samedi 7 décembre 2013

RUDOLF HEIMANN: Into the Unknown (2013)

“Embroider in a lot of diversity, Into the Unknown is among the nicest surprises in the shelf of rhythmical and melodious EM in 2013”
1 Voyages to Vinland 6:30
2 Moonshadow 10:47
3 Mount Roraima 7:25
4 Stanley Meets Livingstone 8:11
5 Terra Incognita 6:56
6 Bathyscaph Trieste 6:11
7 Nie Zurueck 5:20
8 Three Ships on the Horizon 10:30
9 Point of no Return 4:17
10 Blues for Robert Falcon Scott 3:16

SynGate | CD-R RH01 (CD-r 69:23) ****
(Base sequenced and melodic New Berlin School)
It is with resonant sequences which pulsate with a catchy rhythmic arrhythmia that "Journeys to Vinland" introduces us into Rudolf Heimann's latest sonic expedition. The German synthman breaks another silence, which is only 3 years long this time, by offering an album of EM where the synth-pop hangs on to Teutonic rhythms. The movement of sequences on "Journeys to Vinland" takes the shape of a minimalist approach, as mostly of the structures on “Into the Unknown”, that some electronic percussions harpoon with delicacy. If we ask me to make a point of comparison for regarding the kind of EM we find on “Into the Unknown” I'll point out the melodious approaches, as well as the delicate rhythms, of Johannes Schmoelling. It's exactly what awakes the hearing on "Journeys to Vinland" with its melody forged in the breaths of synth to the colors of panpipes. Hummings of a power plant in a state of emergency start the slow, almost ambient, rhythm of the splendid "Moonshadow". The rhythm develops slowly. It skips delicately under iridescent mists, ethereal pads and cosmic winds and borrows finally the pattern of a delicious intersidereal gallop. The synth blows pleasant solos which coo in some night mists filled by chthonian voices. And the rhythm is teaming up with sober electronic percussions, shaping a great pattern of rhythm which reminds me a solitary rider who gallops of a peaceful trot by whistling melancholic airs on the cosmic dunes. This is great New Berlin School and it goes straight in my IPod. What had so much seduced with Tide is back on this last effort of Rudolf Heimann. “Into the Unknown” is a very versatile album where the rhythms take all the forms of modern EM without ever altering a melodious approach which reflects quite well the association I made with Johannes Schmoelling. These very fluty songs of "Moonshadow" are the heart of the harmonies you will find on “Into the Unknown”. They adorn the rhythm of free rock that we find on "Mount Roraima" and of its progressive tribal structure which quietly deviates towards a more dishevelled rhythm. The hopping rhythm of "Stanley Meets Livingstone" drinks of the light trots which skip under the forms of sequenced riffs and which magnetized us in "Journeys to Vinland". The rhythm is ambient, limping with sober percussions under strange musical samplings and the wrapping strata of a very soft synth. "Terra incognita" offers a little bit funky/cosmic genre where the synth weaves pleasant fluty harmonies on a rhythm scattered between its percussions, its sequences in tones of xylophones and its subtle breaths of trombone, played by Constantin Paroth. This is a track where the rhythms are as much cheerful as the melodies are and which reminds unmistakably the structures of Johannes Schmoelling.
"Bathyscaph Trieste" is the kind of track where we hook easily. Is it the resemblance with 
Tangerine Dream? Because the bed of sequences which makes skip its keys of a delicate rhythmic arrhythmia is also catchy as the sequencing pattern of Chris Franke. And there is also this melody which makes whistle indefatigably its lassoes in a dense cloud of mystic mist. This is very catchy and the head follow our feet stamping. If we like, "Nie Zurueck", which is a little more cheerful, more ethereal with these wandering voices which accompany the discreet chords of an e-guitar, is quite similar. Fluttering from a style to another one, Rudolf Heimann entails us towards a very good New Berlin School with "Three Ships on the Horizon" and its line of static rhythm which fidgets restlessly with jumping keys pounding as cardiac chirping under an avalanche of synth solos and of its twisted singings. The rhythm sinks into our ears with strong percussions and a good line of bass pulsations which make heavier these keys skipping like a galloping ride and of which the swiftness is slows down briefly by a more ambiocosmic passage while the synths weave harmonies and ambiences which numb a bit its heaviness. There is a lot ambience and sadness around "Point of no Return", an ambient track where the synths which turn down the corner of the winds with breaths of trumpets which float over some funeral notes of a pensive piano. Less sad but more heart-rending, "Blues for Robert Falcon Scott" is what it sounds; a good cosmic blues where a very acid guitar is tearing down the ambiences on a heavy rhythm well hammered by good percussions. The synths and the keyboards remind me of Pink Floyd and their post Roger Waters years.
Is it necessary to pass by 
Tide to appreciate “Into the Unknown”? That can help to understand the huge diversity of Rudolf Heimann who this time offers more accessible structures. But this impression can be fooled by my ears that are used in so much music in the course of the years. But they are rather reliable to guarantee you that you are going to have a great time discovering the music of Rudolf Heimann in “Into the Unknown”; one of the beautiful surprises in the shelf of rhythmical and melodious EM in 2013.

Sylvain Lupari (December 6th, 2013) &
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

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