactic gases. Supple, the melodious "The Meaning of Time" wins in intensity, calling back all the harmonious dimension of Robert Schroeder's first works. "Soft and Lovely" is a short entrance into the floating and cosmic spheres of the analog years with its synth layers which coil and copulate beneath tones of stars dusts and breaths of cosmic choirs. After a slow departure with soft percussions which beat under a cloud of synth waves muddled up in their syncretic tones, the morphic rhythm of "Wonderland" is increasing gradually. Kind of tribal percussions resound as tams-tams from islands in the South while an odd quivering bass line hiccups and erodes a funky rhythm which bends under thunders of percussions and thunderstorm of synth solos. A synth which exploits totally all of its sound and intuitive capacities and where choirs, resounding effects, clouds of ices and juicy solos are covering an indecisive rhythm. "Passing Landscapes" is a beautiful electronic melody built on a light rhythm, slamming percussions and a synth with a catchy harmonious tune. Pleasant, the synth throws a balm of jazz with a melancholic approach which smiles from the corner of the eye. With its bongo drums style percussions which sparkle of a Latinos rhythm, "Santo Domingo" is a lively melody closer to the groovy rhythms of Double Fantasy than of Robert Schroeder's repertoire. The keyboard draws chords to guitar sounds textures, while the synth subdivides its harmonic elements with nice solos which are mixing to the gases of mists and to cosmic choirs.
Notes of guitar wander in the cosmic tranquillity. They introduce slowly "Higher Than High" which energises to the sound of the silvery cymbals. On a slow and furtive rhythm, it progresses of a minimalist procession on the sound of three sequence chords which return in loops under a sky obscured by waving solos of which the shrill twists roam under passive choirs. The cymbals slam and the percussions pound, witness of the rhythmic instability of "Higher Than High" which will break its automated mould to espouse the heavy strikings of percussions and the rhythm a little dislocated which they shape by means of waddling sequences under this sky burning of musical rays. Although written in 1991, "DreamSpacer" is the title which is the most closer to the ambiances of Galaxy Cygnus-A' s era with its sequences of peak-wood kind which are pulsing like starving suckers. The rhythm is fluid and surrounded by this envelope as much chthonian as cosmic where shadows, waves and voices roam in an intersidereal nothingness before embracing a chaotic phase where it cackles while tuning with a harmonious refrain. After a melodious and catchy "Met Mr Miller", "Emotional" hooks our hearing as only Schroeder knows how to make it. A fine wave of organ opens an intro which some waddling sequences are rocking of an innocent approach. Percussions support these sequences. Percussions which subdivide their tones, borrowing ringing of threatening glasses and speaking glasses, when they don’t fall very hard on a languishing hypnotic tempo which crawls on the undulations of an organ to tones of psychedelic years. And the bongo drums percussions fall, over sizing the rhythmic approach of "Emotional" which is weave in a superb pattern of percussions, drum and sequences which are not without reminding me Tangerine Dream and Bus Station on Near Dark. The keyboard frees a series of five chords which roll in loops like notes of a guitar with a cold while the synth with tones of organ is muting into a spectral guitar, pouring an enchanting melody which wraps the hearing of a strange psychedelicosmic aura. "Tragedian of Love" ends this journey into the spheres of temporal forgetting with a rather funky rhythmic approach where synths borrow tones of trumpets.
It’s by listening to D. MO Vol. 3 that we seize all of Robert Schroeder's impact on the evolution of EM. The synthesist of Aachen always refused to flood his creativity of a castrating approach, from where his tendency for the research and development of new equipments and the innovative tones. If it’s true that his style can sometimes destabilize one has to see, and especially to hear, beyond stereotypes in order to seize all the dimension of this character which is capable, of a simple snap of the fingers, of carrying us between the oniric spheres of Berlin School and the rhythms of fire of a wild EM, molded in sequences and percussions which leave indelible tracks in our ears.

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:

* And if you want to know more about Robert Schroeder and his magical soundworld you can visit his website here:

jeudi 8 mars 2012

MOONBOOTER: World of Apes (2 (2011)

"World of Apes (2 is a wonderful collection of swirling rhythms and circular sequences"
1 tamed in Apeland 5:20
2 1985 4:38
3 the Message 5:05
4 Fukushima 5:49
5 Pershing Meets SS-20 6:20
6 Tschernobyl 5:35
7 fun fun fun 4:07
8 Epigone 7:03
9 Insanity (Sequencer 14) 6:09
10 Tik Tak Toe 6:05
11 Kismet in code 5:33
12 deserted 6:20
MB 1102

And the madness continues … Between his last opus about the agonies of nuclear and World of Apes (2 there was an incident of Fukushima nuclear power plant. And nowadays it’s the threat of a potential Iran-Israeli conflict that hangs above our heads. Indeed the madness continues …Like on his first volume, the rhythms of Moonbooter are wrapped up in ambiances so melancholic and full of restraints. Rhythms of lead wrap in envelopes of sorrow. But there is still some juice in the explosive rhythmic structures of Bernd Scholl who knew how so well to merge his energetic music in the ethereal moods of Berlin School. And World of Apes (2 is a wonderful collection of 12 titles where swirling rhythms and circular sequences from the noisy universe of the dance floors and upbeat rhythms of Moonbooter are trapped into transitory approaches to latent evolutions and to turns more oniric than feverish. Certainly that Bernd Scholl didn’t hang his sequences nor his pulsatory rhythms but he measured his energies to offer an enchanting EM where the soft techno and the upbeat live harmoniously within structures where the parallelism has of illusion only the bangs-bangs and the booms-booms which go astray in waltzing synth layers. Review of a surprising album of which we didn't expect in this way …...
The sampling of an American radio station during the years of prohibition opens "tamed in Apeland". And contrary to World of Apes (2, this last opus of Moonbooter is not flooded with sound samplings, Bernd Scholl wanted to leave more place to his music. To Moonbooter! Delicate felted percussions and an oscillating bass line introduce a soft rhythm while crisscrossed sequences roll like a carpet of balls, following the moves of keyboards’ keys and skipping under the iridescent synth stratas. Percussions fall and slowly the waltzing rhythm of "tamed in Apeland" swirls under foggy and hatched synth pads, drawing a mixture of soft disco and soft techno built on a sweet, dreamy and harmonious beat. "1985" pursues the slow rhythmic begin introduced by "tamed in Apeland" with an intro which gallops on the back of tones of gyrating suckers, pulsatory percussions and tsitt-tsitt cymbals. Feverish sequences start to wiggle. They gesticulate under synth layers which encircle a motionless but rapidly expanding movement. Other crystal clear sequences are add to this rhythmic pattern, dancing of their alternating strikings on a structure which tergiversate between the emotional impulses of its violins’ strings before exploding of a heavy pulsating movement. The swirling sequences and resonant pulsations of "the Message" plunges us into the unbridled rhythms of Moonbooter's repertoire. The tempo is powerful, pulsatory and hammered by heavy percussions/pulsations while feverish and hiccupping sequences are flogging a rhythmic structure which is spasmodic and hyper jerky that a vocoder covers of a cold robotic approach. "Fukushima" is a beautiful electronic ballad filled by a profound melancholic approach. The keyboard keys which skip at the opening weave an appealing oniric approach which goes beyond the percussions resounding softly with some sweet banging. The tempo becomes then fluid and espouses a stunning Asian approach with strange glaucous pulsations and chords which stroll in the furrow of a flute to meditative breaths while other gyrating chords oversize a melodious approach as poetic as creative. It’s very beautiful. It even loosens some scents of Tangerine Dream on their The Atomic Season. Flittering sequences appear out of harsh breaths and hoarse rumblings. They flitter nervously, as to escape a predator, while the intro of "Pershing Meets SS 20" takes shape like a tale of science fiction with its synth to tones which sound like apocalyptic sirens. It’s a superb intro which throws itself into a buzzing rhythm of a fusion of percussions and abstruse tones of vitiated and creased metal. The rhythm is hard and stroboscopic, swirling with the same pace as the sequences and percussions which go into all directions. That’s very good and it strips the painting of the walls, if walls hold on of course!
After a somber monasterial intro, where chthonian choruses are psalming in a sordid emptiness, "Tschernobyl" lives on lugubrious pulsations which caw on a latent circular rhythm. Melodious sequences, with a bit of Halloween influence in the melodic tune, are winding all around this rhythm which swirls limply and preserves a static envelope, prisoner of the wrapping synth layers to violin strings. The more we move forward in World of Apes (2 and the more we are stunned by this fusion of techno rhythms, sometimes a bit of trance, and/or the upbeat rhythms filled by the dreamlike approaches and the electronic impetus of Berlin School style. "fun fun fun" is a superb melody à la Enigma which charm on a slightly hopping tempo and pleasantly swirling, fed by celestial voices It’s totally attractive! The slow and furtive rhythm coming out of a fauna of heterogeneous tones, "Epigone" progresses through hoops of resonances and guitar riffs which roll in loops under enveloping violins. Slow, the intro explores an atmospheric ascension on an indecisive rhythm before melting in a heavier phase, chiselled by sharp sequences and harmonized by fluty breaths which preserve their ingenuousness in a rhythmic as heavy as static. Fine notes, as a solitary guitar, rock the introductory tranquility of "Insanity (Sequencer 14)". Impromptu sequences encircle the melody which grows rich of reverberating synth layers and others more melodious. Another line of synth is added. It guides the melody which undulates of catchy harmonious tune which leans on pulsating percussions, dragging "Insanity (Sequencer 14)" towards a curt and edgy rhythm where layers of synths and crystal clear chords merge their harmonies in a very beautiful melodious final. "Tik Tak Toe" offers a nervous and stroboscopic rhythmic structure which arches on a meshing of curt percussions and stormy sequences in which bind themselves to synth layers with tones of sirens. The rhythmic and melodious structures are alive and lively, overhung by a fusion of choirs and soloing synth waves while being encircle by sharps and iridescent sequenced serpentines which parade as fast as the pulsations bubble. "Kismet in code" espouses a bit the same structure but with a more lightning rhythmic approach while "deserted" concludes World of Apes (2 with this balladesque and melancholic approach which feeds the rhythmic soul of this last opus of Moonbooter's post apocalyptic rhythms.
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:

mercredi 7 mars 2012

MOONBOOTER: World of Apes I (2010)

"World of Apes I is a strong opus of upbeat EM"
1 Living in Apeland 6:46
2 Inside Nukes 6:23 
3 M A D 5:04
4 Cowboy und Indianer 5:59 
5 Losing Innocence 4:30
6 Atomic Train 4:50
7 Gently Terminated 5:47
8 A New Hope 5:22
9 You Will Be OK 4:37
10 The War Begins 7:23 
11 The Melancholy Within 5:54 
12 Brahma Astra 7:05 

Moonbooter's 7th album, World of Apes I throws a critical glance on mankind and its crazy nuclear arms race. Without hesitating, I would say that it's the best Moonbooter album to date. Moonbooter offers 12 music pieces of his own mark, where hybrid rhythms of soft techno cross progressive synth-pop. Composed of 12 tracks of Moonbooter's (Bernd Scholl) unique musical structures, World of Apes I soaks in a Kraftwerk atmosphere in regard to the rhythms, and Roger Waters for the sound effects where noises and voices portray torments and conditions of the nuclear effects. Throughout 70 minutes of listening, the listener is surrounded by a pleiad of sounds from diverse sound experiments that Moonbooter dug up during his research. World of Apes I is a unique concept album where floating, circular and swirling rhythms are eroded by these apocalyptic inserted sounds.
A Geiger counter opens the measures of "Living in Apeland". A vaporous synth full of caustic violin windings drags in a strange cloud of radioactive dust, filtering some stunning ghostly choruses and voices coming out from beyond the grave on a floating tempo where felted percussions measure its spectral density. A deathly silence, lasting a fraction of second, re-introduces a slow rhythm which slaps on good percussions, hybrid sequences and an ascending bass line shaping a slightly syncopated rhythm. A cadence which floats languishingly on a synth of strange and multiple spectral emanations, of which the tasty stratas shape a catchy refrain. It’s a strange sound mixture which will form the numerous catchy tunes that we find on World of Apes I. "Inside Nukes" offers a circular and wave-like rhythm of hesitating and hatched loops, exposing a nervous structure, where monastic choirs roam on sequences and percussions which entangle with frenzy. "M.A.D.", for Mutual Assured Destruction, is one of the most accessible tracks on the album. A piece where the use of vocoder brings us back to Kraftwerk's Radioactivity and Trans Europe Express, with multiple percussions rattling which hammer a metallic and hypnotic rhythm where the enigmatic Kraftwerk universe goes alongside Jean Michel Jarre's. "Cowboy und Indianer" is a pearl of sensibility. It’s a superb lascivious dance for sleepless who think of nuclear disasters on an incredibly poignant background of drama and sensibility. The rhythm is soft and slow, encircled by multiple layers of a solitary and distressing synth where weak minimalistic keyboard keys are the witnesses of this nightmare and try to put us to sleep. The more I listen to it the more I visualize Winston at the cowards' café in Georges Orwell's 1984. This is profoundly moving and striking, want it or not. With its vaporous intro where a synth of ghostly waves scrutinize a gloomy sky, "Losing Innocence" wanders in a caustic torpor making you feel your blood runs cold. It’s a track which explains itself the devastation and the regret while being an acerbic murmur as on the superb "Gently Terminated" and its anvil percussions as well as the very beautiful "Brahma Astra". Another catchy and very accessible track, "Atomic Train" edges with a serpentine synth which hoots sinuously at the mercy of landscapes which scroll on a drummed rhythm which shapes marvellously a train taking off to a speed which is not without reminders of the hypnotic ecstasies of Kraftwerk. Still there, the musicality offered by Moonbooter is surprisingly vital and fresh. A title which on the first listening comes out ordinary, but the more we listen to it, the more we realize all the sound and very melodious universe which is hiding in there. The little cousin of "Inside Nukes", "A New Hope" presents a nervous structure where the rhythm is infernal and where the synths free apocalyptic laments, as war sirens preventing enemy attacks. It’s a furious title with slamming percussions which will liven up any DJ's creativity. Fine iodine crystal arpeggios charm the heavy and sinuous rhythm of "You will be OK"s heavy percussions. It’s a title build of indefinite rhythms, quite as "The War Begins" and "The Melancholy Within", which ally wild and nervous rhythms to floating and languishing passages which oscillate in the unique musical universe of Moonbooter which may be described rightly as hybrid electronica of the next generation.
World of Apes I is a strong EM opus. But a more alive and upbeat music than the Berlin School, although ethereal steams can be felt here and there. Without hesitating, I would say that it's the best Moonbooter album to date. Moonbooter offers 12 music pieces of his own mark, where hybrid rhythms of soft techno crosses progressive synth-pop with a zest light dance-floor, on structures lighted up by an intense emotionalism which carries World of Apes I.
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:

lundi 5 mars 2012

UWE RECKZEH: Subsesizer (2011)

"Those who miss the days Exit and Trans Harmonic Nights by Peter Baumann, throw an ear to this album"
1 Kontiki 10:35
2 Subsesizer 12:32
3 World Without Rules 8:47
4 Heat Voyage 6:33
5 Friendly Jack 9:19
6 Second Give 6:30
7 Bingen Return 7:13
8 Oceanview 15:37

The limpid glass ringings which start "Kontiki" are switching shapes into superb sequences which collide and resound, molding the fascinating chaotic rhythm of the introductory track of Subsesizer. The rhythm hopping and staggering beneath the weight of these sequences to variable strikings and hybrid tones, "Kontiki" displays its 10 minutes with beautiful variations in its movements. Variance as harmonics as minimalists which crisscross or thread their way through between lines of synth with melodious soloing tunes as well as in a panoply of parallel tones of which solos float with a mesmerizing spectral approach on a rhythmic structure as subtle as delicious. Strongly inspired by Tangerine Dream, the universe of Uwe Reckzeh floats in this era where Berlin School was in full transition; be at the beginning of the 80’s but with little melodic zest for the vintage years. Subsesizer is his 8th opus. An opus molded in the rhythm much more than in the melody. An album where sequences and percussions throne on beautiful melodies which point their harmonies with a strange limpidity for a musical ground fertile in hard-hitting rhythms. And according to me; it’s Uwe Reckzeh's best work yet, because for very first time the German synthesist peels his compositions by elaborating long structures with rhythms as much variable as minimalist. Compositions always so catchy, but more complexes, where he lays his heavy and resonant sequenced structures into superb mixed-up rhythms where hang very beautiful melodies molded in his memories of Tangerine Dream.
A dense coat of iridescent mist covers the intro of "Subsesizer". Shimmering arpeggios pierce this swaying fog, digging up pulsations which cavort in the echo of these arpeggios of glasses. Complex and creative, the title-track of Subsesizer is molded in a fascinating rhythmic diversity flavored of hard-hitting reverberations. Sequences of glasses and others moving forward stealthily beneath discreet subdued choirs and percussions falling heavily draw the embryonic pattern of an evasive rhythm. A rhythm which looks for itself in this long intro and which finally blooms a little after 4 minutes under fine hypnotic pulsations which pulse under sequences and circular reverberations. From then on, the rhythm of "Subsesizer" is a sequential inversion and inter-phase shifting where sequences swirl, percussions resound and cymbals clink on a harmonic circular and oscillatory rhythm which goes up and down such as a hypnotic sequenced carousel. The hopping of the crystal clear sequences which enlace to the drum roll of "World Without Rules" plunges us irreparably into the musical universe Peter Baumann and his Trans Harmonic Nights. These sequences, which are nervously strummed there, and the synths a bit symphonic, which free brief harmonious solos all along the track, weave a musical universe so near that one would believe to hear a track stemming from sessions of recordings of this mythical album from Peter Baumann. "Heat Voyage" is a very beautiful electronic melody which begins on increasing sequences. The rhythm is arched on a meshing of pulsations, sequences and percussions, shaping a structure with slow oscillating loops with fine incursions of keyboard chords with tones a bit honky-tonk. Pleasant, the synth gives birth to melodic solos as well as some very nice iridescent mist which surround them, freeing poetic filets which hang to beautiful twinkling harmonies. Simple but very catchy!
After an intro with a bit of innocence, the rhythmic structure of "Friendly Jack" unfolds under heavy resonant sequences of which the successive keys, and sometimes deviants, draw long snakes which oscillate through synth pads and layers with a strong
Tangerine Dream flavor It’s a long track with fine variances in its structure where the short solos of synths and the percussions add an interesting depth while moving it away from its minimalist plasticity. The pulsatory rhythm of "Second Give" plunges us straight out into the universe of Exit and the Network 23 track. It’s E-rock, hard-electronic and very punchy with good percussions and nervous sequences while "Bingen Return" presents a more melodious structure with sequences of glasses which sparkle and espouse deaf pulsations, encircling a wave-like rhythm disrupted by percussions and synth pads. A lovely veil of poetry covers this rhythm which sometimes skips with more insistence. It’s a synthesized poetry where iridescent mists wrap symphonic breaths or words while the rhythm alternates between its strength and reflection beneath nice breezes of ethereal choirs. A long track with shape-shifting and evolutionary rhythmic figures, "Oceanview" begins with melancholic notes which draw dreams under the tears of an oniric flute. A heavy sequence bumps this meditative fragility and guides "Oceanview" towards an ambivalent rhythm where the heaviness remains a prisoner of this poetic vulnerability. A spectral aura floats around the sequential movement of which the flow dithers between the fall of more jerky keys or the restrained of more juicy and slow ones as well as the addition of echoing percussions and their strokes a bit felted which smother under the veils of flutes priestesses of wind poetries. And the abstruse movement of "Oceanview" continues its progression on a structure in constant tugging where the rhythm stows with a melody which goes astray in the mazes as much atmospheric as rhythmic where the melodious reminiscences of Baumann pierce our ears.
Minimalist and melodious, rhythmic and oniric, Subsesizer navigates on the ambiguity of its rhythmic structures and its harmonious approaches. One of the big strengths of
Uwe Reckzeh  is his art to mold sequences which subdivide and crisscross to draw deviants, heavy and catchy rhythms to whom bind melodies sometimes contrasting. And on Subsesizer the synthesist of Nordrhein-Westfalen digs deeply and takes the time to exploit his rhythms and to melt his melodies on them. Melodies which sometimes accord and other times clash but which constantly attract the hearing and the amazement, the sign that we are in the presence of a very beautiful album.

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:

UWE RECKZEH: Unnatural Light (2009)

"Uwe Reckzeh presents another fine opus with varied rhythmic dimensions"
1 Fall Line (Mo´s Revenge) 6:55
2 Good Vibration 6:21
3 Wavelength 7:31
4 Metamaterial 5:39
5 Linear Polarized 7:39
6 Pure Energy (Boogie Mix) 5:16
7 Refractive Index 8:05
8 Annihilation 5:51
9 Radiation 7:30

Fine chords swirl like a musical carousel on "Fall Line (Mo’s Revenge)" opening. A soft minimalist movement surrounds itself by a fauna of miscellaneous percussions of which the bangs pierce a soft synthesized veil. The pace goes quicker on brief neurotic sequences, drawing a strange wave-like rhythmic structure on a synth with lyrical whistling which stick to the ear. Once again Uwe Reckzeh presents an opus with varied rhythmic dimensions in a superb musical atmosphere. On Unnatural Light we are far from the complex structures of EM. It’s a beautiful collection of 9 titles that we listen to and degust with a fine pleasure so much the musical universe in it is rich and harmonious. And this even with sequenced structures that clash from the melodious basis. Each title is presenting on intros more minimalist than atmospheric, turning figures as surprising as charming.
Fluttering notes open shyly "Good Vibration". Although poetic the synth is kind of gloomy and haunts a structure becoming more cadenced by a heavy wavy sequence and chords which tinkle in a musical universe loaded with almost symphonic synths. It’s a nice and cute title which catches on. In fact the whole musical universe of the German synthesist leans on beautiful melodies which stumble between the new and the old Berlin School. Like "Wavelenght" and its hesitant structure which moves on a hemming synth and some minimalist keys which hop on heavier synth eurhythmies. We would believe to hear TD’s ex Peter Baumann version 2010. "Metamaterial" is a wild race which leads on a heavy galloping structure and a vocoder stratified by a synth with strangely striking layers. It’s a nice piece of music which switches its cadence with a completely surprising harmonious heaviness, like on "Pure Energy (Boogie Mix)". Arpeggios on a rhythmic progression are dancing on the opening of "Linear Polarized". Hammering percussions and a synth with heavy layers overload this minimalist pace which sometimes isolates itself and sometimes joins a load and diversified musical fest. "Refractive Index" is a long minimalism corridor where drummed sequences are scatter on an atonal structure which wraps itself of a heavy melodious synth up until its finale, while "Annihilation" offers a structure which is more supported by a rhythmic similar to Eurythmic's Sweet Dreams are Made of This. It’s a minimalist structure which rolls in loops on beautiful synth stratas. "Radiation" closes Unnatural Light with a hypnotic and sinister tempo which progresses stealthily, veiled by synth layers and stratas that sound like good Tangerine Dream. A dark approach is covering the rhythm, with a vocoder which recites a fanciful rite in a chthonian ambience where the harmonies are outline on a beautiful melodious synth, just like all we hear on this beautiful 7th opus from Uwe Reckzeh.

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:

vendredi 2 mars 2012

BERND KISTENMACHER: Antimatter (2012)

"Antimatter is a masterpiece which listens to it as we read a tale or a book of poetry!"
1 Preparations 1:38
2 Rising 2:20
3 Caverns of Knowledge 8:00
4 Injection 2:04
5 Acceleration 10:05
6 Filling the Emptiness 5:02
7 They Call it Soup! 9:48
8 On The Shoulders of ATLAS 9:30
9 What's the Matter? 7:00
10 It Doesn't Matter 4:29
11 Large Hadron Collider 7:21
12 Where Is Higgs? 5:59

MellowJet Records | BK1201 (CD/DDL 73:20) ****½
(Symphonic EM)
When Bernd Kistenmacher took up with its synths in 2009 he undertook a trilogy cycle that he will call the “Trilogy of the Universe”. Celestial Movements being an ode for stars and Beyond the Deep a reflection on the Genesis, Antimatter loops the loop with as music theme the reproduction of Big Bang in laboratory and by the fact the foundations of our existence. These 3 albums of Bernd Kistenmacher are bound by a symphonic and electronic fusion where the German synthesist redefines the borders of EM by composing a superb electronic symphony. There where Berlin School has as root only its minimalism approach and its creative synth solos, while the melody and its ethereal layers of mist which cover its beginnings feed the greed of the monstrous orchestrations and its perpetual crescendo. Composed in 1 long piece segmented in 12 segments, Antimatter begins as it ends; with a fine musical source of energy which is going to captivate our interest for the 75 delicious minutes to come.
Alternative waves, a little as oblong electronic beeps, roll such as waves on nothingness’ back. They amass dusts of antimatters and they sculpture the orchestral beginnings of "Rising" which arises from the emptiness of "Preparations" to waltz weakly in the abysses of the cosmos. There where glaucous reverberations flirt with sumptuous momentums of violin of which the curt hits of bows introduce "Caverns of Knowledge". Slowly Antimatter confronts its melodies with the torments of its structures. If the cellos’ riffs from "Caverns of Knowledge" are hard and hatched, the melodic synth breezes, the fragile chords to tones of guitars and the crowd of violins of silk which sing beneath the repetitive strokes of the stubborn cellos testifies of this nuance and this balance between the fragility of both extremes. After a small "Injection" of colourful electronic tones and crisscrossed orchestrations, "Acceleration" begins the first sequenced rhythms of Antimatter. Twinkling and hopping sequences are hooking to the deaf pulsations which amplify their tones under the guise of threatening synth strata. The rhythm binds itself to the strings of cellos ploughed with strength, multiplying tenfold the fury of "Acceleration" which becomes pierced by violined orchestrations while sequences strum very discreetly a tempo which decreases its intensity to let piano notes roam in a brief meditative passage. But the strokes of the bows see to their rhythmic structure. Tearing the oniric approach, they hammer the quixotic strings with passion scarpering the plains of imagination in a surprising crescendo of passion and emotion where the breaths of horns oversize the melodious philharmonic structure of "Acceleration" which ends its orchestral ride in a sumptuous cinematographic finale. This is some great musical art here! The romantic piano of Kistenmacher returns haunting our emotions with the very beautiful "Filling the Emptiness" and its hesitating notes which stroll in a melancholic ethereal mist. A fine melody emerges from it, rocking both our dreams and transporting our feelings but also raising a guiding harmonious line which overflows on the 2nd portion of Antimatter.
With its deaf pulsations which resound around tinkled sequences and the harmonic vestiges of "Filling the Emptiness", "They Call it Soup!" espouses the same introductory line as "Acceleration". The sleeping rhythm wakes up little by little to burst with violent orchestral jolts, freeing splendid synth solos which overhang a stubborn rhythm. Piano notes are unfurling on this hatched minimalism approach, pounded by a set of sequenced keys which beat on the same pace, while superb synth solos with more philharmonic tones surround this rhythm which fades little by little in the forgetting before being completely lost in the laboratories of LHC (Large Hadron Collider). "On The Shoulders of ATLAS" is the jewel of Antimatter. Uncertain notes of a melancholic piano trace the introduction. They draw a beautiful melody which resounds in our ears and which clears itself a road up to the soul as the violins and the cellos are supporting its fragility. The strokes of the bows which follow and this kind of tremolos which get free of it crush the listening and paralyze our judgment so much it is beautiful. And suddenly, we toggle in the depths of our feelings with this propensity that Kistenmacher has to juxtapose his orchestral ornaments and these discreet vocalizes in an immense emotional painting where everything becomes confused and nothing else affects the reason. And "On The Shoulders of ATLAS" to progress in a wonderful crescendo, allying this cinematographic approach and this influence of Kistenmacher for
Vangelis which encircles Antimatter and which cements all of its beauty. "What’s the Matter?" pulls us in the mazes of the antimatter with synth layers which enlace and merge in a slow waltz without movement. A fine pulsation pierces the silence of immobilism. Its flow adds quite another dimension to "What’s the Matter?" which becomes as musical as mysterious with synth waves which coo of tones as spectral as shrill, before being lost in the curt and violent hatching of the fanciful cellos of "It Doesn' t Matter", whose increasing rhythm is rocked into suave synth solos. And it’s from this evolutionary rhythm that arises "Large Hadron Collider". A rhythm molded in the brisk and brief orchestrations, accompanied by notes of piano and over towered by synth solos and where sequences alternate subtly their strikings and draw a nervous rhythmic which go astray in the ethereal mists and romantic notes of piano, displaying the perpetual duality of the rhythms, the ambiances and the melodies which surround Antimatter. "Where Is Higgs?" concludes Antimatter with a solitary melody played on an electric piano with tones which sound vaguely like a harpsichord. Bernd Kistenmacher reigns in as a solitary master over his trilogy’s finale where nothing gets lost or builds up itself but where everything is of beauty and everything ends like that begun.
Superb! Antimatter is a wonderful album which listens to it as we read a tale or a book of poetry. Throughout its discovery we go deep into the imaginary of Bernd Kistenmacher and its feelings. It’s a powerful album which merges marvellously the electronic and philharmonic approaches as well as the poetic and harmonic aspects. If that would be
Vangelis who would have composed Antimatter one would shout to the genius and would vote this album the Rite of Spring. Then, let us make as. Antimatter is a master-piece of contemporary music and it's about time that we recognize the genius of Kistenmacher which has no equal to write music.

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:

* If you want to know a bit more about the sound world of Bernd Kistenmacher, you can visit his website here: