jeudi 26 septembre 2013

JANNEH: Solarization (2013)

“Solarization is a very pleasant surprise which stands on 34 minutes marvellously influenced by the orchestrations and harmonies from Jarre and Vangelis”
1 Solarization I 7:41
2 Solarization II 4:40
3 Solarization III 4:24
4 Solarization IV 3:47
5 Solarization V 5:36
6 Solarization VI 2:16
7 Solarization VII 6:07

Hanisoundit (CD-r 34:46) ***½ (Melodious orchestral EM)

Each week brings its lot of demands so that I can write a chronicle on an album of an emergent artist. If some the EM proposed some goes away from the borders of Synth&Sequences or inspires few interests so that I speak about, others on the other hand present a very mature EM while certain artists show a strong potential and a beautiful musical signature which deserve amply that we speak about them. And this is the case with Janneh, a Finnish artist who seems clearly inspired by the rhythmic approaches of Jean Michel Jarre and those more theatrical of Vangelis. “Solarization” aims to be a mini concept album of 34 minutes about the solar energy and its importance in the story of the humankind that the multi-instrumentalist from Piikkiö, he plays as well keyboards and synth as piano and guitar and even percussions, presents by the means of 7 themes which, if they are clearly separated from each other, turn around the same delicious harmonic pattern.
The introduction of "Solarization I" plunges us into a heavy ambiospherical phase with a mixture of hollow winds and prismic drones which blow in the infinity. The percussions shake the mood which illuminates itself by a rather Babylonian musical synth and of which the wrapping layers are pouring idly over a bed of shimmering arpeggios The approach is rather pompous and kisses the soft vocal of sibylline oracles before borrowing the phases of a sober symphonic electro-pop where the solos of synths sing with some absent choirs on a line of sequences with some undulating alternating keys. I easily hear Thierry Fervant's harmonies on this first track which is a faithful reflection of what is coming all along “Solarization”. After an introduction which solicits these sequences to sneaky skips, "Solarization II" dives directly into the heart of Janneh's influences with a beautiful electronic ballad to the aromas of the 80's when the harmonies, the percussions and the synths were perfumed by Jean Michel Jarre's essences. It's a small wonder and a very catchy track. The kind which would easily played on the air waves of radio pop. The opening of "Solarization III" revisits the lines of crisscrossed sequences which opened Vangelis' Chariots of Fire. Well, the moment is brief but pronounced enough to ignore it. Afterward the music adopts a kind of languishing blues where Janneh makes melt his solos of guitar in those from his synth, which are rather catchy i got to say, on a slightly hopping structure of rhythm. "Solarization IV" presents a rather misty approach with a rhythmic skeleton which scatters its bones in an industrial ambiospherical ambience. A ghostly solo awakens a mechanical rhythm a little after the first minute. The rhythm throws its strikings of percussions which resound and smother in a rebellious structure where the synth divides its harmonies in some solitary solos, while drawing beautiful Arabian orchestrations. And Janneh introduces us into a Middle East tribal phase with "Solarization V" and its structure of rhythm which quaver in a soft serpentine stroboscopic. It's a great and solid track which gathers all the electronic ingredients that please with its chain of sequences which glitters in the background, its good tribal percussions, the guitar riffs and, especially, the superb Arabian orchestrations which plunges us into the oniric kingdom of 1001 nights. As much dreamy as melancholic, "Solarization VI" is a sad melody which scatters its notes of piano in some floating mists, such as sighs which get lost in the winds. "Solarization VI" closes this first musical essay of Janneh with an ambiospherical futuristic approach with scents of lounge jazz à la Blade Runner.
I really enjoyed this first musical rendezvous with Janneh. It's obvious that he has talent, senses of writing and a way to build orchestrations that sound so much like Jarre or Vangelis. None of the 7 tracks presented on “Solarization” is boring. On the contrary, each possesses this thing which forges musical itches. Whether it is in the rhythms, even the most accessible ones, or the floating cinematographic atmospheres, Janneh weaves a universe full of charm which says to me that the best is to come. This is a beautiful discovery which is worth its cost.

Sylvain Lupari (September 26th, 2013)
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=16421

samedi 21 septembre 2013

TANGERINE DREAM: LiveMiles (1988/2012)

“In the end, LiveMiles is a solid album, no matter its controversy”
1 Livemiles I (The Albuquerque Concert) 29:52
a Green Trail Part  b Section II 
c Section III d San Buena Ventura
2 Livemiles II (The West-Berlin Concert) 27:13
a Caspian Sea  b Velvet Autumn 
c Dolphin Dance 
Jive/BMG CHIP 62 (1988)
Reactive EREACD 1024 (2012)
(CD 57:05) ***½

(Post Berlin School, near New Berlin School style)

LiveMiles” is the last album of Tangerine Dream's short association with Jive. A period called Blue Years. It's also the last album of the Chris Franke's era, who left the band on August 1st, 1987. In fact, and not because it's a bad album, on the contrary, “LiveMiles” is the swan song, the beginning of the end, the last of the great ones, the end of a great era... call it whatever you want, from Tangerine Dream and the first one of an illogical suite of deceits and swindles which will serve to fill the big woolen pockets of Edgar or the financial dinosaurs which roam behind the ghosts of TD. This is a dark side in the history of the group which I hope will burst out one day. Because the fans have the right to know what has really passed in this time, and afterward. Just like for “LiveMiles”, they have right to know, to say the least to understand from where origin this idea to make in studio of the false albums in concert as this one, Soundmill Navigator and The Perth Tapes from the I-Box set. Let us be situated in the context. In that time there was no internet, nor social networks and the concerts of the Dream almost went unnoticed in the local newspapers. Thus, the fan who bought himself “LiveMiles” in that time did not know that it was about a pure and simple hoax. That it was a false live album, where Edgar Froese has Froesenized the structures while bringing to it bits of rhythms never played in concert. The result is not that bad, on the contrary. I think that it's a very beautiful album. It is just not a real live album. But does it really matters? “LiveMiles” is supposed to reproduce two long lengths extracts from concert that Tangerine Dream performed in Albuquerque on June 8th, 86 and in Berlin at the West der Republik on August 1st, 1987. Now that we know that's not really true, let's jump in it.
"Livemiles I (The Albuquerque Concert)" is consisted of 4 segments; Green Trail Part, Section 2, Section 3 and San Buena Ventura. Three days later, Tangerine Dream gave a concert in Denver with a completely different setlist and especially a music quite as different. While the concerts of the North American tour began with Pilots of Purple Twilight and Stratosfear, in fact the setlist turns around Le Parc and Underwater Sunlight albums, "Livemiles I" plunges us rather into the ambiences of Tyger and the London track as well as the electronic rock hymns à la Optical Race, 2 albums which will go out in 1987 and 1988. An oblong mellotron veil à la Genesis' Watcher of the Skies comes down slowly to evaporate in the chords of a heavy and hesitating rhythm. Some notes fall with heaviness, accompanied with a hesitating flute on a tempo which has difficulty to set itself in motion. We hear perfumes of Optical Race there, but much more of Tyger with a sort of remixed version of London. A London that we recognize vaguely with an uncertain, furtive rhythm which goes round in circles on percussions of a Tablas style. It's a meshing of percussions and hectic sequences which peck the uncertainty of a rhythm which drinks of superb fluty passages. The rhythm takes off at around the 6th minute with sequences supported by electronic percussions, plunging Green Trail Part into a good electronic rock with a synth to vocals charms. Edgar did a remarkable job because we have difficulty in recognizing the lines of Tyger which goes astray in lost sessions of Optical Race. He plays with rhythms and ambiences, outlining some great melodious passages which catch the ear. Dramatic passages where he tortures his electric guitar, like in Underwater Sunlight, but also in a slow version of London Part II (Rotten Row Patriot). It's rather poignant. And I have to make amendment; there is a lot of soul and passion behind "Livemiles I" in particular with Section 2. Section 3 plunges us into a furious electronic rock with a good sequencing pattern. The rhythm is heavy. Arched on an ascending structure, it's filled by these synth pads with bright contours which became the trademark of a more metallic Tangerine Dream. San Buena Ventura encloses this mini-concert in studio with a revamped version of Song of the Whale Part 2, unless it's a leftover from Legend? Bets are opened. But that remains good!
If we have guessed right from the tips of our ears and from the bottom of our knowledge the setlist of "Livemiles I", the exercise will be as much difficult with "Livemiles II", the concert at the West der Republik. There, we have the true setlist of this memorable concert and that doesn't look at all to what is going to happen on “LiveMiles”. The introduction, Caspian Sea, is of silk and is faithful to the first 8 minutes of the concert, with a beautiful mixing and some good overdubs. This is a great unreleased track. It's a beautiful morphic ballad which swirls like an oniric lullaby in a foggy synth which sings of a discreet synthesized voice. The guitar comes to cry in beautiful lamentations and adorn a kind of crescendo filled by a dramatic adrenalin. I love that! While we are supposed to hear Dolphin Smile, we are entitled to another unknown track. And the whole thing is very well linked, as a real concert. So Velvet Autumn offers a marathonian structure. It's a kind of rhythmic running where the sequences and percussions are structuring a sustained rhythm which serves the cause to soft fluty harmonies and keyboards riffs. I don't know... I kind of hearing things that remind me of Marakesh from Optical Race. We fast did the ballot. It's a little bit too long track which is in the time of Underwater Sunlight. "Livemiles II" ends with a very anemic version of Dolphin Dance. Here Edgar has too much Froesenized the product, making it insipid.
Well, here we are! Only the crazy ones won't change their idea. After having heard closely, and having searched through the Net, I got to say that this “LiveMiles” is a solid mixed album, even Voices in the Net qualifies it as a studio/live album, where the arrangements of Edgar and the extracts of the two concerned concerts give us good moments of listening. Except that I am always a little bit shocked by Edgar's attitude which tends to take the worship of his fans as a way of filling his deep pockets. But this is another debate that I won't start! It's not to me to do so. I prefer the Albuquerque section which, needs to admit it is a very good remix of London. Is this version of Esoteric better? I heard it is, but I don't hear such a difference here, except that the sound is more powerful. And in the end, it's a beautiful album, no matter its controversy.

Sylvain Lupari (September 21st, 2013)
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=9511

jeudi 19 septembre 2013

DARSHA AMBIENT: Little Things (2013)

“With Little Things Michael Allison goes out of his zone of comfort with a more audacious musical vision of which the eclectism leads us into varied musical territories”
1 UnUsual Thursday 7:23
2 The Mystery of Sleep 6:20
3 W. 52nd 4:38
4 Shadow Country 6:27
5 Little Things 4:39
6 Soft Portrait 3:56
7 Slow Drum 5:17
8 Nocturne in 3 Parts 3:32
9 Fields 5:36
10 There! 6:53
11 Watch your Step 5:03
12 Exile 2:57

Spotted Peccary | SPM-2401 (CD 62:33) ***¾  (Ethnic and ambient folk)
It's an old friend who calls out to us right from the start. A fusion of guitar/synth shapes some slow morphic layers which float like sighs of hollow winds. We feel at ease. We are on familiar ground. Fragile, the notes of a piano as pensive as hesitating are falling down and forge a somber lullaby which is lacking of finishing. We roam in our dreams, as well as in our soul, when the percussions harpoon the meditative approach of "UnUsual Thursday". Their strikings draw a delicious down-tempo which swirls with so much sweetness. And quietly, behind these ochred breaths and these fractures to tenderness by the drum, the piano tightens its notes and forges a delicate melody that a six-strings embraces of its ghostly harmonies. I always liked the music of Darshan Ambient. I became fond of this American bard who drags his airs of mislaid blues or troubled folk in a fascinating neurasthenic mood since my ears crossed his very beautiful A Day Within Days , back in 2010. Following the precepts of melodies and ballads darkened by the mesmerizing melancholic approach of Falling Light, “Little Things” deviates a little, on the other hand, from the usual route of Darshan Ambient by borrowing the delicate fragrances of an ethnic world, both African and oriental. This fusion of urban and ethnic folk brings some delicious colors to an album from an author with a torn soul which always has the gift to make vibrate the ropes of a sensibility repressed in the courses of a life.
If it's often black in the world of Darshan Ambient, the rhythm always has its place. A rhythm tucked by a ballad approach, like in "The Mystery of Sleep". The approach is kind of tribal with these tears of violins which cry, while chords of guitars float with pensive harmonies which remind the universe of Patrick O'Hearn. The percussions are structuring an ambience of ethnic jazz on a structure of rhythm a bit dishevelled and stroboscopic. The voices, the bells plunge me into the superb Amerisynthecana from Sensitive Chaos. Very good! Just like the puzzling "W. 52nd" which, after a very ambiospherical intro, embraces a structure a bit jazzy where the rhythm is seduced by these breezes of trumpets which still caress the poetic universe of O'Hearn. The rhythm slow, "Shadow Country" infuses its chords of a guitar with harmonies tormented on a bed of bubbly percussions. The synth layers which decorate the very melancholic musical setting of “Little Things” paint here some shadows of mist which welcome the lamentations of a Berber violin. The effect is rather attractive. The title-track is breathing of paradoxes. If the rhythm sounds subdued, with rustles which stick together in the shape of hoops of felt moving in echo. The melody is pensive and glues its notes of a forsaken piano on a bed of cracklings, forging a delicate diurnal reverie. After the somber and very pensive "Soft Portrait", "Slow Drum" plunges us back into the oriental ethnic moods with an intro filled by the perfumes of a Sarangi. The sound texture lets sparkle a thick cloud of sound dusts which fills the air of a thousand chimed sound particles while that slowly the tempo turns into a slow disarticulated horse ride which bends the rhythm under jerky orchestrations. "Nocturne in 3 Parts" is an ambient track on which Darshan Ambient hooks the lamentations of a six-strings which drags the poverties of the world with the sound of distant bell ringings. No matter the approaches, Michael Allison always manages to instigate our interest by delicate harmonious endings. The tears of violins which cry into some maternal sighs open the very ambiospherical introduction of "Fields". The percussions build waves of emotions while that, all slight, the guitar forges one of these meditative melodies which furnish the universe of Darshan Ambient. I know! We have already heard, but the effect always remains so fascinating. It's the same thing for "There!" whose opening presents an orchestration of violins which flows in a structure of musical cannon. We are in Steve Reich's universe, but with a more melodious approach. It's very beautiful! More cheerful, "Watch your Step" presents a beautiful ballad approach of an urban western genre with a rhythm finely drummed which submits its mane of rebel to the soft pads of a synth of which the aromas of sadness succeeds at no moment to eradicate the beautiful harmonies of the guitar. "Exile" bears the weight of its meaning with an ambient approach where the piano cries in the thoughts of a meditative guitar.
With “Little ThingsMichael Allison goes out of his zone of comfort with a more audacious musical vision. Always dragging his poet's coat with a tormented soul, the American rural bard digs up the roots of an eclectic and electronic folk to paint it of his unique colors of melancholy. There are several winks of eye in this album, where from eclecticism, to artists such as Patrick O'Hearn, Jim Combs (Sensitive Chaos
) and even Miles Davis of which the paradoxes unite marvellously in a work which also drinks of a river of tribalism. A very beautiful album with wandering poetry as only Darshan Ambient signs since A Day Within Days.
Sylvain Lupari (September 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: http://www.gutsofdarkness.com/god/objet.php?objet=16406

jeudi 12 septembre 2013

PETE FARN: Cryptids - Biospheres Vol.2 (2013)

“Cryptids - Biospheres Vol.2 is a rather unique sound experiment that will certainly pleased to diehard fans of musical life without any form of movements”

1 The Landscapeeater (fast one) 5:40
2 Catsrawl 6:33
3 The Chimera Sleeps 11:28
4 The Chimera Dreams 11:37
Abiogenese 7:06
6 The Shy Sine Singer 5:13
7 The Landscapeeater (slow one) 24:08

SynGate Luna | pf10 (CD-r 71:45) ***
(Experimental ambient forms of EM)
PeteFarn's universe is one of sound experiments where his designer, Peter Schaefer, crosses the borders of imagination with concept albums which often caress the universes of illusions and where the noise is on top of any forms of harmonies and musical ambiences. After an album on the organic and biospherical life of the floating forests, PeteFarn imagines now the life of animals of which the existence was never scientifically proved or is simply associated to the kingdom of imagination. And that my friends, PeteFarn has full of this in both hemispheres. The problem! That takes good neighbors and a very comprehensive girlfriend because we cannot listen to “Cryptids - Biospheres Vol.2” within headphones, unless we want to sink into a kind of sound psychosis. And believe me, that could happen.
Hollow breaths open the entrails of “Cryptids - Biospheres Vol.2”. Breaths which seem human and which lead to "The Landscapeeater" and of its organic noises which appear to be a kind of dialect for unknown species. Ambiguous and multi-dimensional,
PeteFarn's universes are subject to the interpretations as much so multiple as the ears, risky needs to say, which tame them. The gurgling and the footsteps that we hear can result from diverse species, as terrestrial as extraterrestrial. Just like here where it sounds like they plot in a cave. On "Catsrawl", these gurgling are soaked with a glaucous dialect where diverse forms of life with inconceivable appearances are cawing under a thick cloud of floating layers of which the pile forms a strange concert for the hoarse singings of crickets. At this point of “Cryptids - Biospheres Vol.2”, there is a certain musicality. Later? Well, it's less certain and you have to like metaphysical sound experiments or...noise if you prefer. "The Chimera Sleeps" is a long non-form passage where the white noises get lost in their metallic echoes. Honestly? I found this a little bit hard for the ears and the neighbors have asked for which kind of bugs have infested my condo. It's kind of annoying and the ears really take a blow. Although softer, "The Chimera Dreams" displays a life without forms which ends in the same sound nightmare as "The Chimera Sleeps".
And so go the next 36 minutes of “Cryptids - Biospheres Vol.2”; a sound experiment without musical life, even if it depicts a life that we have difficulty in imagining so much the tone is sometimes assassin. Really, this is for diehard fans of sonic experiences and I found that very difficult to ingest.

Sylvain Lupari (September 14th, 2013)
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=16380

lundi 9 septembre 2013

ETERNALKEYS: Arcanum Secret (2013)

“Arcanum Secre is a soft invitation into the much diversified musical and cinematic universe of Eternalkeys”
1 Letters and Pages 3:11  
2 Second War 2:28  
3 Parallelives 4:33  
4 Memories Gone 3:09  
5 Dragon's Gate 2:41  
6 Future City 3:02  
7 Farewell to Childhood 2:22  
8 Monumental Sign 2:28  
9 Glacial Wind 2:58  
10 Train Bridge 3:31

Independent Bandcamp (DDL 30:48) ***¼
(Mostly cinematic EM)
Dressed in its 10 compositions clocking an average of 3 minutes each, “Arcanum Secret” is a soft invitation into the much diversified musical universe of Eternalkeys, a musical project from the Italian composer and musician Mimmo D'Ippolito. A universe where the music, as ethereal as filmic, caresses our ears, a little like a certain Vangelis, and where the rhythms are creasing them with structures closer of Jarre and Shpongle while the orchestral arrangements are pure moments of anxiety, a little as Goblin. But don't get me wrong! I’m not saying that Eternalkeys is a new Vangelis or a Jean Michel Jarre, although he is very musical and theatrical, but I discovered an artist who seems very talented in the art of composition with a musical signature which depicts marvellously the sense of his titles.
And that begins with "Letters and Pages" and its dark piano which unfolds the pages of a melancholic story. If we like the sweetness of the piano, "Memories Gone" spreads its fragile notes, like the eyes its tears on the cheeks. It's very beautiful and very, but very, melancholic. I have the vague feeling that it speaks to me. "Farewell to Childhood" is yet another sweetness where, throughout a window misted by rain, we remember easily a piece of our childhood. Always weaved of black, "Second War" offers a very dramatic cinematic approach with superb orchestrations which hatch a mood a bit frightening. It's somewhat as if Hitchcock would go to the war. There are a lot of ambiences behind the violence of the mnemonic bows. Eternalkeys has the sense of drama and anxiety, it's undeniable. On "Dragon's Gate" he weaves a Babylonian world with wrapping synth strata which structure a medieval ambience that a harpsichord fed of an intrusive baroque melody, while "Monumental Sign" presents a more contemporary dramatic orchestral structure. After an ambiospherical intro, which reminds me of Tomita, "Parallelives" reveals a beautiful electronic ballad with a supple rhythm where the percussions and the effects of rhythms borrow the corridors of Jarre. The synth develops nice harmonies easily to whistle behind some hoarse organic mumbles. Always in the register of the electronic synth-pop set ablaze by Jarre, we find "Intended City", and its technoïd skeleton, "Glacial Wind" and "Train Bridge" which, on the other hand, are a bit closer to psy-techno à la Shpongle.
There is of everything on this “Arcanum Secret”. From synth-pop to dark movie music, while passing by mourners ballads, Eternalkeys presents his card. An artistic, a musical card which shows an irrefutable talent from the Italian composer who has the sense of drama as much as melancholy. I quite liked it, although some tracks are slightly too short. The orchestral atmospheres would be even more penetrating with minutes furthermore in the meter. But it's beautiful and that listens too very well. Mimmo D'Ippolito is a promising artist who seems promoted to classical movie music, where from the link with Vangelis. But I said it; he is not a new Vangelis... at least not yet. But there is a distant resemblance. Nice and charming!

Sylvain Lupari (September 9th, 2013)

mardi 3 septembre 2013

ALLUSTE: Aliens Enigmas (2013)

“A fine complexity in structures where the rhythms abound in contradictions, Aliens Enigmas soaks in these electronic moods which made the charms of the unexplained music”
1 Gods or Aliens 8:21  
2 Ancient Visitors 9:15  
3 Signals from the Future 10:20  
4 Angels Descended from Heaven 8:17  
5 Nibiru 9:26  
6 The Spaceships of Ezekiel 8:12

Alluste Music (DDL 53:53) ****
(Base sequenced EM)

A fine movement of sequences emerges between a net of ethereal voices, shaping a fragile rhythm which skips among finely jerky vocalized harmonies. Another line of sequences appears. It makes flutter about its crystal clear keys  which pilfer of a motionless movement, enthralled which they are by these seraphic voices which wrap the passive rhythm of "Gods or Aliens". A rhythm which harmonizes its fluidity by welcoming a 3rd line of sequences whose soft gallop binds itself in a line of bass and of its furtive movement which oscillates against the current of a structure of rhythm and its morphic tentacles. And contrary to Boards of Stringana, Alluste is watering abundantly its rhythm with nice synth solos which spread a harmonious dew in a sound universe where the sequences trample on with restraint. Frankly, “Aliens Enigmas” is the most complete work of the Italian synthesist. Piero Monachello structures an album intensely ambiospherical where the lines of sequences multiply in adjacent rhythmic arms, building some silent rhythms which flicker and wave in a musical bath filled by some very Dreamian fragrances of the Franke's years and the rebel sequences structures from a very cosmic Gert Emmens.
The line of bass sequence which feeds the intro of "Ancient Visitors" completes marvellously the black breaths of the synths which sizzle of grey tones in a Mephistophelian ambience. The keys are snatched by an intense veil of blackness, adding so more ambiences to a dark track which quietly gets out of the shadows with a fine movement of sequences which made waddle its keys with their copies in a silky veil of mists. As much musical as the sequencing, the synth sprays "Ancient Visitors" of delicate harmonious fragments and heterogeneous tones while that the track takes root in its storm with superb run-ups of sequences which are always harpooned by intense veils as much dark as morphic. A movement of ambiguity in the moods as much similar as on "Ancient Visitors" keeps a watch on the intro of "Signals from the Future", by far the most beautiful track on “Aliens Enigmas”, whose movement of hypnotic sequences progresses by untying two lines to the crisscrossed rhythmic harmonies. Cymbals are added to this ethereal procession that a synth ennobles with a harmonious approach a bit spectral. Drawing deeply in its 10 minutes, "Signals from the Future" goes away from its processional approach with a superb movement of sequences which flits like a tornado and its head winds in a heavy and motionless structure of rhythm which reminds of Gert Emmens' works. Totally good!
Over the time, Alluste has learnt to master the art of sequencing and its subdivided rhythms which clone themselves into independent entities. Seraphic voices and sibylline moods open "Angels Descended from Heaven" whose descent hangs on to a very good bass line to dark pulsations. Alluste spreads out his structure of interlaced rhythms and harmonies with a line of sequences which gets loose from the line of bass, making glitter the keys where the soft kicks oscillate under apocalyptic lines of synth which remind the atmospheres of Wavelength. These sequences which wave hypocritically are the skeleton of another darker track; "Nibiru", of which the fusion sequences and bass line crawl with bewitchment under the lines of synth to black and ghostly breezes whereas the sequencer, always so creative, scatter keys which skip like sheeps without guardian before binding to some sober electronic percussions. It's an intro stuffed with tones of cosmic rattlers which waits for our ears with "The Spaceships of Ezekiel" from which the ambiospherical opening deviates towards a very beautiful structure of rhythm which undulates of its gallop to the multi sonic and multi harmonic keys. Keys which split up to create other phases of bordering rhythms which skip in a still rotary axis, spinning around like snips of the scissors in an intense veil of sibylline mists.
A fine complexity in structures where the rhythms abound in contradictions, “Aliens Enigmas” soaks in these electronic moods which made the charms of the unexplained music. Diluting his ambient rhythms like a morphic painting into some spheroidal tornados, Alluste captivates a listening with a seductive complicity between his dark ambiences and his evasive melodies which couple marvellously on figures of rhythms of which the unknown stays the only ally. Great base sequenced EM!

Sylvain Lupari (September 3rd, 2013)
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=16367