dimanche 31 août 2014

TIGERFOREST: The Tides of Day and Night (2014)

“The strength of this album is is this fluidity between all these styles which have a sweet perfume of TD's Miramar years”
1 Asylum Harbor 4:05
2 Across the Silent Seas 6:17
3 Touch the Sky 5:52
4 For the Minutes 5:09
5 Find the Tree 4:51
6 Why Don't You Answer 5:34
7 Geometry of Shadows 9:05
8 The Endless Road 5:04
9 Chasing Starlights 5:01
10 Awakened By Silence 5:31
11 Aqua Marine 4:28
12 My Silent Mystery 5:12
13 Amanyara 4:27

AMAdea Records | AR00087 (CD 70:42) ***½
(Melodic e-rock of the 90's)
Remove the saxophones and all of Linda Spa's wind instruments in the music of Tangerine Dream, the Miramar years, and the result would doubtless be at the sonic image of TigerForest. As much incredible as it can seem; this group of the German musician Gunnar Spardel exists since 2007 and does not even appear on the famous encyclopedia of EM daily updated by Artemi Pugachov. What is wrong? What makes that 8 albums farther, the name of Tigerforest is absent in the media spheres of EM? Or almost! I had the album on my hard disk since a good little while and the first attempt has hardly incited me to write about it. I heard a kind of e-rock which exploited the same thematic core with 3 tracks sung. I afterward listened to the Podcast of July 17th 2014 (that I advise you enormously to listen to) of the English magazine Sequences, and I was intrigued by a good and very TD style of electronic rock; "Touch the Sky". The group? Tigerforest! Another track was also present on this broadcasted list, the very poetic "Asylum Harbor". And I was intrigued at once by both paradoxes. I said to myself; well, well I have to dig more seriously into this album. A very good idea. Without saying that Tigerforest has reinvented the wheel, this group of Gunnar Spardel offers a very energetic EM with a rich sound creativity. “The Tides of Day and Night” is Tigerforest's 8th album. And this title reflects well enough the universe of an album where the kinds crisscross with such a flow as it is sometimes difficult to label the kinds. Except the very net resemblance with the period of TD's Turn of the Tides, what struck the most on this album is this very careful production whose very beautiful sound wealth which overflows on each piece of music, either by an avalanche of electronic tones, very energetic e-percussions, multi layers of synth to colours of romance or of violence and arrangements of which the subtle variances flow with a surprising symbiosis.
A strangely dramatic ambient track "
Asylum Harbor" plunges us into a bottom sea with tones of ballasts which get lost bit by bit in an intense ambiospherical broth. The music is very immersive with dense synth layers which flow with thin sibylline voices and with notes in search of a melodic skeleton which seems to drown themselves in a profound abyssal fall. Too short? Not really because "Across the Silent Seas" takes back these moods of hadal claustrophobia to quietly emerge out of the oceanic depths with a timid rhythmic approach of which the growth remains very melodious. Light riffs and percussions which click with shyness are forcing a rhythm which stays prisoner of its astral envelope. The sensation of getting out of the tropical waters is as tangible as this sweet ethereal melody which joins us in our first breaths of air. It's there that I made a first link between the music of Tigerforest and the one of Turn of the Tides. And the striking "Touch the Sky" will root this perception. It's a solid e-rock where is only missing Jerome's guitar. We like? We shall certainly like the ferocious "Find the Tree", "The Endless Road", "Amanyara" and the very intense, we are at full ears here in a huge cacophonous e-rock, "Chasing Starlights" which offer a sensible balance between the leaden rhythms and the ethereal moods. This is what was missing in this period Miramar of Tangerine Dream! "For the Minutes" is also a strong e-rock, kind of Pat Benatar, with a beautiful small ambient passage, where the beautiful voice of Jennifer Herschman suits very well to this ambivalent universe of Tigerforest's electronic and ethereal rock. "Why Don't you Answer" is a charming ambient ballad where the voice of Kim Barry will awaken in us some recollections of Enya. This is a bit of New Age which is as delightful as "Geometry of Shadows" which is another sweet ballad with a poignant intro where synth tears are oozing into a dense ambiospherical veil rather dramatic. These ambiences to make crying a nail are fading away while "Geometry of Shadows" switches into a beautiful down-tempo fed by notes of a dreamy piano which fall in cascade in a rich sound texture and of which the abundance feeds both the ambiences and a soft rhythm rather astral. This exceeds the borders of New Age! The recipe of Tigerforest remains as simple as effective; Gunnar Spardel multiplies synth layers, by giving them most possible colours, in moods where roam a sonic fauna of quirky tones. So the textures are rich and assail our ears with kaleidoscopes of irradiant colours. "Awakened by Silence" is another sweet ballad which brings me closer to the very electro to folk style of Darshan Ambient. This is very beautiful and so much touching. "Aqua Marine" dips us back into loud, but always so musical, ambiences with a 2nd part explosive of feelings. You doubtless have in mind a beautiful love scene where both lovers run towards them on a beautiful beach with a background immensely blue! This is the kind of music that would play. But everything of “The Tides of Day and Night” cannot always please me! And so I won’t comment "My Silent Mystery" which is a big synth pop a la Duran Duran.
I was pleasantly surprised by this album of
Tigerforest, both by the very professional approach of Gunnar Spardel and by the quality of his very energetic music which, nevertheless the electronic jumble of these- rocks, keeps a delicious cohesion between the progressions of ambiences towards the rhythms. Set apart its rich and very diversified sonic envelope, the other big strength of “The Tides of Day and Night” is this fluidity between all its styles. The mark of a very good production. Good lively and melodious electronic rock; “The Tides of Day and Night” has all what it needs to please certainly those who loved this Miramar era from the Dream.Sylvain Lupari (August 31st, 2014)

gutsofdarkness.com & synthsequences.blogspot.ca
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=17302

mercredi 27 août 2014

VANDERSON: Abyss (2014)

“Even if Abyss shows proudly its moods of a very cosmic IDM, the roots are not that far from those of the Berlin School”

1 The Green Illusions 6:43
2 The Last Noise Particles 6:39
3 Rainy Afternoon 6:59
4 Synopsis 7:17
5 Somewhere from Integrated Circuit 10:15
6 Lunar Electronics 6:09
7 After the Rain 5:56
8 Greetings from the Exile 4:16

Vanderson Bandcamp (DDL 54:17) ***½
(Mix of IDM and Berlin School)
Resonant and podgy keys brush delicately the surface of the sound, dancing so with some discreet bass pulsations and percussions which let hear their felted bangings in the airs of a cosmic techno. "The Green Illusions" starts this last opus of Vanderson in a mode of cosmic dance music. The rhythm is delicate, sometimes slightly tremulous, and decorated with a beautiful mixture of percussions and sequences of which the variances rock a beautiful lunar ballad. I don't know enough the music of Vanderson to say that his last album takes him away from his style which is usually the one of Berlin School. It is rather one of my good friends who pointed out to me that the Polish synthman had downright modified his style with “Abyss”; an album which exploits much more the soft rhythms of a kind of IDM than the structures to the pleasant aromas of improvisation which is the vintage Berlin School. But we don't need to run away from it! Because quite slowly the music of “Abyss” makes its charm through some small jewels which make that its whole will eventually seduce. After the kind of ambient dub house which is "The Last Noise Particles", and its insidious melodic earworm, "Rainy Afternoon" stays in the field of dance music with a more supple rhythm, fed once again by a pattern beautiful of percussions and very melodious sequences. Astral, with its hoops of iodized lights, the melody is whistling such as ectoplasmic lamentations and haunts ears which forgot at times the sound of the rainy drops. "After the Rain" is another beautiful small track is which exploits the kind of ambient dub. More hammering and more alive than "The Last Noise Particles", "Synopsis" reminds me a little of Spyra with these notes of electric piano which drag a quite fragile melody in a pattern of boiling sequences and their organic chirpings. It's a track with a good beat, such as "Lunar Electronics" which is clearly more of a ballad kind, even with its finely bumpy rhythm. "Somewhere from Integrated Circuit" is the pearl of “Abyss” and makes us regret a little bit the orientation of Vanderson's last album. We always stay in the field of dance music, except that the Polish synthesist whitewashes his longest offering of “Abyss” of a very ambiospherical Berlin School gravy. The intro is cosmic and uses wisely its first seconds with astral waves which sing as of soft interstellar hummingbirds. The sequences get stir nervously. They drum an ambient and circular rhythm which winds beneath the choirs. Some other and colorful percussions invite each other in this static dance, paving the way to some heavy bass pulsations which remodel the ethereal airs in a great morphic cosmic techno. Veils of synth weaved in violin harmonies caress this linear rhythm which pounds between two opportunities but which always keep its hypnotic Teutonic touch. This is very good. In fact it sounds just like one of the most beautiful piece of EM this year so far. And Vanderson leaves us with another small piece of charm in order to conclude his “Abyss” with "Greetings from the Exile" and its very TD synth harmonies which blow over another nice ambient dub rhythm. This is great EM we have here.
I admit that “Abyss” can faze those who were waiting an album of pure Berlin School. But if we listen carefully to his eight tracks, we notice that Maciej Wierzchowski doesn't go that far from these cosmic vibes of a kind which always seduces so much, even in its rather conservative approach. “Abyss” abounds in rhythms which control themselves rather easily. Even if the percussions and the sequences seem to compete to make the pulse burst in parts, these rhythms remain as ambient as some lost steps which run after their legs on an immense mattress of cellophane. The impression to float remains and we reach a very beautiful nirvana with the superb "Somewhere from Integrated Circuit". As I said higher; you should not run away because
Vanderson is not that far from Spyra too. We have to admit that the link has enough to seduce!
Sylvain Lupari (August 27th, 2014)

gutsofdarkness.com & synthsequences.blogspot.ca
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=17291
A very short album teaser can be view here: https://www.youtube.com/watch?v=J5BA4omzRho

samedi 23 août 2014

PERGE: Mythos Part One (2014)

“Fans of Poland and Logos; hold your hats, this one is for you!”

1 Poloart 26:02
2 Myth Rouge 35:58

Perge Bandcamp (DDL 62:00) ****
(E-rock and Berlin School)
It takes some boldness to attack works as major as Poland and Logos! I am not a musician! Of the music, I know only its charms. But I remember very well having listened to an album and think; that, I would have made it in a different way. I would have added sequences and percussions (I like the sequenced rhythms) here and there. And I imagine that my tastes meet those of Graham Getty and Matthew Stringer, because the way they reshaped Poland and Logos seduced me very well. But does not attack monuments who wants! We know the boldness of Perge. The English duet is the only one to have dived into the atmospheres of Franke, Froese and  Schmoelling with a so net precision in sounds, rhythms and vibes. Actually; we really have this impression to hear new sessions of the famous German trio by listening to the first 2 albums of Perge. Except that “Mythos Part One” leaves no room to ambiguity. If Dyad and Attalus showed a great originality in the art of getting into the spheres of Tangerine Dream, with compositions which flirted with the original essences of the mythical trio, this last album of Perge is a direct intervention, a reshaping in rule of certain parts of Poland and Logos. Moreover, the artwork of “Mythos Part One” is perfectly clear about the intentions of Perge.
Splendidly, "Poloart" puts our emotions to the test with this approach so icy of Barbakane. The hair rises of our arm! The sound is sharply stronger and we dive directly into this cold rhythm where the resonances are buzzing and the sequences are sparkling on sober and so effective percussions. We are in Poland and we feel it. The duet brings an almost organic touch with colorful sounds which ice these ambiences so strangely ethereal which knew how to sing over an ice field. I would say that it's the best of Barbakane, you have to hear these sequences bicker like balls on a conveyor, mixing to the magnificent final of Horizon while passing shortly over all of the
Poland album. The boldness comes from this line of bass sequences which gets loose and re shapes a line of rhythm which invades our ears with just what it is necessary of subtlety to think that it was maybe the very first outtake of Barbakane. Set apart this static rhythm which hits us in the face, the moods are adorned with the charms of synth pads perfumed of icy breezes, with synth riffs which scatter some embryonic bits always so melodious and with superb solos which dominate in the section originality. "Poloart"! It's 12 minutes of Barbakane with an attractive ambience passage which makes the transition towards this attractive autopsy of this track towards the splendid final of Horizon. Delicious and without smudges!

After a very brief embrace with the Velvet Part of Logos, "Myth Rouge" drives us to the wonderful and memorable Red Part. Perge borrows then the paths of the 82 Logos tour with passages that seem to us familiar and of whom we do not arrive to identify clearly. I think that it's mainly the charm of this track. Bits of The Keep, notably the sequencing pattern, call out to our recollections, while that quite slowly Perge mixes passages known by the die-hard fans to some passages which are proper to the English duo. The ambient passage breathes with sequences which snore in the ethereal delights of the solos from a very melancholic synth. A bit of originality, still a little like if Edgar gave us some secret elements of Logos, which I like. And like that, the finale of "Myth Rouge" struggles our ears between influences which seem to go out of the madness of Horizon, concluding another one very attractive album of Perge which if seems to offend the ears of die-hard fans, knows how to charm just as much those of those who like simply its audacity. Very good, I wait and hope for a Mythos Part Two!
Sylvain Lupari (August 23rd, 2014)

gutsofdarkness.com & synthsequences.blogspot.ca
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=17289

jeudi 21 août 2014

THE LONG LIGHT: Our Waking Hours (2014)

“A deep ambient work, Our Waking Hours sounds so much like a hommage from Andy Codon to Brian Eno”

1 Our Waking Hours (Part I) 21:56
2 Our Waking Hours (Part II) 17:28

Glimmer Room Bandcamp (DDL 39:24) ****
(Purely ambient music)
The music of The Glimmer Room is undoubtedly one of the most beautiful, of the most romantic, even poetic, in the spheres of the modern EM. Rightly, I Remain remains doubtless the most sensitive and the most striking poetic work that have caressed my ears since moons. Why do I speak about The Glimmer Room? Well because The Long Night is a musical project which is parallel to the poetic universe of The Andy Codon. Except that here the music is purely ambient. And you are going to tell me that the music of The Glimmer Room is a kind of rather ambiospherical? It's true. But not as much as this one!
A fragile note of piano falls. Its reverberation spreads a shadow of melancholic melody which pierces a fog that only our perception can see. We listen to "Our Waking Hours (Part I)" as we look through the window at our memories of a day of greyness where the rain leaves the care to the branches to exterminate its last tears. The notes of a piano, as pensive as meditative, scatter themselves on a bed of mist like the most fragile of the dews. Their strewed harmonies accompany the chirping of the morning birds while our heart always hesitates between the shadows and the brightness of a day that we do not know to be autumnal or spring. Borrowing the very ambient paths of the works calcified by harmonies froze in time, “Our Waking Hours” remains a very intimist album where Andy Codon pays a kind of tribute to Brian Eno. Everything here inhales this oniric delicacy which characterizes the very immersive music of Eno. I like "Our Waking Hours (Part I)" and its inconsolable notes of piano of which the resonance in our ears ends to weave small melodic verses which enchant even the chirpings of our winged bandits of mornings. On the other hand "Our Waking Hours (Part II)" is less acoustic. The chords of piano are replaced by electronic similarities while the astral voices caress a melancholic sweetness which always floods its dreams in the singings of sparrows. If each part offers its analogies, their impacts remain different. We like the acoustic sweetness of "Our Waking Hours (Part I)" while the seraphic voices of "Our Waking Hours (Part II)" brings us to another level of contemplativity. But both parts remain as beautiful as soft. As poetic as oniric. And we surprise ourselves in wondering where flies the time, so much that our dreams fly away with its minutes. Sign of another very pleasant rendezvous with the very beautiful music of
Andy Codon. And this is true, no matter the names he borrows.
Sylvain Lupari (August 21st, 2014)

gutsofdarkness.com & synthsequences.blogspot.ca
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=17288

lundi 18 août 2014

EBIA: Herrscher im Orbit (2014)

“Herrscher im Orbit is a great soundtrack fill by a sweet poetic, and cosmic should I add, approach that will haunt you for many hours to come”
Herrscher im Orbit Part I 7:44
Herrscher im Orbit Part II 2:48
Herrscher im Orbit Part III 7:22
Herrscher im Orbit Part IV 3:14
Herrscher im Orbit Part V 7:11
Herrscher im Orbit Part VI 4:01
Herrscher im Orbit Part VII 8:48
Herrscher im Orbit Part VIII 9:50
Herrscher im Orbit Part IX 9:52
Herrscher im Orbit Part X

SynGate | CD-r EM07 (CD-r 69:24) ****
(Cosmic and ambient rhythms wrapped in Berlin School) 
There are things that we just cannot explain. Things which at first sight seem devoid of senses and which quite slowly obsess them. The last time that I heard the music of Ebia goes back to Hunter of Worlds. I had found the music good. A good mixture of everything where Jörg Bialinska has never aimed one genre in particular, if not a kind of spacey techno. It's a bit different this time with “Herrscher im Orbit”. This time the genre embraces downright the Software's beautiful years of New Berlin School. Except that the music has the appearances a bit muddled. All of this last album of Ebia rests on hesitating structures where the ambient rhythms are doing stop'n'go, shaking serpentines of finely dislocated melodies in structures of rhythms which seem always unfinished and which quite slowly coil up between the ears by taking the care of forming some fine and silky earworms. Everything you need to become infatuated with. All which has of more voracious! And if I had a link to make, that would be with the quite delicious and tenderly poetic Sebastian im Traum from Frank Specht.
NASA voices making the countdown are propelling the first measures of “Herrscher im Orbit” in the shells of our earphones. The skeleton of the ambient rhythms spreads its charms with volatile swirling sequences of which the resounding chirpings live with the pulsations of a hesitating bass line. Although threatening, this structure of unstable rhythm flickers beneath the jingles of crystal elytrons and the more steady pulsations of a bass-drum and of its bang-bang which brush the sweet hammerings of a cosmic techno. A quiet, almost soporific, techno which beats beneath dense layers from a morphic synth. The sensation of floating between two worlds assails our senses while that quite slowly the lunar rhythm of "Herrscher im Orbit Part I" crosses the corridors of ambiences perfumed by synth streaks and of which their gaudy colours and the restful shrill singings are floating just like the sweet caresses of Morpheus. We feel for sure a rhythmic fury pointing out on all horizons. And if this rhythm pierces a little bit this interstellar fog, it's to let escape a structure more harmonious than killer which always wraps itself of these soft aromas; as cosmic than paradisiacal. Ambient and very cosmic, with its lunar choruses which put down a shroud of serenity, "Herrscher im Orbit Part II" drifts quite slowly towards the first jewel, the first track that really starts this surprising passion for this absolutely abstract work; "Herrscher im Orbit Part III". I spoke to you about ambiguous rhythm? About ambient rhythm which refuses to rock down the house? Well, it's all the charm of "Herrscher im Orbit Part III" that will shake its obsessing earworm until the last second of “Herrscher im Orbit”. The delicate knocks of astral tones' anvils at the end of Part II are ringing up to its intro which reveals a superb line of sequences with keys jumping on-the-spot. Percussions hammer a rhythm as sweet as slow while that another line of sequences deploys its keys which hiccup in a coquettish stroboscopic filet. And there, there are synth tears. Tears which sing sinister verses soaked of melancholy and which, without any warning, find a way through the ears for many hours later. While our feelings are hypersensitive, an unexpected dreamy piano throws some morphic notes in the air which skip on an already very striking electronic hymn. And thus are going the next minutes of “Herrscher im Orbit”.
Using at fullness, and with good reason, the deeply moving soundtrack of "Herrscher im Orbit Part III", weft
Ebia forges the following parts by bringing to it just what it's necessary of modifications to avoid any kind of redundancy. Delicate and enigmatic, "Herrscher im Orbit Part IV" and "Herrscher im Orbit Part V" remind as much the Machiavellian bed songs of Mark Shreeve as the futuristic atmospheres of Software. And when the percussions fall, we follow the curve of their feelings. Very strong moments here! "Herrscher im Orbit Part VI" brings us a bit closer to the cosmic momentums of Jean Michel Jarre with a liquefying structure where are glittering some liquid stars. This more ambient movement serves the depth of "Herrscher im Orbit Part VII" and to its structure of rhythm traced on the skeleton of Part I. The solos change the pattern a bit with superb twists which coo in an intense spatial environment. Here as everywhere, a dreamy piano spreads melodic fragments with evanescent harmonies which melt easily in all the harmonious setting of “Herrscher im Orbit”. We never stop of being seduced. More ambient, although very shaken by strikes of percussions and very synchronized palpitations from a rather dark line of bass, "Herrscher im Orbit Part VIII" offers a clearly more sinister approach with roarings of synth which rage against the moon. A little bit long but we forgive this gap when "Herrscher im Orbit Part IX" falls in our ears with its furious cosmic electronic rock. We plunge literally in the years of a little more progressive synth-pop. "Herrscher im Orbit Part X" closes “Herrscher im Orbit” smoothly. The rhythm remains ambient and swirls at the whim of sequences which unfold a delicate lunar melody of which the bevy charms as much our ears as the sweet and very dreamy synth solos.
My love says that there is nothing more beautiful than preliminaries! I completely agree. And this last album of
Ebia is a long process of preliminaries which once explode from time to time before reaching its rhythmic nirvana with "Herrscher im Orbit Part IX". In fact, “Herrscher im Orbit” is simply charming. Jörg Bialinska depicts a cosmic story where every sonic inch is furnished with an electronic bouquet as much dreamy than melancholic. The very big strength of his last album is this sensation to always hear the same elements, the same tunes which, without being totally certain of it, run throughout its 70 minutes. And this is there that the seduction, that the dependence if I would dare to say, becomes an insidious object of worship and fascination. We listen again to a track, as another one, and we hear all these nuances which caress our carefreeness to let ourselves be dominated by an oniric beauty which breathes of an astounding lunar approach as much electronic as poetic. I was totally seduced (but I’m telling you; it needs 3 to 4 listenings) and still I am. A very beautiful work of Ebia!
Sylvain Lupari (August 18th, 2014)

gutsofdarkness.com & synthsequences.blogspot.ca
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=17276
Here is the Bandcamp link

dimanche 17 août 2014

EBIA: Hunter of Worlds (2009)

“What we have here is a nice album of Space Techno which beats in the sheets of an old Berlin School style”
1 Galactic Quest 6:13
3 Hunter of Worlds 6:15
3 Passing Tripoint Station 6:14
4 Solar Eclipse (Dub Mix) 7:17  
5 Voyage in Night 6:18
6 Invader 6:50  
7 Brothers of Earth 5:52 
8 Cosmic Flight (Remix) 6:04  
9 Gates of Chaos 7:23
10 Faded Sun 6:43

SynGate | CD-r EM04 (CD-r 67:09) ***½
(Space techno and lunar down-tempos in a Berlin School sauce)
Faithful to its trademark, SynGate takes the bet to make us discover new artists who get out yokes of traditional EM in order to embrace a more libertine musical style and by ricochet a more accessible one. Ebia is the musical project of Jörg Bialinska who presents his 4th album in “Hunter of Worlds”. A title far from reflecting an extraterrestrial vision but rather a collection of 10 tracks which borrow the spheres of a lively rhythmic music. One can say that it's a kind of music for dance-floor which battles between melodious ambiospherical layers and wild rhythms beaten by percussions which drive with strength and dynamism.
And "Galactic Quest" starts the moods pretty well and depicts this musical universe that will fill the ears on this last opus of the German synthesis. After an ambient intro enriched of a guttural voice and some very nice ambiosonic synth pads, the percussions fall down and crush the moods with powerful knocks which hammer a stroboscopic and neurotic structure. A rhythm where the speed of percussions fits to the undulation of bass sequences and run on a synth filled of beautiful harmonies and some childish tunes which fly off the handle on a heavy and lively musical structure. Jörg Bialinska has the beat in the blood and the title-track borrows the same pulsating path but with a more unctuous, a more harmonious synth, quite as on the structures of "Voyage in Night", "Invader", although sharply more cosmic, "Brothers of Earth", "Cosmic Flight (Remix)" and the aggressive "Gates of Chaos". "Passing Tripoint Station" offers a different mood with a slower intro which beats by the means of some fascinating rubber kind of resounding percussions and hands banging. Bit by bit, this intro becomes delicately misty with a zest of a languishing techno wrapped by a synth with charming lyrical stratus. This is what I could call a kind of soft techno or either a soft down-tempo, quite as "Solar Eclipse (Dub Mix)" which marinates for a long time in an ambiospherical intro filled of childish and mocking vocal harmonies before increasing and decreasing its crescendo. This is one of the good tracks of “Hunter of Worlds” with also Faded Sun which flows in the ear like "Passing Tripoint Station".
I finally ended by liking this “Hunter of Worlds”. What Ebia offers here is an album of Space Techno which runs between its very paradoxical nuances and vibes. These spacey elements coil up both in fierce rhythms and their paced beats and the ethereal mists of a spatial music build upon the basis of old Berlin School style with some very nice floating and harmonious layers.
Sylvain Lupari (August 22nd, 2009 and translated on August 17th, 2014)

gutsofdarkness.com & synthsequences.blogspot.ca
You can read the French version here