vendredi 31 mai 2013

TANGERINE DREAM: Cruise to Destiny (Topographic Dreamtime) (2013)

“Yes, maybe TD isn't where one would wish to be, but Tangerine Dream will always remain as noble as its name. That, one has to admit it”
1 Devotion 7:26
2 Betrayal (Sorcerer Theme) 3:50
3 Three Bikes in the Sky 6:01
4 A Wise Fisherman's Nocturnal Song 4:07
5 The End of Bondage 5:31
6 Too Hot for my Chinchilla 3:51
7 Dream Phantom of the Common Man 8:31
8 Sungate 4:52
9 Hoël Dhat the Alchemist 7:10
10 Cat Scan 5:47
11 Paradise Cove 3:51
12 Dreaming in a Kyoto Train 7:30
13 Moon River 4:54

EastGate | CD060 (CD 73:28) ***½ (E-rock)
For a starter let me be clear; I don't want to start a crusade against Tangerine Dream and even less their fans, of whom I am you remember? Except that sometimes, enough is like... enough. You know many artists who put in boxes the rehearsals of a concert which has never taken place? Worse; a rehearsal of half of the concert because a member of the group got injured. Roughly speaking, it's the rundown of “Cruise to Destiny”. In spring 2013, Tangerine Dream was schedule to perform live on a liner along with Yes, Steve Hackett, Nektar, Saga and several other big names of the progressive music within the framework of a series of concert on the Caribbean entitled sea Cruise To The Edge. Except that Edgar Froese (multiple fractures during a nasty fall) and Linda Spa (disease) were forced to abandon Thorsten Quaeschning, Iris Camaa, Bernhard Beibl and Hoshiko Yamane have to postpone the project of participating to this musical cruise in the future. Disappointed the fans? Wait! Stopping at nothing to satisfy the slightest desires of these fans, the treasurers of Eastgate had the good idea to make of this rehearsal an official album.
I did a small calculation. Do you know how many albums compilations and/or in concert that the band has produced since the foundation of Eastgate? I counted more or less 35 compilations and 25 Live albums since 2005, that is more than 6 albums a year, plus the DVD. It's not bad, no? And each time the press info tells us that there are or will be surprises, novelties and/or a Froesiation or another Tangerination of the sound quality. An enhanced sound quality as they say. And nevertheless! I may moved, turned all the offered track versions that I get lost there. Every track seems or is alike. And I may force to find something different that I get lost there even more. I listen to a track and I compare it with the same on another album and there I look for the difference up until I go mad. And we let ourselves being caught. One says to us; ain't that bad! It's exactly what happens with “Cruise to Destiny”.
The presented set list proposes a more rock Dream with a clear incursion in the Melrose years. And it's very interesting because tracks such as "Betrayal", "Three Bikes in the Sky", "Too Hot for my Chinchilla", "Paradise Cove", among which it's the first interpretation in concert which won't end to be one, and "Cat Scan" enjoy a nice and good music-lifting. Like a friend of mine told, these are good recycled older tracks. "Sungate" remains "Sungate" which we know for its decade. One of the surprises of “Cruise to Destiny” is this list of tracks that the Dream never played in concert yet. Set apart "Paradise Cove", we find "Devotion", "The End of Bondage" and "Dreaming in a Kyoto Train". "Three Bikes in the Sky" figures on several bootlegs, and I do prefer by far this version. I thus appreciated to rediscover the boiling "The End of Bondage" and "Dreaming in a Kyoto Train" that I had lost of ear with the Sonic Poem Series. But are they different or not? Only the diehard fans could tell. Speaking about this series one shall underline a first interpretation also of the powerful and intriguing "Dream Phantom of the Common Man". And if we like this series, "A Wise Fisherman's Nocturnal Song" is another surprise and beautiful novelty as much dark and melancholic as "Hoël Dhat the Alchemist". And, as TD likes to do since Under Cover - Chapter One,
the group makes an interpretation of an old pop success with Andy William's "Moon River". The whole thing delivered without words. It's beautiful, it's good, it's tender. We dance on it body to body with our love. My girl simply loves it, but that still sounds like music for elevator.
Hey yes! I put my ears in it and I got caught. “Cruise to Destiny” fulfills the promises of its press kit. There are very nice surprises with interpretations of tracks that we have forgotten in time, except for "Betrayal" of course. Tracks played just with enough difference not to deny the originals, while adding to it this little something which clicks in the ears. Edgar's last novelty, "A Wise Fisherman's Nocturnal Song" is more than interesting. We feel in it the clear hold and influence of Thorsten Quaeschning on Tangerine Dream and it's promising. In brief, in spite of its appearances of nth compilation, “Cruise to Destiny” has all the necessary fibers to captivate those who like TD, as well as those who know the group only from the tips of their ears. And damn that TD does some good music. It's just that the band is not where we would want whether it is. It's not that bad because there are many others more audacious out there who go in its footprints. But Tangerine Dream will always remain as noble as its name. That, one has to admit it.

Sylvain Lupari (May 30th, 2013)
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

vendredi 24 mai 2013

THORSTEN M ABEL (featuring Martinson): RAL 5002 (2013)

“In the shade of the PPG Wave 2.3, TMA delivers in RAL 5002 a strong album as high as our expectations and the bar was quite high after Sequentrips”

1 Arctic Voyage 8:30
2 Clouds 7:28
3 Before Midnight/Luna 8:42
4 Sequentum P 10:09
5 Kristallin 10:43 
6 Birth of New Light/Sol 7:30
7 Trip to New Shores 7:02
8 Deja Vu/ Reprise 4:18

SynGate | CD-r TA04 (CD-r 64:22) ****
(E-prog/rock with a zest of New Berlin School)

After a rain of iridescent breaths, "Arctic Voyage" takes the cradle of its rhythm on puny sequences keys which cavort in a puzzling rhythmic axis. The seraphic synths and the hopping sequences bring us back in the time of Tangerine Dream. Illusion even more pronounced with the discreet riffs of guitar which rock in the shade of synth and sequences fusion. The jingles of cymbals announce the strikings of percussions which plunge the track into an electronic rock. Floundering on its bed of sequenced balls and of their rhythmic schizophrenia, "Arctic Voyage" rages on a heavy rhythm fed by hatched riffs and by philharmonic synth pads before kissing a short ambiospherical phase and re-biting a rhythm decorated this time with melodious keyboard chords and incisive guitar solos that Martin Rohleder peels with a melodious assassin approach. We cannot say that Torsten M. Abel is trapped in his style or his influences. Behind the powerful PPG Wave 2.3, the German synthesist teams up again with the guitarist Martin Rohleder to offer an album which tergiversates constantly between the Berlin School paths of the digital era with an analog sonority. “RAL 5002” is an album created in all the subtleties of the PPG Wave 2.3 which returns some tones as much analog as digital while having several phases of rhythms forged by intense lines of sequences with furious movements. The result is a great and beautiful album that will please undoubtedly to those who love progressive rock and especially the fans of Mind Over Matter, because it's what indefatigably comes to my mind as “RAL 5002” feeds my bewitchment.
"Clouds" offers an approach more moderate than "Arctic Voyage" while keeping the same musical ingredients. It's a kind of ballad which allies marvellously these undisciplined sequences to some more orderly percussions, shaping a two-phase rhythm which limps in the lap of beautiful synth layers in the harmonies of mists of which the dreamlike circles are flowing into our ears as a carousel of innocence. Discreet, the guitar frees its solos which mould a sky of harmonies that we hear sparkling here and there in the background. "Before Midnight/Luna" brings us in a swampy universe where the bass sequences draw up a furtive rhythm which pound in an arthropod fauna with its singings of locusts which live among guitar solos and of its shrill harmonies split in the lunar winds of the synth and of the singings of wolves. A little bit and one would believe to be in Mind Over Matter's universe, especially with the progression of an ambiospherical rhythm which feeds on the scattered rotations of percussions. We are always in a cosmic broth of MOM with the too good "Sequentum P" and its carpet of sequences which pound furiously like some hundreds of balls rolling to lose brightness on a wonky conveyor. The chords of a solitary guitar are strolling with the breaths of a dreamy synth while that the rhythm is fading out to be reborn again under a more undulatory shape with buzzing sequences which crisscross in a heavy rhythmic vaulting, bringing "Sequentum P" towards a more rock approach with good percussions and a guitar which bastes its twisted solos among notes of an acoustic guitar that one pinches with a Hispanic dexterity. The rhythm becomes as much furious as heavy with these fat sequences which gurgle of an organic aura on the shadows of some strong percussions and the ethereal mists of a synth which place more of its harmonies than of its solos.
"Kristallin" caresses our ears with a gleaming line of sequences which makes waltz its keys in a kind of ritornello mi diabolico-virginals. Clanic percussions brush the innocent electronic riddle that a synth and its seraphic voices is covering of its prismic charms. A bass line with resounding chords dances out of time on Tablas percussions while that the rhythm takes root in its morphic sands dance that a synth adorns of an angel dusts. After the swamps of "Before Midnight/Luna", "Birth of New Light/Sol" brings us near some restful oasis where birds are chirping and synth waves are floating and of which the combined harmonies is flowing in the shade of monasteries bell towers. A synth line, and its singings as jerked as a break-dance rhythm, extricates itself out of this rural serenity, introducing a curt rhythm where some fluty breaths are kissing the solos of a guitar a bit jazzy. Heavy and powerful, "Trip to New Shores" turns our ears upside down with a structure of strong e-rock which denies any shape of meditative poetry. It's powerful and heavy, with a meshing of hard electronic percussions and oscillations of sequences which structure a furious rhythmic ride and keep up a beautiful melodious approach à la Tangerine Dream eras of Johannes Schmoelling to Jerome Froese but wouldn't be Loom? "Deja Vu/Reprise" spreads its air of déjà vu with a more electronic approach than on Sequentrips. Omnipresent, the guitar of Martinson splashes a nostalgia with plaintive solos which cry on the resonances of chords closer to a metallic harpsichord that of a melancholic piano.
Even with its title of space laboratory, “RAL 5002” is an album very earth to earth. It's a powerful album, gnawed on by rhythms and atmospheres, very short I have to say, as much intense as the spirit of musical adventure and of exploration which are within the reach of an instrument so much versatile as the PPG Wave 2.3. Torsten Abel resuscitates a genre that Klaus Hoffmann Hoock had buried with the deceased Mind Over Matter; either some e-rock fills by surrealist atmospheres which live marvellously with blazing rhythms. But what matters most is that TMA delivers an album as high as our expectations. And the bar was high after Sequentrips.

Sylvain Lupari (May 22nd, 2013)
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

mardi 21 mai 2013

BILL ANSCHELL: Impulses (2013)

“Impulses is a musical rendezvous filled with an eclecticism of the genres and where the jazz thrones on structures sometimes honeyed and sometimes strangely aggressive”
1 Wild Mushroom 3:44  
2 Gridlock 5:09  
3 In the Soup 5:18
4 For Ranga 2:11
5 The Lone Beacon 6:46
6 Mustang Sally (Mark Rice) 6:23
7 Shifting Gears 2:47
8 Le Goggier 4:24
9 The Seed 4:35
10 Amadinda Groove 2:30
11 Naima (John Coltrane) 5:12
12 Not Under My Watch 7:58

Blow Hard Music 101 (CD 56:55) ***½ (E-Jazz)
Talking about electronic jazz? Why not! I do believe that's necessary to open our portal of perceptions to all kinds...well, more or less. And I have to tell you guys that I didn't dislike. “Impulses” is Bill Anschell's 5th album. The man is jazz pianist who rolls his bump since the beginning of the 80's. His last album is a musical rendezvous filled with an eclecticism of the genres and where the jazz thrones on structures sometimes honeyed and sometimes strangely aggressive. The 12 structures find their strength in a skillful meshing of pulsations and percussions with compulsive beatings and rolling, pulsations and organic riffs which outdistance the work from a simple album of jazz which however preserve its acid tints. Here's a review about an album of electronic jazz by someone who knows nothing about jazz but loves EM.
And it is softly that Bill Anschell tries to cajole the listeners to his style which rocks them by diversities. Leaned on notes of a pensive piano which roll in a minimalist melodic pattern, "Wild Mushroom" is a nice e-ballad. A kind of lunar down-tempo where some penetrating synth blows in the tones of melancholic jazz sing on a meshing of sedentary pulsations/percussions and on smooth chords of glass which are ringing for a secondary melody. "Gridlock" is very near the phases of Herbie Hancock's androids dance with a broken rhythm which hangs on to some percussions rolling. The musical envelope is as well rich as puzzling with a crowd of tones, as organic than electronic, where the debauchery of sounds brings us to another level. Lost chords roam in this mishmash of typist’s kind of percussions, floating as white shadows on a structure which is so closer of some jazzy psychedelic break-dance. I like it because that's very particular and that reminds me the years of madnesses of Bill Nelson on Red Noise, without the voices of course. "In the Soup" is a nice track all in contrast with its percussions which run wild such as some xylophone keys on acid, breaking the delicate morphic approach of a contemplative melody which auscultates our ears with lamentations eaten away by regret. I don't know jazz enough to peel the genres but let's say that "For Ranga" is more of an acid kind with a sound whirlwind as lively as melodious. "The Lone Beacon" is a superb track with a long mesmerizing structure which undulates like sea waves enlightened by a burning sunset. The percussions borrow some Caribbean airs while the synth waves, like everywhere likewise on “Impulses”, are dragging their melancholies like some breaths lost in the stratosphere. It's very beautiful.
"Mustang Sally", from Mark Rice, is a very aggressive, untidy track where the rhythm is rough draft and sat on a meshing of pulsations/percussions and organic lamentations. A rhythm articulated by brief jerks and kicks of percussions while the big pads of organs bicker with some floating and rather incisive solos of guitars, feeding an atmosphere of the most eclectic where the ambient moods, the prog rock and the jazz-rock live with a stunning symbiosis. After the innocent ritornello that is "Shifting Gears", which possesses quite a whole pattern of rhythm in the tribal tendencies, like on "For Ranga", "Le Goggier" borrows a texture of old jazz for carnivals with a structure of organic rhythm as strange as a music of fair where the acrobats roam through carousels and do tricks of cheap magic. "The Seed"? Hum...I have a little of difficulty with these turbulent rhythms which swirl in structures of acid-jazz, stopping to embrace an ethereal passage, or a wandering melody, to restart immediately of its stormy kicks. And nevertheless, there are beautiful fragments of melodies which cry in this envelope broken by its rhythm so much rebel than unpredictable. "Amadinda Groove" is a beautiful melody. It's a slow dance with fragrances of lounge where chords of e-piano adopt the rotation of percussions and the jingling which waddle among some galactic streaks, giving the track a lunar nuance. I like the version of John Coltrane's "Naima". The track evolves inside a harmonious envelope which is finely torn between its soft rhythm and its evanescent ballad. One could tell to listen to some very nice lunar jazz. "Not Under My Watch" is a track which is in the same vein as "Mustang Sally". The track offers a curt and edgy rhythm which explodes of the strikings from some unbridled percussions which blast such as fireworks exploding in a too high sky and which quiets down with some fragments of mislaid melodies. At both explosive and serene, it depicts marvellously the universe all in contradiction of the acid and progressive electronic jazz from “Impulses” which lost many of its electronic spirit in the 2nd part. I like it well. It's quite new to me and I would say that I will consume it in small doses, which is segment by segment with the 1st one for starter.

Sylvain Lupari (May 19th, 2013)
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

dimanche 19 mai 2013

FANGER & SCHÖNWÄLDER: Analog Overdose 3 (2003)

“The presence of Klaus Hoffmann-Hoock brings to Analog Overdose 3 a rebel and untidy side which completes marvellously the electronic fluidity of Thomas Fanger and Mario Schönwälder”
1 Hall of the Bourbon Lillies Part I 21:04
2 Hall of the Bourbon Lillies Part II 14:04
3 Hall of the Bourbon Lillies Part III 17:52
4 Bar Liquid (Encore) 19:57

Manikin Records MRCD 7067
SynGate|CD-RMR67 / 2012 (CD-r 73:04) ****
(Progressive Berlin School with a zest of groove/lounge)

Recorded live at the Satzvey Castle in 2003, this 3rd episode of the Analog Overdose series is an unaccustomed musical rendezvous. “Analog Overdose 3” is a fusion between the hypnotic and groovy rhythms of Fanger & Schönwälder and the psychedelico progressive structures of Klaus Hoffmann-Hoock. The album being out of print, SynGate took the helm by making it available in a cd-r format with a musical perfection proper to the German label which so invites you to a delicious mix with a stunning outcome.
A wave from a cinematographic synth spreads its philharmonic strata and its clouds of blue mists to guide "Hall of the Bourbon Lillies Part I" towards a puny rhythm, articulated by riffs of sequences which sound like some soft wood or like knocks on downy anvils. It's a whole world of sequences which dance in our ears. Sequences in the varied tones of which the curt and jerked hits shape a dislocated rhythmic which dances within the cracklings of synths. Hypnotic and mesmerizing, the intro is melted with a muddled rhythm pierced of streaks and flew over by twisted solos. Not really atonal, nor really very rhythmical, "Hall of the Bourbon Lillies Part I" takes more vigour with percussions which roll in an android walking among a thick cloud of jumping keys rolling as balls in an abacus and a carpet of balls on a conveyor, creating an effect of unique rhythmic echo to the movements of sequences from Fanger & Schönwälder. Even if the universe of the duet cogitates around these sequences, synths are not outdone as prove it these very beautiful solos, to tones of guitars, which cover the second phase of this spasmodic rhythm. "Hall of the Bourbon Lillies Part II" adopts a pattern of funky jazz with crackling chords a bit organic which mould a rhythmic dialect of aliens in a background filled of some fragrances of the retro disco years. These chords to hybrid tones skip and cavort on this floating structure which finds its balance on some silky enveloping pads. The track exploits completely its 14 minutes to borrow a more avant-gardist phase, dissociating itself from this pattern of slow ambient dance tempo which, by moments, overturns into a lounge genre.
An air of carnival introduces "Hall of the Bourbon Lillies Part III" with a structure of circular rhythm which spins without finding its nest. Swirling such as rhythmic lassoes, the movement is fluid and dribbled by jumpy sequences. A beautiful Mellotron layer and a mix of synth/guitar glance over this overture that we feel and that we guess frenzied. The percussions light a rhythm with a look of a free-jazz which struggles in a cacophony chewed on by riffs of guitars and sequences, inviting the electronic six-strings of Klaus Hoffmann-Hoock spat its acute streaks and its solos on the loops. The tempo works hard in this kind of fusion from the styles of Mind Over Matter, Manuel Göttsching (E2-E4) and Fanger & Schönwälder. And gradually the intensity gets out of breath and "Hall of the Bourbon Lillies Part III" embraces a more ambiospheric phase where the lamentations of the e-guitar are melting with tenderness on floating and suspended pads of a morphic synth. "Bar Liquid (Encore)" is dynamite. It's the perfect fusion between Fanger & Schönwälder and Klaus Hoffmann-Hoock. The rhythm is fine and hatched by riffs of sequences which hiccup in the delicate frenzy of the bongo style percussions. The harmonious envelope is weaved in layers of a synth with paradisiacal breaths and the lamentations of a guitar that the leader of Mind Over Matter tortures with passion. The communion between both approaches is great while the track becomes more and more intense with a clearly more aggressive guitar which fights against the invasion of synths and their seraphic languages.
With “Analog Overdose 3”, the Berlin duet continues to amaze and to seduce by leaving an enormous place to the creativity of their guest. The presence of Klaus Hoffmann-Hoock brings a rebel and untidy side, unique to Mind Over Matter, which completes marvellously the electronic fluidity of Thomas Fanger and Mario Schönwälder, whose Analog Overdose series continues quietly its evolution outside the limits of pure Berlin School. Here are two artists who are not afraid of going where others refuse even to think of it.

Sylvain Lupari (April 2007 and translated for Synth&Sequences on May 15th, 2013)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

jeudi 16 mai 2013

ERIK WOLLO: Celestia (E.P.2013)

“As always, Erik Wollo drags his listener into deep ambient poetic moods with just what it takes in rhythms to let him full awake”

1 Celestia Part I 8:53
2 Celestia Part II 5:50
3 Celestia Part III 5:48
4 Celestia Part IV 6:31

Projekt | ARC00091 (DDL27:04) ****
(Ambient, filmic and psy-tribal EM)

Ringings of carillons brighten up the night-breezes of the oceanographic singings. And "Celestia Part I" plunges us straight out into the enthralling mi-ambient universe of Erik Wollo's new EP. Another synth line, more discreet and brighter, counterbalances the dark approach of the introduction with an iridescent veil, paving the way to some fine riffs and pulsations which gurgle in the shade of clanic percussions. With its delicate rhythm, "Celestia Part I" has airs of déjà vu.  Mystic, “Celestia” floats on the ambiences of Silent Currents with 4 tracks which ally the fine rhythms of Wollo to his poetic atmospheres of musical landscapes. "Celestia Part II" borrows a darker bend, even dramatic, with slow layers filled by tones of ageing organ which glide over a rather spectral melodic pattern weaved of organic loops which coo in their echoes. The moods are sibylline with these seraphic choruses which try to pierce this opaque cloud of dark strata, leaving sound imprints torn between the blue and the black. It's with fine rainy drops that the transition between "Celestia Part II" and "Part III" is made. Confirming the proverb which says that every cloud has a silver lining, "Celestia Part III" inhales the ambiospheric serenity with a meshing of synth lines to angelic breaths which float over fine pulsations. Always pulled between the rhythm and the atmospheres, between the black and the blue, “Celestia” confirms its ambiguity with a finale where the psy-tribal rhythms are stirring under the piles of synth strata and of their harmonies tinted by their paradoxes. "Celestia Part IV" is a pure marvel and brings us back in time with a huge reminiscence of the rhythms that Steve Roach evoked in his period of Western Spaces and Desert Solitaire. The track is heavy of its hectic rhythm with a bass line of which the humming chords sculpt a languishing approach while that the percussions break out in a nervous and bubbling rhythmic show, concealing these synth lines and these oceanic breaths which have always injected the spectral and seraphic approaches which floated over the darkness of “Celestia”.
Sylvain Lupari (May 10th, 2013)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

lundi 13 mai 2013

BODDY-SMITH & MOLLOY: Other Rooms (2013)

“Other Rooms is a pure ambient work where abstract music is winding among intense ambiences”

1 The Basement 31:33  
2 Two Postcards 17:37  
3 From Where I Sit 23:16  
4 Spirits Rising 21:21

DiN | DDL15 (DDL 93:47) ***½
(Ambient experimental analog EM)

Within the framework of a 3 vinyl records box-set (Spectroscopic) produced by Vinyl on Demand (VOD110), which grouped his first 3 cassettes (Images, Element of Chance and Options), Ian Boddy has dug into his musical archives in order to find music written in the same time. And there was! From where comes “Other Rooms” that Ian Boddy put in the availability of his fans via the Bandcamp account of his label DiN. “Other Rooms” groups 4 tracks that were too long to be inserted into this box-set. Tracks composed by Ian Boddy and his buddy of that time, Sid Smith, which are purely ambient, exploratory and experimental. And I like the title! It's very representative of an album which was extirpated of another dimension in Ian Boddy's universe. A dark and experimental universe where the sound experiences of the analog years gave some sound cocktails as stunning as puzzling and sometimes even strangely mesmerizing. The other rooms live in the Workshop studio in Newcastle-upon-Tyne at the very beginning of the 80's. It was in this place that Ian Boddy spent his years of training in the spheres of EM. It was also the time of sonic experiments where Boddy worked at both on the analog synths and on recording loops as well as sound effects. Musical elements which widened their droning veils in some kind acoustic echoes. And the outcome is an intense music of atmosphere which is the witness of the dark and black ambiences that have guided Ian Boddy's first works and the musical vestiges of which we still hear on his works in solos and with Mark Shreeve on Arc.
There are a lot of things that can happen in the basement of imagination. And there is a lot during the 31 minutes of "The Basement". Loud knockings, like some heavy hits from poltergeist in hollow walls, resound in a sound painting to the textures of embryonic schizophrenia while that "The Basement" attacks our ears with an intense atmosphere of fright. The air is filled by a meshing of synth lines, nebulous layers and spectral waves which coordinate their obsessional frights. The knockings went silent but voices, hooting and whispers concealed in white noises eat away at our fear whereas the first pulsations draw a black rhythm at around the 7th minute. A rhythm which skips such as a huge gnome limping in a glaucous universe from where echo some explosions which slam like whip lashes in a sound whirlwind which reminds us that the doors of the alienation are never completely closed. This din of a magical apocalypse calms down little by little, letting these pulsations, became like the beatings of machines, get blurred in the squeaking of waves, that we can compare to those of Martenot, which roam such as sharp whistlings of ghosts. The 2nd phase of "The Basement" always remains so enigmatic with an abstruse mixture of serenity and terror where noises buzz of their plasmatic ringings in a nothingness adorned by tones as iconoclastic as serene. Disturbing and full of atmospheres. I imagine perfectly the effect in a black forest, especially with the breaths and the panting of the electronic beast, that "The Basement" can have on the control of inner fear. "Two Postcards" is the first of the two tracks written by Sid Smith, who plays bass and spreads his samplings of field recordings. The track borrows the same musical corridors as "The Basement", without the approach of visceral fright, with an ambient structure fed by experimental curiosities where Sid Smith lays down his samplings of a fast-growing society in search of a rural peace in a sound fauna filled by dense synth layers. Layers, sometimes black and sometimes shrill and also sometimes vaguely musical, which draw heavy ambiences by the gloom of caustic reverberations among which the acuteness breaths and eroded harmonies float and cover the snores of a bass more creative than living being. "From Where I Sit", again composed by Sid Smith, is a very penetrating track. The voice of Jane Molloy invades the space with hums, ahs and breaths mi-seraphic and mi-spectral which float and rolls in loops on tones coming out of a tape delay system. It's so much near the sources of the synths that I was trapped. It's a very enchanting track where the voice of Jane Molloy marries marvellously these oblong and floating tones which float and interlace such as iridescent spectres to shadows as much shrill as the threads of silver that one fiddles with the blade of handsaw. And these ghostly lamentations continue on the introduction of the very intense, but always ambient, "Spirits Rising" from which the strata which roll in loops are sounding like the big bells of church which tinkle in a sound nothingness painted of alarming streaks. Warmer breaths cross the confused spirits of the bell towers while that quietly "Spirits Rising"crosses its phases of serenity and dives back into its torments, spreading the net ambiguity of its paradoxes.
Other Rooms” is a work which address as much to the fans of sound experiments from Ian Boddy as those who like an experimental EM that the silversmiths of the analog art could sculpture from a simple breath. Anti music? Maybe! Except that the atmospheres which roam all over these long ambient sound paintings are simply near anxiety. They tear the ear, as the fear the stomach, testifying of an efficiency that the time was never able to tame.

Sylvain Lupari (May 12th, 2013)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

jeudi 9 mai 2013

STEVE ROACH: Future Flows (2013)

“The beauty of Future Flows lies in this fusion of the taciturn ambient works and those more dreamlike, more melodious from Steve Roach”

1 An Omnipresent Sense Prevails 10:58  
2 Spectrum of Change 9:35  
3 Air Meditation 5:55  
4 The Texture of Remembering 11:14  
5 Rapt in Night 4:04  
6 Heart of Light 3:52  
7 The Future Flows from Here 16:59
8 Regeneration Revelation 8:21

Projekt | PRO289 (CD 71:03) ****
(Deep ambient music)

It has been a long time since I that had my rendezvous with Steve Roach. Even if the shaman synthesist from Arizona multiplies the works which have all some similar structures, it remains in each of them a unique musical soul which differentiates Steve Roach from the other makers of ambient structures. The second opus of a trilogy to be ended which began by Soul Tones in the winter of 2012; “Future Flows” drags us into an experimental sound universe where Steve Roach manipulates the sounds by sculpturing them as a cabinet maker works the wood. The purpose aimed by Roach is to insufflate his music a spectral aura which will float in our ears as the ghosts of the desert nomads are enriching its legends.
And his breaths of synth are always so warm. So welcoming, like friendly breezes which call us back to our inner feelings. On "An Omnipresent Sense Prevails", they caress our ears with spectral harmonies that we perceive in the translucent whispers which float with a shaded lightness. There are linear movements and others more swaying in some synth layers which float of their long musical wings, swirling lazily above our perceptions. Making it, two sound entities are in confrontation; a calm one which blows like blinkered winds on a horizon darkened by its spectres and the other one more musical which floats such as seraphic rustles. But the one as in the other one, we are in the den of the
Immersion series but with more incandescence. In fact, forget this and let's rather talk about Structures from Silence, because "Spectrum of Changes" is a harbor of serenity with its pile of synth strata, as soft as musical, which float between two ears which cannot refrain from making a link with this monument of chloroformed atmospheres that is Structures from Silence. Surfing on the harmonious vestiges of "Spectrum of Change", "Air Meditation" lands in our ears in a symphony of tight weaved spectral breaths which hum some air and float on breaths which became iridescent. The first crackling of an appearance of rhythm breaks out with an astral sweetness on the introduction of "The Texture of Remembering". The shape is of electronic chirpings which sparkle in loops on the waves of a synth always very introspective. This marriage of harmonies and atmospheres to the paradoxes of the serenity brings some fine eruptions in the background which thunder dully throughout this concerto for snuffly locusts. And winds take back a little more vigour, concealing the singings of love from the electronic tiny creatures and concluding the 1st part of “Future Flows”.
As much soothing as "Spectrum of Changes", "Rapt in Night" stays the up at our sleep with the correctness of the god Morpheus while that, more aggressive, "Heart of Light" tears up the silence of its luminous oblong strata which float with so much acuteness as heaviness. "The Future Flows from Here" demonstrates all of Steve Roach's magnificence to sculpture melodious shadows from the nothingness. There is a strange organic life which sparkles and pounds behind these morphic synth layers which waltz with space, embracing our dreams and making them float in vapors of ether. Some will recognize The Magnificient Void's airs while I hear the ghosts of 
Back to Life to roam in this wonderful anesthetic duel which quietly derives towards the serenity of souls regretted, to sacrifice itself in the hearth of very morphic and quiet "Regeneration Revelation".
The beauty of “Future Flows” lies in this fusion of the taciturn ambient works and those more dreamlike, more melodious from Steve Roach. And the result is exhilarating. We may photograph spaces, deserts and nature massively that a photo always emerges to enthral. And this is true year after year, travel after journey. It’s the way of seeing music of Steve Roach. Alone in his vast studio and surrounded by the atmospheres of an immense territory rich in legends and in astral possibilities, the magician of Timeroom shows the relics of a life rich in spiritual treasures. And to avoid the traps of the dead structures that he has put himself so many times into music, the synth man from Arizona disregards of the time, embroider new tones and plays on both reflections of his introspective mirror. An intense monument of ambiences... but it seems to me that I repeat myself!

Sylvain Lupari (May 9th, 2013)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

lundi 6 mai 2013

DARK AMBIENT RADIO: Vol. III Muzak for the Final Elevation (2013)

“Sounds from the depths of the earth and rustles from the movements of spectres, Muzak for the Final Elevation is a pure chthonian symphony”
1 The Element 5:51
2 The Inner Circle of Endless Slumber 6:20
3 Macerie 6:36
4 Hypsoma 6:58
5 Deep Stare 6:26
6 Mechanised Cataclysm 6:57
7 Miasma 6:53
8 Fainting Memory 7:02
9 Babylon´s Strange 7:00
10 Fearing the Dawn 6:52
11 Small Humyn 5:44

Dark Ambient Radio |DAR 003 (DDL 72:44) ****
(Deep dark ambient EM)
Sounds from the depths of the earth and the cave of the blackness, murmurs of crematoria and rustles from the movements of spectres, evasive rhythms and atmospheres of cerebral tortures; the black and ambient EM wins followers year after year. In a point such that an Internet radio, Dark Ambient Radio, is exclusively reserved for it since the catacombs of a somber Scandinavian point of origin and is broadcast in about 52 cities or country. Even the EM named more ''luminous" isn't entitled to such a treatment. For 5 years, musicians scattered in these Nordic territories participate in the collective enrichment of the world of the black ambient music by submitting musical pieces to the community which selects the best for the purpose of compilations. The result is a compilation soberly, and somberly, entitled; Dark Ambient Radio. The volume 1 has been released in 2008 and volume 2 followed one year later. And since then, it's the black silence. The third volume took shape on last winter; Muzak for the Final Elevation. A compilation in which has participated the enigmatic Stephen Parsick who sent it to me this for the pleasure of my ears and also to inform the followers of the black and ambient EM that they are definitively not alone and that Legion is their name.
The effect of the fear is better in the dark. One has to remember this when we let ourselves immersed into “Muzak for the Final Elevation”. Aspectee sets the tone with a concert of breezes and spectral breaths. "The Element" floats in a heavy dark ambience flavored of clammy drizzle and by disturbing murmurs. And quietly the listener embraces the clasps of the darkness with a suite of tracks which follow each other in a stunning Mephistophelian symphony to reach a nirvana in the middle of this odyssey of the twilights. Previously we are entitled to a more cosmic track in Nepenthe's "The Inner Circle of Endless Slumber" which borrows the same effects of ambiospheric darkness with somber breaths, slain voices and rustles of machineries which float in abysses fed by intriguing tones. The effect of void is enveloping and the few arpeggios which ring in its immensity increase the impression of profound solitude. The winds which squeak on the opening of "Macerie" follow an upward curve which mooes under the deaf beatings of industrial machinery. This track from Valerio Orlandini brings the very first beatings and the shades of a rhythm lifted by jerky breaths. The rhythm is alive but beats on tiptoe and these beatings are made hear in the thick cloud of black winds and voices which takes a more angelic form with the soft arrangements of Mortaja on "Hypsoma", a real demonic incantation. An astral gong weakens the translucent reverberations of "Deep Stare". The duet Aspectee and Sjellos orchestrates a symphony for drones of which the whirring are droning in a universe of latent paranoia with a pleiad of noises and eclectic tones trapped in the agony of pale synth lines.
"Mechanised Cataclysm" from Crepuscular is a very intense track which plunges us into the blackness of a cosmos inhabited by the jolts of a dark force. Whispers of the NASA cohabit with pulsating modulations while we dive into a cosmic frenzy where an organic fauna bustles in a slow atonal procession that gets lost in a violent storm of iconoclastic noises. The emptiness will never have had arms so crushing. Organic rustles open "Miasma", from Myth Industries and Sjellos. The movement is oppressive with some metallic elytrons which shiver in the crackling of fuzzy footsteps which go round in circles in a silky insanity. And from nowhere, the track embraces the rhythms of the spiritual clanic trances of the ''Roachian''  deserts where whistle those singing winds and blow the hollow breezes. Very active on this compilation, Sjellos signs also the stormiest track with "Fainting Memory" and its percussions which embroider the pace of an intense dance of winds under the soft linear movements of a synth and of its waltz of strong current of winds which fly in strange vocalised fragrances. And after this rhythmic ascent, “Muzak for the Final Elevation” makes inverse road with the very chthonian "Babylon´s Strange" from Stephen Parsick where the satanic choruses hum forbidden arias in the breaths of Siberian winds. "Fearing the Dawn", from Winterbound, and "Small Humyn", from Mytrip, end this 3rd volume of the series Dark Ambient Radio with a concerto for winds to extreme temperatures where are buzzing breaths and parallel voices which weave the atmospheres at the limits of the den of the chthonian madness which inspire these 11 tracks of “Muzak for the Final Elevation”.

Sylvain Lupari (May 2nd, 2013)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

dimanche 5 mai 2013

FANGER & SCHÖNWÄLDER: Analog Overdose 2 (2003)

“What else there is to say about Analog Overdose 2 except that it's another small marvel of analog vintage EM that Fanger&Schonwalder serves us with nearly 3 hours of pure magic”
CD 1
1 The Art of Sequencing Part I 33:34
2 Zwischenton 11:38
3 The Art of Sequencing Part II 33:35
CD 2
1 Liquidrom Tape I 26:12
2 Within a Real Dream 30:20
3 Liquidrom Tape II 21:06

Manikin | MRCD 7065 (CD 156:15) ****½
(Vintage psychedelicosmic sequenced Berlin School)

After the huge success of Analog Overdose, the new duet of EM proposes us a suite simply entitled “Analog Overdose 2”. This time, it's a double album; one in studio and the other one in concert which presents us the sequenced and the ambient sides of Fanger and Schönwälder. It's another journey in the heart of vintage Berlin School with minimalist rhythms which grow insidiously on movements of sequences rolling in loops and on atmospheric moods where synths and sound effects are the masters of our lucidity. Yet, it's another great album which confirms Mario Schönwälder's importance in the universe of contemporary EM and of his great clairvoyance about the evolution of this style by teaming up with Thomas Fanger.
With its fine arpeggios which sparkle in a nothingness streaked of fluty passages, "The Art of Sequencing Part I" seems to be escaped out of the sessions of Klaus Schulze's Mirage. The movement is delicate, oniric with these chords fluttering in a fluty universe. For this long musical epic, the German duet goes to the borders of the analog tones of the Berlin School's vintage years to modulate 2 superb parts vitamined by good doses of Mellotron as well as heavy and long layers and lines of synths which grab onto some fine rhythmic pulsations, such as shimmering suction cups eating up the beat. The delicate crystalline line of the opening is fading in the ethereal harmonies of synths to fluty fragrances and leaves its rhythm always so evasive in a line of sequenced bass which scatters its jumping keys in a delicate furtive movement. A movement which stores the strewn skipping and the ions mislaid on the road of the rhythm, mixing these rhythmic elements which skip and interlace their tones in a rhythmic continual coming and going which swirls with delicacy in an enchanting ascending spiral. If the minimalist rhythm fattens constantly its depth, the harmonies are not outdone. First of all, the Mellotron spreads its lines of mists and choirs, all of angelic tones, in a beautiful harmonious painting that spectral and twisted solos and floating and captivating waves caress in a harmonious bright spell unique to the universe of EM. "Zwischenton" changes the register with a more atmospheric approach which begins with the gurglings of whales coming from beyond. It's a linear movement with multiple sound effects which mixes elements of cosmos and earth on beautiful modulations of a synth coupled to a nostalgic piano. A magical and restful track, it's also to "The Art of Sequencing Part II" which takes the same rhythmic precept, but much harder and louder, than "Part I
". The movement is fluid with keys of a nervous sequencer which jump in the rhythmic circle of another key, while that the flute wraps this disordered ballet of an ethereal harmony. We are always in the art of sequencing, as much as of the minimalism, with this procession of sequences which dance with their shadows in a finely jerked rhythmic pattern where the hootings of Mellotron and synths weave an unreal universe in which are awkwardly jolted the lines of sequences which never stop cavorting in an orgy of artificial rhythms. So much that we forget from where come the beginnings of these synth pads which hiccup in the harmonies of a rhythm which doesn't stop seducing. And it's the debauchery. Sound effects, voices to multiple intonations, solos with unimaginable forms, and we all know that Fanger/Schönwälder has unlimited imagination, flutes, Mellotron, modulations with tones struck on anvil, percussions to tones of xylophone, sequences divided into halves and drawling voices of mesmerizing mermaids. All the range passes there and yes, the recollections of Tangerine Dream flank this track which hasn't enough of its 33 minutes to seduce. According to me, it's the best track on this double album and probably the most beautiful on the first two works from Fanger/Schönwälder.
The second CD brings us towards another level. It's a rendezvous for lovers of drifting, floating music, especially for the portion from the so famous show at the Liquidrom of Berlin. "Liquidrom Tape I" is a long atonal movement with multiple effects of voices and sound effects of sea bed. Some sweet modular loops infiltrate this first part where the dark choirs are melting into fragmented and sharp solos. After the visit of the carillons, we glide profoundly in a dense territory where ringings and more celestial voices attract us, such as submarine mermaids on a hesitating violin veil. All as much beautiful and nebulous, thanks to a splendid enchanted flute, the second part is a mixture of alarming beauty. The heavy synth pads to dark tones which buzz constantly bring a sinister tint, while that beyond the strikings of anvils the celestial voices lay down some silky rays which cross a turbulence of the fluids. "Within a Real Dream" brings a more sequenced movement. The intro is superb with its long layers which melt themselves in a dark decoration while shaping a slow rhythm. A sequence runs at top speed at around the 8th minute in a livened up movement which is still surrounded by a beautiful and fluty Mellotron. Heavy, this sequence pattern is waving with strength on synth pads and choirs to heavy undulations. This becomes an intense movement which reminds the improvised madnesses of the Dream in the 70's, especially the sequences fighting over a troubled flute. But the more the piece moves forward, the more it sounds like RMI with Ed Kurtz's edgy guitar and the hopping sequences which give an illusion of echo on the background of progressive electronic rock.
Mario Schönwälder knows his things and he knows above all how to lay down all the ingredients to forge the mesmerizing hypnotic volutes of the Berlin School movements. He also knows how to attach these movements to those of groove that Thomas Fanger likes to forge out of nowhere. And both know how to work in order to deliver another overdose of vintage Berlin School. “Analog Overdose 2” is a pure success. It's more than 3 am of pure electronic music which travels between sequences and ambiences. Sometimes violent (Within a Real Dream) and sometimes melodious, even nostalgic (Zwischenton), the German duet amazes by the deep their imagination and the growing complicity which unites these 2 excellent musicians. And this is just for our ears and our most great pleasure.

Sylvain Lupari (April 10th, 2007 and translated for Synth&Sequences on April 29th, 2013)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

samedi 4 mai 2013

SYNDROMEDA: Time Will Never Be The Same (2012)

“Time Will Never Be The Same is embroidered in the structures of a progressive EM with that soft scent of psychedelicosmic mood which is unique to Syndromeda's works”
1 Glad they Finally Arrived 9:56
2 On and On 12:32
3 Iceland Memories 14:02
4 Homeless 11:11
5 Boiled Brain 11:45
6 Back to the Tribe 9:00
7 With a Sparkle of Light 7:00

SynGate | CD-R SS14 (CD-r 75:28) ***¾
(Prog and psy Berlin School style)

Borrowing his storytellers' suit of psychotroni-cosmic stories, Dany Budts offers a new work of musical literature which contrarily to “Waiting for the Second Sun”, and this even if the structures are very alike, is more down-to-earth. Except that if the story is pulled of the souvenirs from a journey that the Belgian synthesist did in the Arctic territories of Iceland and Norway, and its islands of Lofoten and Spitsbergen, “Time Will Never Be The Same” stays embroidered inside the structures of a progressive EM with this soft perfume of psychedelicosmic mood which is unique to the works of Syndromeda.
Delicate arpeggios which twinkle and sparkle of coldness open “Time Will Never Be The Same”. A line of felted sequences sneaks in between these tones of cold crystal, molding a fast step of three which establishes the rhythmic approach of "Glad they Finally Arrived". Another line of sequences, with more furtive keys, goes deeper into a minimalist rhythmic pattern which dances on the spot, such as an amputated tango, moving forward and moving back between these lines of crisscrossed sequences. A synth adds its zest of charm with a melody whistled by some lyrical buntings of which the singings float in bluish mists and rivulet of silvery arpeggios. And, in the play of the comparisons, we can say that two very different phases from
Tangerine Dream are in confrontation, while that quietly the rhythm changes its shape for a soft mid-tempo which tries a breakthrough towards a morphic techno. "One and One" present a noisy and boiling movement of sequences which oscillate heavily, weaving the faces of a loud rhythm that another line of sequence, with a pattern of robotic melody, confines into a stillness approach. Breezes of synth more organic than harmonic go through this passive rhythm, dragging it towards a heavy ambient passage where are threatening these hoarse breezes whereas the hiccupping rhythm and the melody, always full of cybernetic candour, are dancing til the dawn of oblivion. The tenebrous and murky ambiences invade the very ambiospherical introduction of "Iceland Memories" and of its chthonian choruses which hum along the heavy and somber hollow breaths, raising some particles of prism which spread a mood of cosmic coldness on an intro of which the multiplicity of the breaths and their crisscrossed tones are drawing the metallic buzzing of space shuttles at low speed. A bass line beats furtively, drawing little by little the spheroidal forms of an ethereal ascent where a mixture of celestial voices, dark singings and industrial mooing cover this intriguing minimalist march which finds an ally in the more crystal clear sequences which spin with a spiral harmony in a chthonian tumult.
"Homeless" adopts the same pattern of ambiguous blackness on a disjointed rhythmic skeleton. The approach draws its inspirations from "Glad they Finally Arrived" with a bipolar rhythmic structure. The intro is bathing in an atmosphere of suspicion with its heavy deafening breezes and its vocoder fills by sermons a bit satanic stalk which plunges us into the psychotronic frenzies of Neuronium. The rhythm is blazed with heavy and black bang-bangs which beat in a hypnotic frenzy among the lines of undulatory sequences and the breaths as hoarse as nasal of synth, bringing the listener into an underworld unique to the Gothic signature of
Syndromeda. And the rhythm to change shapes and the ambiences of colors, mixing their pulsing and oscillating phases into a delicious lunar techno where the nasal synth pads, the lines starry of thoughts as much cosmic as the twisted solos and the ethereal voices are melt in an ultimate psychedelicosmic symbiosis of the vintage years. It's a very good track in the repertory of Syndromeda who blows our ears with the powerful and puzzling "Boiled Brain" and its tentacular arms to the arrhythmic pulsations from which the hesitating chords vacillate in a noisy fauna drawn by the multi-sonic streaks of a synth and its singing solos along a dense shower of cybernetic tones. The mood is black and weaved in the universe of paranormal with these spectral hooting which become engorged of mist and black choruses. If the rhythm is at first muddled, it takes a more intense shape with a mixture of pulsations and percussions which set up a linear structure that hostile synths cross of rotatory solos, of shrill singings and of mists filled with chthonian voices, a little as the beams of a lighthouse enlightening an ice floe flooded with spectral creatures. "Back to the Tribe" is an intense tribal trance with stormy tom-toms hammering a fluid rhythm which is smothered by the shouts and the lamentations of the intellectual frenzy of the dancers, the rustles of the wizards and the hoarse breaths of the didgeridoo which lay a climate of tribal psychosis that would fit quite well in Steve Roach's works, if it wasn't of its subtle demonic approach. "With a Sparkle of Light" continues the exploration of rhythms and tribal ambiences with a heathen feast on a rhythm closer of the collective hypnosis where all the elements of the electronic singings and the prayers of "Back to the Tribe" are present, plus the trance incantations of Papajeahja.
Time Will Never Be The Same” is not easily accessible. The music is either heavy, static or fluid and is flooded by synths with always incisive solos but among which the tones and lamentations are sculptured in a sonic alloy to the harmonies demonized by some sulphurous patterns of crisscrossed sequences lines where the dream becomes easily nightmare. In brief, a beautiful album in the lineage of the very good works of
Syndromeda where the structures of a vintage Berlin School are flooded with this para-psychological approach that Dany Budts likes to leave his imprints in the furrows of our ears.
Sylvain Lupari (April 15th, 2013)

SYNDROMEDA: Waiting for the Second Sun (2010)

“An album built in a very progressive, even psychedelic, Berlin School style, Waiting for the Second Sun is as good as difficult to tame”

1 Checking the Crop Circle 13:55   
2 Voices from the Hidden Future 13:37  
3 Ups & Downs 9:12 
4 Symphony of Hope 12:55 
5 Era of the Good 10:27 
6 The Arrival of the Second Sun 15:35

SynGate | CD-r SS10 (CD-r 75:41) ****
(Prog and psy Berlin School style)

Inspired of a comic book where a man was living in a place where two suns shaped some superb shadows and on a prophecy where the earth would become a second sun, Dany Budts proposes in “Waiting for the Second Sun” an EM album which is rather difficult to tame. An EM tinted by a very progressive, even psychedelic, Berlin School style where Syndromeda doesn't hesitate to shape some abstract rhythms which stir themselves under arrhythmic sequences. Sequences which are melt in a heavy universe, illuminated by synth lines and organic tones where the seething strata merge such as a multicolored coulis in an ambience which is more chthonian than celestial. An ambience with a second sun burning of a dark energy. A dead world, where the breaths of synths to tones and rustlings as much caustic as metallic are shaping the shade of a life as much puzzling as fascinating. But don't you be mistaken we are well and truly in the fascinating musical universe of Syndromeda.
Resonant sequences are staggering heavily under the eye of a synth and its heavy gyrating waves. The intro of "Checking the Crop Circle" is heavy and lets escape a thick cloud of sequences, as much coherent as undisciplined, which slowly form a musical weft to the abstract rhythm where synths hoot in a strange ambience of mephistophelian cosmic. Somber choruses are made heard. They are hardly audible and they sound more the sulfur of the darkness than a celestial harmony which murmur on the strata of a synth at the same time neurotic and aggressive. A synth creating a chaos of distortions where the melodious approach is howling and oppressive, but whose sequences in constant rhythmic changes add a strange depth to this track heavy of its caustic resonances. Here is a Black Cosmic Rock as I rarely heard. The first 4 minutes of "Voices from the Hidden Future" offer an ambient structure where a soft synth is waltzing in a cosmos saturated by ethereal choruses. Then a soft movement of sequences subdivides the hybridity of its rhythm, creating a hopping pace which hiccups on the indiscipline of its chords. Gradually the rhythm becomes more fluid and swirls such as a spinning-top perfumed of an astral luminosity where intense circular waves and nervous sequences draw a more and more melodious cosmic structure, thanks in particular to a synth and its very well chiselled solos which quietly are sheltering its melodious approach trapped in its introductory ambient structure.
With its echoing stridencies of a world in fusion which weave an abstract sound painting, "Ups and Downs" offers an unusual tribal dance of a world living between two borders. The drummed sequences are forming a rhythm of Baladi dance beneath the fragrances of a synth of which the initial stridencies become tangled with those spectral waves and a singular language, like in the era of the psychedelic and fuzz wah-wah years. The synth derives slowly in a floating zone to the oblong diurnal breaths where the sequenced pulsations introduce this strange belly dancing. This drummed sequential movement, very near the soft rhythms of Schulze and his early works by the way, is also a part of this unusual celestial march which follows the superb orchestral movement to the thousand violin chords opening "Symphony of Hope". Still there, Dany Budts' mordant synth is biting quite hard this abstract structure where the crystalline progression of a sequenced rhythmic is constantly dependent on an indomitable beauty. "Era of the Good" is as much delicious as luciferian with its dark choruses of which the weak incantations pierce a synth veiled of beautiful morphic strata. Slowly the rhythm settles down. A rhythm sustained by nice electronic percussions and of which the notes of a guitar add a harmonious depth until then absent in this somber opus. It's unarguably the most beautiful track on “Waiting for the Second Sun”. "The Arrival of the Second Sun" is a slow morphic procession gradually livened up by good sequences with the harmonies as sensitive than thoughtful, reflecting the harmonious beauty that we find on "Era of the Good". Beautiful strata which waltz with a soporific slowness are moulding a mesmerizing spatial melody where the murmurs to the illegible echoes float in an ambience fed by sequences became more insistent, but which not disturb at all a rhythm as much vaporous as its ambience. It's a very beautiful track, very enthralling which throws a little balm on this caustic musical vision that is “Waiting for the Second Sun”.

Sylvain Lupari (April 16th, 2013)