samedi 30 avril 2016

TANGERINE DREAM: L'Affaire Wallraff/The Man Inside (1992)

“I'm not a big fan of this TD era. So is L'Affaire Wallraff (The Man Inside) is worthy of its high price for object of rarities? I guees that only a true fan could answer to this question and I suspect that it will be a yes”
1 Wallraff's Theme 1:36
2 Tendency of Love 3:58
3 Addicted to the Truth 4:35
4 World of the Standard 4:10
5 Purposes Of Brevity 4:30
6 Tobel's Death by the River 4:22
7 Taboo Society 3:17
8 The Drive to Hanover 4:40
9 Correlation of Lies 3:45
10 Investigation 4:16
11 News and Morality 4:45

EMI France | 795 617-2 (CD 43:54) ***
(E-Rock)

I know that reviews about the works of Tangerine Dream arouse a great deal of debates. And it's not because it displeases that I won't have to write about it. On the contrary, if I was a neophyte of the Dream world I would appreciate a lot to read reviews and articles about the too numerous records of Edgar Froese group. I thus keep my momentum with another album very difficult to find; “L'Affaire Wallraff (The Man Inside)” which, unfortunately and in all objectivity, is far from being worth the price of its rarity. Composed in 1989, either at the time of Lily of the Beach, the music of this Bobby Roth's movie is boiling of these rhythms in boxes which furnish the tempos of the Dream music of its the so called Seattle years. “L'Affaire Wallraff (The Man Inside)” is consisted of 11 tracks of an average length of 4 minutes each. Thus if we look for marvels in evolutionary and a little bit complex structures, we have to look somewhere else! Four minutes with an intro and a finale, there not much time left to put some meat around the bone. With “L'Affaire Wallraff (The Man Inside)” we are on known territory where the percussions hammer and tumble down on structures which smell the warmed, as the dramatic "Addicted to the Truth" (a good title) which seems to have escaped from the Near Dark sessions, and other tracks which smell to the ears full of the sessions of Lily on the Beach, Miracle Mile and even Rockoon. So, a must for the fans of this period. The rhythms are heavy, the percussions are well worked  and there are even some patterns of sequences which radiate the vestiges of Chris Franke; "Wallraff's Theme", "World of the Standard" and "Taboo Society" although very cold and at times quite uniforms. The rest is rather insipid and without interest, except for lighter tracks such as "Tendancy for Love" and "New and Morality" where we manage to smell a kind of emotion. In brief; a  TD of the 90's where the emotionalism gives way to a cash register and where only the easy cash seems to be the principal source of motivation. If you have the means of your worship, it appears by moments on eBay, but you have to be careful and watch out because there are some pretty nice imitations out there which circulate from times to times. And there are at high prices too. Ah...this wonderful world of Tangerine Dream!
Sylvain Lupari (Firstly written on September 11th, 2010. Translated on April 30th, 2016
gutsofdarkness.com & synthsequences.blogspot.ca

jeudi 28 avril 2016

E-MUSIKGRUPPE LUX OHR: Jenseits der Mauer des Schlafes (2015)

“This is a solid track of psychedelic electronic rock which plays constantly on the borders of Krautrock and of Berlin School”
1 Jenseits der Mauer des Schlafes 18:57
Svart Records | SVR417 (DDL/E.P. 18:57) ****
(Krautrock and Berlin School)

Here is a thing which was lying about on my desk and which I almost ignored. Yet, since the excellent Kometenbahn, released in 2013, I had the sting for this band which lead us a few years behind with a psychedelic electronic rock which plays constantly on the borders of Krautrock and of Berlin School. Written in the stride of Spiralo, “Jenseits der Mauer des Schlafes” is part of a common project with the néokraut group Hisko Detria which aims to expose both bands in a wider audience. If the Finnish label Svart Records has launched this new adventure in vinyl,  it is however possible to get “Jenseits der Mauer des Schlafes” in digital format on the Bandcamp page of E-Musikgruppe Lux Ohr.
Carillons evaporate their ringings in droplets of stagnant water, whereas a line of riffs (tchoo-tchoo) chops boorishly the introductory atmospheres of "Jenseits der Mauer des Schlafes", a title which is inspired by a short story of H.P. Lovecraft entitled Beyond the Wall of Sleep. Nothing gets lost in the universe of E-Musikgruppe Lux Ohr! If the carillons are running away towards the limbo, their imprints remain always present and ring cheerfully on the handle of a bass of which the spheroidal notes roam and crawl upright,  bringing heaviness and swiftness to a charmingly jerky and deliciously hypnotic figure of rhythm. An E-Bow is painting the whole thing with plaintive sighs and weeping solos whereas the synth calls some solos which roll in loops while crumbling some psychedelic electronic effects. We are in the pure cosmic rock of the Ashra years with this mixture of guitar and synth which make duel, as much in solos and harmonies as in the effects, on a repetitive rhythmic slightly spasmodic where always waltz these ringings which are now join by clinking of percussions a bit metallic. The rhythm loses its escalation at around 9 minutes to dive into the dark atmospheres which are inspired by the novel of H.P. Lovecraft. The bass and the percussions roam always in the background. With the effects of the synth, they weave a cabalistic envelope where the voice of Kimi Kärki recites a devilish incantation. The voice becomes voices and the envelope of ambiences becomes more chthonian whereas that little by little the structure of rhythm finds its vigour in a kind of jerky clanic trance where the psychedelic effects dominate the electronic ambiences. A very good track which wins all its flavor with a good headphone set and which proves that the Finland band of underground EM is far from being a flash in the pan.
Sylvain Lupari (April 28th, 2016)
gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the E-Musikgruppe Lux Ohr Bandcamp page here

mercredi 27 avril 2016

ERIK WOLLO: Star's End 2015 (Silent Currents 4) (2016)

“This is the most quiet and meditative moments of this series and they will lead you to the door of your inner mind”
1 Silent Currents 4 60:13
Projekt ARC00100 (DDL 60:13) ***½
(Ambient)
Between the borders of a land of ice and the most white petit point in the horizons of the cosmos, a big humming roams while being flogged by the bites of sound stars. Heavy, this ambiospherical introduction opens Erik Wollo's the last performance at the famous Star's End radio show of 2015. This time, the Scandinavian electronic bard makes counterweight to Silent Currents 3 by spreading an immense mosaic of soundscapes where the breezes of the North and their haloes of hoarfrost infiltrate the whispers of the caves of ice. “Star's End 2015 (Silent Currents 4)” is doubtless the most quiet show of the series with linear and minimalist synth lines which intertwine their slow ambient arcs with some fine astral modulations in their caresses. We can hear the cosmos buzzing peacefully here as well as a thick cloud of seraphic voices, sometimes even a choir, which get lost in the hollow winds whistled by the high ice-cold tops. The whole thing forges immense sound waves which always leave cosmic residues before returning in cosmos. Layers of more seraphic voices swallow their rollings at around the 20th minute, freeing a more bright corridor where cavort crystal clear keys which wait only for a shadow of rhythm in order to take life. These small sequenced pearls gambol around and seem to shiver in the cold underground rivers of the Scandinavian caves, except that their brightness is too weak to make take out the rhythm of its den of serenity. It's as peaceable than soothing. The movement remains black and crumbles its minutes to the meter while that quite slowly is spreading the night over the shadows of Wollo in the studios of Star's End on WXPN-FM in Philadelphia. We arrive at the point of 30 minutes and the hollow breezes put on their wings another tone. That of a guitar that Erik Wollo caresses slowly with an Ebow, forging tears which get lost in our sense of hearing as were the ones of a synth. A suspended river makes its bed of sequences glittering which is singing with the sighs of the Ebow and this fusion of voice and of breezes which decorate the ambiences of "Silent Currents 4". A structure of minimalist rhythm makes skip the waterfall of sequences, structuring so an ambient rhythm which rings and resounds in layers of distant voices and in the shadows of the six-strings. This brief phase of aerial rhythm is swallowed by the anger of the winds which scold such as a distant machine of the cosmos, preparing the rather tribal rhythm which brings us to 50th minute. It's another short phase which fades out in rustles and in these immense layers of winds which accompany this quiet travel of our subconscious fed on serenity in the valley of Erik Wollo's silent currents.
Sylvain Lupari (April 26th, 2016)
gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Projekt Bandcamp page here

mercredi 20 avril 2016

STRATOSPHERE: Rise (2016)

“Rise follows the paths of Aftermath but with a little more movements in some ambient beats delicioulsy created by lazy fingers on a bass”
1 Melancholy 9:25
2 Dream 8:13
3 Hypnotic 8:48
4 Enmity 8:43
5 Desolation 8:20
6 Duality 8:27
7 Explore 8:06
Projekt | PROJEKT329 (CD/DDL 60:05) ***½
(Dark ambient with guitar drones and effects)

A long humming come by far drops a translucent line which meditates on the atmospheres of "Melancholy". The snores of the bass become a shape of ambient rhythm, a walking for damned, where roam and cry a six-strings which sculpt the same soundscapes of opaque and intrusive ambient music. A guitar which scatters a kind of spectral melody which is as much heavy as the sorrows of my adolescence. According to the curves of a music built on the multi layers of drones to the colors of a rainbow shinning under a sky of fire, “Rise” is no more and no less the answer of Stratosphere to its previous album Aftermath. Even if everything is always so heavy, we feel that the Belgian guitarist Ronald Mariën lives some happier moments. Happier because the music breathes by fascinating and captivating ghost melodies which rage and play the trouble-makers on a perpetual thick cloud of drones with the outlines radiating of contrasting luminosity. There are lots of shrill colors on this album which glitter between our ears. First of all, “Rise” beats by the delicate measures of a line of rather elastic bass. One would say a fusion between Dirk Serries, who mastered the album, and Stratosphere.
Like in "
Dream" where the lazy fingers of Stratosphere congeal a floating rhythm where are caressing the superimposed harmonies of an electric six-strings and the delicate riffs of an acoustic guitar. Here as everywhere in “Rise”, a heap of lines in the clear-dark colors wrap this melody which flows actually as a dream. Dramatic effects are inserted here and there, giving a more penetrating dimension to the track. I quite enjoyed this track! "Duality" is in the same style but with more colors in the tones. "Hypnotic" is the darkest track of “Rise”. The drones here are more compact and smother this melody which tears its guts in the razor blades of the drones. Chthonian and disturbing! All the opposite of "Enmity" where sleeps a very nice melody, we found it after 2 or 3 listening, on sibylline layers which float as the caresses of a hand on our soul. The bass structures an envelope of ambient beat of which the progression adopts the curve of the guitar layers in a duel between darkness and luminosity. It's also a track which disturbs, but not for the same reasons as "Hypnotic". It's very good. What fascinates in “Rise” is this constant presence of structures of rhythms as heavy as an ascent of a mountain with a backpack loaded with rocks. That transcends the structures of usual ambient soundscapes. As in "Desolation" where the bass feeds the wrath of a raging guitar, but always ambient, under this sonic sky which is covered of translucent drones. A title a little less difficult than "Hypnotic" but which stays in the same vein. "Explore" ends this 3rd opus of Stratosphere with a wall of lines and of very compact reverberations which leave little space, and luck, to this kind of ghostly melody of which the breezes whistle without really reaching a point of explosion.
Roughly, “
Rise” follows the traces of Aftermath but with a little more movements in the panoramas of reverberations and multi layers of guitars dressed with the tones and the colors of synthesizer. It's always a music of heavy and dark ambiences where breathe a life of harmonies chiseled in the shadows of the ghosts.

Sylvain Lupari (April 20th, 2016)
gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on the Projekt web shop here

mardi 19 avril 2016

JOHN GREGORIUS: Still Voice (2016)

“Still Voice is a very New Age album with a very touching guitar and a nice melodic touch that will bring you up over the clouds...at the feet of angels”
1 Grounded in Mystery 4:07
2 Wonder of Grace 4:44
3 Fall into the Open 6:16
4 Benevolence 4:23
5 Trust 5:34
6 Still Voice 3:41
7 True Self 4:14
8 Let it Go 3:23
9 Salt and Light 2:02
10 The Dance 7:59

Spotted Peccary ‎| SPM-1802 (CD 46:43) ***½
(New Age)

When I received this album from Spotted Peccary and when I read the press info, my ears wanted to run away. Multilayers of guitar tapestries which spread their musing in synth lines? No thanks! I already gave in New Age in the 80's and 90's that I wasn't very attracted by the new release from Spotted Peccary. But I have an enormous respect for Howard Givens who always succeeds to give more momentum and depth to the productions of his label. Consequently, I had to listen to this “Still Voice”. But I had to catch up my ears. John Gregorius is a very recognized musician/producer in California where he produced and played with several groups and/or artists who have an impact in the country of oranges. Experienced guitarist, he had tried a solo experience with Heaven and Earth in 2007. His style is a little similar to that of Checkfield, Stephen Caudel or Darshan Ambient. Even that sometimes, the multilayer of guitar lines and their arrangements reminded me the very quiet David Gilmour. But still there, it has been quite a while since I heard some Gilmour in solo. And in order to give well a good dose of shivers in the soul, John Gregorius held the services of 5 musicians which handle stringed and winds instruments. Not really my cup of tea but well... I finally found my ears!
The notes of a guitar hang onto a shadow of gloomy atmospheres. Some jingles invite each other as well as a bass, percussions and a piano. "
Grounded in Mystery" begins this odyssey into the land of very firmly pinched notes of guitars with an almost lively structure of rhythm where the piano and the guitar are facing in a sober duel. While that another guitar line attacks the melody with so many more harmonious notes, the bass and the drum are restructuring "Grounded in Mystery" towards a ballad of which the effect of heaviness adds a rather poignant dimension. It's beautiful, but I have the feeling to have heard this music. Maybe with Darshan Ambient, for the very melancholic envelope, or still Stephen Caudel for this sort of thirst of freedom. But no matter, it's rather good to pursue. "Wonder of Grace" starts with guitar loops which wave like an airy folk ballad. Here, John Gregorius lays down three lines of guitars which crisscross their harmonies and their dreams on a sober play of the drum, handled by Mitch Ross. And he is doing a pretty fair job on this album. And suddenly, it's the angels who sing on this very ethereal hymn. The percussions become more rock and the guitar remains cosmic, as of a good Gilmour mood. And there, our reserve in front of John Gregorius' music diminishes little by little. I don't say that it is brilliant but it pleases to my Lise! "Fall into the Open" is a slow funeral march with the voice of Kimberly Daniels, for two verses, which caresses just as much our dreams as the tears of violins. It's sometimes soft, sometimes very melancholic and it bears the weight of the world on this slow march decorated with small jewels of harmonies. It's very New Age and we easily imagine the angels to waltz tenderly on this almost funeral rhythm. "Benevolence" is the most livened up track in “Still Voice”. It's almost electronic with the percussions which drive and the seraphic ambiences over which John Gregorius' six-strings gets lost. To date, the adventure is quite pleasing and those riffs give a slightly rocker mood to the track. "Trust" is an ambient track which drags the weight of "Fall into the Open". John Gregorius puts many effects of reverberations over the droplets of his guitar, amplifying the emotive impact of his music. The voice of Kimberly Daniels, who also plays the piano, gives small shivers to the soul. The title-track is a kind of mixture of "Fall into the Open" and "Benevolence". "True Self" is a nice small track rather striking with good arrangements and a soft rhythm where we could see us floating in the air. The drum is as much alive than on "Benevolence", but it remains an ambient melody. "Let it Go" is almost acoustic. It's like to bring his buddies on the edge of a brook to make an acoustic jam. Imagine the gang of Mannheim Steamroller on an acoustic mode and you have this mood here. The same goes for "Light and Salt", but only the strings are on the menu with two lines of guitars. Violins and acoustic guitar; "The Dance" is a long piece of music as quiet and dramatic as the credits of a movie which finish on a bad mood.
We are far from the electronic, but I found that beautiful! “Still Voice” is an unpretentious album for those who like dreaming over the sound of a soft music. It's pleasant! The music is quite listenable and puts our brain off! Lise has liked it. At least that's something!

Sylvain Lupari (April 18th, 2016)
gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album or a link to order it on the Spotted Peccary webshop here

samedi 16 avril 2016

CSILLAGKÖD: All the Time (2016)

“Oliver Dombi starts to play with rhythms and contrasts in his shield of dark moods, enrichissing an ambient music which seems to get out of the dark smoothly”
1 All Directions (Brainshaped Universe) 4:21
2 Spheres (Part Two) 7:46
3 Everything is Happening 5:00
4 Only Matter 9:07
5 VY Canis Majoris 2:35
6 Long far Distant 7:01
7 Cosmic Ocean 10:24
8 Merging of Substances 7:25
9 Outside this World 6:20
10 Transexistential Perspectives 4:13

Spotted Peccary | SPM-2702 (CD 64:28) ***½
(Dark ambient with light beats)
There is something different in the land of Csillagköd. To say the least on his last album, “All the Time” which has just been released from the home of Spotted Peccary. There is more luminosity, even if drones are also present and heavy. There is a certain cosmic envelope, even if the impression to roam in a cave once wraps us from time to time. And there is even rhythms, even if the atmospheres and the arrhythmic moments are always so dense and so sibylline.
A slow and intrusive shadow of music seizes our ears at the opening of "
All Directions (Brainshaped Universe)". We hear some boiling of sounds there glittering in our ears, as well as rangy sighs of violins ghosts caressing our ears. Even without the rhythm, Oliver Dombi manages to reproduce a crescendo of atmospheres with more translucent breezes which float as the wings of a big migratory bird. "All Directions (Brainshaped Universe)" sets the tone to an album of atmospheres as much darker than in Silent World but with a little more emotion. Like in "Spheres (Part Two)", Spheres nests on the Consistency album released in 2013, where we can even hear a seraphic choir on a structure of ambient rhythm which progresses on very spaced beatings and on impetus of orchestrations which wrap you with tides of sounds. That sounds like Steve Roach, just as "Long far Distant", which is clearly quieter on the other hand. Crystal waves spurt in shrill chants, carrying the piercing "Everything is Happening" towards an ambient rhythm built on a bass line which would like to bite so much to the rhythm. Instead, it's a myriad of lines to the very acute reverberations which sing such as a choir of damned. The multiplication of the synth lines in the very shrill colors gives a rather striking effect. We dive back into the placidity of the linear movements fed by drones with vocal aspects of "Only Matter", a long track of black atmospheres which is more musical than the Steve Roach's Immersion series. There are even harmonies ghosts and an absent rhythm which seem to come out of this case of blackness. The same goes for the very soporific "Merging of Substances" of which the unsuspected warmth of the hollow winds which sigh like the walls of an alive cave bring a touch of onirism. "VY Canis Majoris" is as much spectral as "Everything is Happening". The chants and the carillons bring me closer to certain moments of Clara Mondshine in Memorymetropolis. After 5 minutes of ambiences' immersion always so tenebrous, "Cosmic Ocean" releases a delicate rhythm forged in strikes of percussions which are not really far from a kind Ambient House. That sounds pretty out of context in the rather lunar decoration of “All the Time”, but that passes very well. That's rather lively to hear some rhythm shaken a storm of black winds! "Outside this World" is another nice track where Steve Roach's influences point in a long structure animated by some carillons which twinkle a kind of surreal lullaby in a plethora of dark breezes from where escape thin lines of secret voices. Voices which are more present "Transexistential Perspectives" which ends a slow but intense album due to the emotionalism which gets free between these lines of synth sometimes dark and sometimes opalescent, but always sibylline, from where sometimes harmonies, as strange as fascinating, get loose on structures of rhythms always a little muddled. A mixture which doesn't leave indifferent!

Sylvain Lupari (April 16th, 2016)
gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album or a link to order it on the Spotted Peccary webshop here

jeudi 7 avril 2016

BERND KISTENMACHER: Welcome To The Circus (2016)

“Music from Paradise and Head-Visions! What can you ask for more? More live EM from Bernd Kistenmacher!”
1 Welcome to the Circus Pt. I 35:56
2 Welcome to the Circus Pt. II 33:42

MIR Records (DDL/CD 69:38) ****½
Paradise had been one of the big albums of EM in 2014. We found there a Bernd Kistenmacher at the top of his art. A Kistenmacher who pushed even more his music in orchestrations which transcended enormously the genre, because of the intensity and of the emotion. The album was still piping hot in the ferries that our friend Bernd performed its powerful introduction within the framework of the Electronic-Circus festival which was held in Germany on October 4th 2014. “Welcome To The Circus” is the audio witness of this show which is offered at the moment in a download format, MIR will release the manufactured-pressed CD on June 1st, with nearly 70 minutes of music divided on 2 tracks soberly entitled "Welcome to the Circus Pt. I" and "Welcome to the Circus Pt. II". The concert is mainly fed by the music of Paradise and makes a very beautiful raid in the time of Head-Visions with the solid Rücksturz, a track which had put Bernd Kistenmacher in the front of EM spheres back then.
After 41 seconds of introduction talks, the first rustles of
Ghost go to our ears. Then follow Born from Innocence and Raindance. The interpretation is in the tone and, oh surprise, we feel that it is really live. That Bernd Kistenmacher delivers the jewels of this album with as much accuracy as possible, adding elements of charms which are unique to a live performance. If the envelope of intensity (arrangements and percussions) remain just as much powerful, the outburst of the nature in Born from Innocence is simply incredible, the harmonies and the effects differ in particular with a synth clearly more in active mode which forges the harmonies and the effects. Let's say that we do not miss the original version... It's just as much intense and I would add that it's more electronic, less orchestral even. "Welcome to the Circus Pt. II" begins with a big chatter of 3 minutes. In fact, there is nearly 6 minutes of chit chat in this 2nd set of Electronic-Circus. Thus after 3 minutes of Bernd talking with the spectators, the first measures of atmospheres of Rücksturz nibble at our memories. It takes some time before we recall of the music. But from the first balance of the brook of floating arpeggios, we slide in our memories. Everything is there! Metronomic percussions, those swingings streaming of the crystal clear sequences, the deep and vicious undulations of the bass line, the subtle rises of the minimalist rhythm pattern, layers of voices and finally these spectral harmonies which here are coated by the imposing presence of the Paradise's arrangements. In fact, it's somewhat as if Bernd Kistenmacher has remixed Rücksturz in the upheavals of this sublime album. This is very beautiful upgrade of a music which marked up a whole generation. Another extract of Paradise which was performed is the pantagruelian Everlasting Magic and its gigantic layers of orchestrations which deaden the biggest ambitions of cathedrals. I imagine that it has to be a track rather difficult to play in concert so much the heaviness is oppressive. But it's quite well performed. And even if I prefer it the version studio, it shows that Bernd Kistenmacher is authentic. That shows that “Welcome To The Circus” is an authentic concert where Kistenmacher, alone on stage with his toys like the Roland GAIA, the Roland Jupiter 80, the Roland VP770 Vocoder and the Moog Voyager XL managed to maximize all the charms of his music in a brilliant performance that I would have liked to witness. But at least I hear it and there is a promotional video available on You Tube.
Sylvain Lupari (April 6th, 2016)
gutsofdarkness.com & synthsequences.blogspot.ca
You will find a way to order this album on Bernd Kistenmacher's Bandcamp page here

vendredi 1 avril 2016

NORD: Mare Nubium (2016)

“If only for its first 15 minutes...Mare Nubium is worth to be the entering door to the universe of Nord”
1 Mare Nubium Part One 24:52
2 Mare Nubium Part Two 18:16
3 Mare Nubium Part Three 9:32

Nord Music (DDL 52:49) ***¾
(Ambient beats and sequencer-based EM)
The Romanians have decided to invade the market of EM manufactured massively! Sztakics Istvan Attila's second album in 2016, “Mare Nubium” aims to be a sonic vessel where the listener is submerged by a sea of cosmic clouds. It's a sound experience in the land of the mass production where Nord approaches our ears with a powerful first part which will throw shade to the 28 other minutes of an album which has all the attributes to seduce, of whom the splendid "Mare Nubium Part One"! Although the rest is not bad at all...
Chords split up in oblivion gather themselves in order to form this embryo of emotions which will revolve around "Mare Nubium Part One". Tears of synth are crying over this assembly of dissimilar tones while that quite slowly takes shape in our auditive horizon the atmospheres of this long introduction which is the equal of the laziness of a dreamer in his moon. The synth is delicate. Dividing its presence with dark waves and other waves which drift such as slow static primitive orchestrations, it also releases these tones of prism which crackle, sparkle and tinkle some harmonious stammerings that will roam all along the cosmic way of “Mare Nubium”. A movement of sequence forms inside the 5th minute. Pounding as an excited heart, the movement is as these rodeos of sequences which roll on themselves without ever exploding. Except that here, the echo of its pulse enriches ambiospherical elements by freeing sequenced keys which turn in a loops with more liveliness. These sequences are called Franke! And without notice, the rhythm of "Mare Nubium Part One" is already anchored between our ears. The pond of disparate tones which roamed in the cosmos tightens its tones to create an envelope of emotionalism that a magnificent piano is caressing of a melody to make pale every fan of
Vangelis. The synth spreads its orchestral veil and the crescendo, that we felt coming since a couple of minutes, crumble more and more its effect of surprise. That's the rolls of percussions around the 8:22 that give us the goosebumps. And this piano! Divine, it draws a melody with high tone notes which eat us the soul. We forget the multiple circles of the sequences which drive the rhythm, so much the melody is wonderful. It's a meshing of Tangerine Dream, for the sequences, and Vangelis, for the piano harmonies, which is coated of synth which multiplies its airs with solos in the shape of lasso and of which the tone remains unique to the signature of Nord. Ten minutes later, our level of emotions requires a break. An ambio-cosmic pause with a thick cloud of tones which moves in troop and in loops. such as those movements of fire torches that we roll in the semi-darkness of the night. Orchestrations get back to haunt our senses. And we recall then of this superb first part which still haunts our senses, even in this long bad patch. A long ambiospherical phase of a dozen minutes before that the rhythm becomes wilder again, but in a little less appealing form than the first 10 minutes of "Mare Nubium Part One".
"Mare Nubium Part Two" begins its psy-cosmic journey with tones floating in a cosmic ocean and which resound as drops of prisms in layers of synth and of their twisted forms which buzz like droning groans. Nervous cymbals and their fragile metallic jingles peck at this silence pierced by fragmented tones. The movement, as well as the droning waves, draw an ambient rhythm which feeds on the disparity of the tones. The synth throws some fluty harmonies. Two fast knocks of pulsations and a line of circular sequences get bind to the floating movement of the metallic elytrons, shaping a delicate morphic beat which fatten its state with the addition of other sequences which flicker in parallel. The crescendo here is in the rhythmic approach. Except that there is no explosion! More static than mobile, the rhythm increases its swiftness with a thick cloud of tones and with electronic twists up to the doors of the 8th minutes. There, it transfers its energy to a good oscillating line which waves as a snake of seas. A snake which metamorphoses into a unique pulsation and which emits rhythmic radiations then grows the rhythm in a stillness state, but very pulsatory, like a troop of one-legged people who tumble down the invisible corridors of the cosmos. Structured in 3 phases, a little as in "Mare Nubium Part One" but in a more steady envelope of rhythm, "Mare Nubium Part Two" is an exercise of ambient rhythm fed by a profusion of tones and sequences which gather constantly around a hypnotic phase. And it's the very opposite with "Mare Nubium Part Three" and its strip of oscillations which dance like ticks that are shaken on a conveyor. The movement is knotted into occasional jerks which go and come, switching forms with some intergalactic SOS which lose the strength of their beams in the crawlings and the hummings of a bass line and in synth lines which sweep the intersidereal horizons like a huge eye and its gurgling lamentations. This is pure sci-fi in tones and pure sound experiment of
Nord.
See! Hear! The imagination is unlimited in this
Sztakics Istvan Attila's new cosmic tale. Certainly, the Rumanian maker of sounds is as much prolific as the fates of our shadows, but he manages all the same to sculpt some pretty small jewels which are worth the outlay in this “Mare Nubium”. If only for its  first 15 minutes...
Sylvain Lupari (April 1st, 2016)

gutsofdarkness.com & synthsequences.blogspot.ca
You will find this album on Nord Bandcamp page here