samedi 28 janvier 2017

ROMERIUM: Nebula Sequences (2016)

“Nebula Sequences is a nice surprise which worth the download and which will please for sure to the fans of Roach, Schulze and Indra”
1 Nebula Sequences 1 15:32
2 Nebula Sequences 2 16:50
3 Nebula Sequences 3 15:26
4 Nebula Sequences 4 14:48

Romerium Music (DDL 62:36)
(Berlin School)
Romerium is the project of Rene Montfoort, a Dutch musician who goes around in the circles of EM since 2002 when he formed White along with Michel Bekkering. After 5 albums, which caressed the diverse poles of modern EM such as Ambient, Berlin School and even New Age, the duet added 2 other musicians in 2005 to form ModularWhite. And still there, the band interpreted an EM which gathered nectar between the ambient and Berlin School styles as well as replace the New Age approach by a sort of electro-pop. And since 2009, Rene Montfoort is all alone in his new musical venture with the name of Romerium. His experience here is undeniable, him who is already at his 15th album since 2002, and can be feel in a beautiful control of his ambiences on minimalist rhythms where the impression to hear Steve Roach, Neuronium and even Indra is not completely false. “Nebula Sequences” is the 6th album of Romerium, and I have to admit that I was pleasantly charmed by these old aromas of the vintage years that Rene Montfoort has restored admirably in tones with his virtual range of instruments.
Nebula Sequences 1" invites us in this very beautiful discovery with an introduction loaded of hollow winds and sound effects borrowed from an organic fauna of another world. The impression to hear a light fluty breeze remains as likely as a mirage. A movement of sequences loosens its keys which parade with a light effect of jerk, braiding a delicate stroboscopic movement which derives like a snake sleeping on the webs of cosmos. Minimalist, the structure of rhythm derives between beautiful layers of a synth filled of ether and behind a melody which hums with gleaming arpeggios. We have the feeling to be on familiar ground, but without being able of pointing the finger at which. This impression of having already heard without being capable of specifying neither who nor what is all at the honor of Romerium who possesses thus his own style. I dreamed of having heard Adelbert Von Deyen lost in mists full of astral voices of Software. The influence which has guided the evolutionary structure of "Nebula Sequences 2" is very clear! Steve Roach is his deep immersive atmospheres of the series Immersion and the furious rhythm of the Stormwarning period which quietly diverts towards Schulze and his samplings era. That remains very good, even with these strong fragrances of influences. "Nebula Sequences 3" takes out its roots from the Roumanian School with a lively structure decorated with sequences which sparkle and jump in all senses on a fiery ballet of fireflies starving for light. The arrangements are very well made with flavors of East and with Arabian synth layers which float and wave on a structure always so rebel, even with some short phases a little bit quieter at the level of the moods but not in the rhythm which has constantly the jitters. Hummings, mooing, metallic breezes and layers of voices furnish the opening of "Nebula Sequences 4", by far the most fascinating title of “Nebula Sequences”. The sequencing pattern is hopping with keyboard riffs perfumed of sibylline charms. A double gets loose from the movement, creating a rhythmic figure which jumps alternately under the tears of synth filled of those always esoteric flavors. Like a long skeleton of snake which hiccups and grabs back its bones, the charmingly chaotic rhythm takes root in its minimalist membrane whereas that good synth solos wind and overfly this strange limping pattern of which the effect of hypnosis is fainting in one finale as much intensely noisy than the introduction.
For an EM offered according to the generosity of the buyer, “
Nebula Sequences” is an album which is worth to download! The minimalist structures of Romerium don’t have to be ashamed of the Rumanian movement. And the Berlin School approach is a good mixture between the vintages years and the rather contemporary approach of Klaus Schulze. There are some very good moments on this album which will to seduce more than one, among which the fans of Steve Roach, Indra and Klaus Schulze. Romerium! To discover because it’s good and because it’s still not expensive.

Sylvain Lupari (January 28th, 2017) &
You will find this album on the Romerium Bandcamp page here

samedi 21 janvier 2017

PIOTR CIESLIK: Journey into the Unknown (2016)

“Mixing striking melodies to solid e-rock fed of misty moods is not at the reach of anyone and Piotr Cieślik has succeeded admirably in his first album Journey into the Unknown”
1 Ocean's Loneliness 9:56
2 Journey into the Unknown 6:49
3 Power Crystal 8:38
4 Call of the Ancestors 5:23
5 Comet's Fate 7:28
6 Roaming Soul 7:38
7 Reminiscence of the Journey 9:26 | GEN CD 040 (CD 55:18) ****½
(E-Rock mixed in Berlin and French Schools)
Definitely, Poland has become the land of asylum of the Berlin School style. I shall go even farther; the Polish artists realized what those of France achieved in the middle of the 70's, that is to annex the roots of the Berlin movement in a cosmic vision and especially poetic which made it warmer. So was born the French Cosmic School and so was born the Poland School with the coming of the very serious label Generator PL. Piotr Cieślik is the last find of the Polish label which seduced the sphere of EM recently with the very beautiful Anunnaki from Piotr Gepert and quite recently the fantastic Let Them Float from Przemyslaw Rudz. If I make a reference to these 2 albums it's because “Journey into the Unknown” which is the very first album of Piotr Cieślik, drinks of these 2 wonderful albums while bringing a delicate sonic French-style prose.
The waves of a distant intergalactic shore get lost in silky layers perfumed of ether which derive in the cosmos. Some rather discreet arpeggios skip in the background, shaking the first vestiges of rhythms and of "
Ocean's Loneliness", and of “Journey into the Unknown” while the synth is stammering some of its nostalgic dreams. And bang! There is not 3 minutes at the meter that Piotr Cieślik shows us of what he is capable. The rhythm is as much fluid as heavy with a continue movement of the sequencer which frees another line in parallel where the keys skip as the snips of scissors of a barber mythomaniac. And always these soft laments of a synth which plunges the atmospheres of "Ocean's Loneliness" into a kind of Jazz Lounge which the harmonies of a delicate piano do not deny. In a structure in perpetual movement, Piotr Cieślik enjoys to confuse our expectations by mixing the aromas of a good cosmic electronic rock with more musical phases that our ears recognize without identifying clearly. And that's the way it is all throughout “Journey into the Unknown”. After a short ambiosonic introduction, the title-track spits a heavy and slow rhythm which skips in a linear movement where dance other sequences and whistle diverse cosmic elements. A fluty synth hums discreetly whereas the rhythm crashes into a beautiful melodious phase in middle-route. This is the moment chosen by Piotr Cieślik to loosens his graceful fingers on a piano which hums a melody as pleasant as jazzy on a rhythmic always so heavy but which fades in the background in front of this very stylized melodic decoration. The arrangements are very good and we cannot refrain from making a link with Vangelis in the rather melancholic approach of melodies, as strummed as laid down by a synth. "Power Crystal" exchanges its rhythmic structure, a mixture of Berlin School and ['ramp], for two atmospheric phases fed by a thick cloud of hollow winds. "Call of the Ancestors" is rather theatrical, kind of Let the Night Last Forever from Walter Christian Rothe, with a rhythmic approach which oscillates in a sneaky way. These last two titles plunge the listener into a mixture of rhythms and ambiences where the harmonious signature is not that much present and is assumed by the movement of sequences. But it's the very opposite with "Comet's Fate" which is a superb electronic rock. The sequences get in the dance while the synth blows cosmic harmonies worthy of the best moments of Jean Michel Jarre. This is a great track which dips us back into these atmospheres of very French dramatic sound theater with "Soul Roaming", the finale is going to amaze more than one, before that "Reminiscence of the Journey" nails us on the spot with another great cosmic rock which hides a melody eater of ears and which gives us no other choice that to listen again to “Journey into the Unknown”; a splendid album where the sound aestheticism, the production and the just balance between the rhythms, the melodies and ambiences make of it my firm favorite and my discovery of 2016. A must because Piotr Cieślik shows that EM is more than a story of knobs, of threads and of preprogrammed recordings.

Sylvain Lupari (January 21st, 2017) &

You will find this album on the shop here
A video trailer is available here

mardi 17 janvier 2017

STEVE ROACH: Spiral Revelation (2016)

“Spiral Revelation is a truly masterpiece which guides us among the many paths of EM; ambient, tribal ambient, Trance and Berlin School”
1 We Continue 11:07
2 Unseen Hand 6:05
3 Finger on the Pulse 9:42
4 A Righteous Thing 6:33
5 Primary Phase 9:41
6 Spiral Revelation 19:49

Projekt ‎– PRO336 (CD/DDL 63:01) *****
(Splendid bridge between ambient beats and pure Berlin School)
Ah that the music of Steve Roach is unique! The Master of introspective music ends the year in strength with 3 albums which will caress the senses of his legion of fans, besides attracting to it numerous new followers. If Fade to Grey and Painting in the Dark are purely works of drones and of dark ambiences, this “Spiral Revelation” overwhelms our emotions with a work which makes the just partition between mesmerizing structures of rhythms and of ambient textures which draw their charms in Steve Roach's old tones.
And the charm operates from these first loops of rhythm which emerge from the slow winged caresses of a synth in mode
Structures from Silence. The rhythm is delicate with sequences which scamper towards heavens. Roach adds percussive tones which breathe like an old rattler which has difficulty in making its tinkles shinning. This mixture of electronic and organic tones is more than seducing and diverts us from this ascent of a structure as delicious as Reflections in Suspension with sequences which skip now between the fascinating embraces of the dying rattler. The decoration and the rather ill-assorted tones, both at the level of the color as at the level of the entanglement of the loops of rhythm, are simply hallucinating. Our friend Steve uses brightly the analog modular system by weaving many lines of rhythms which criss-cross in some delicious and magnetizing chassé-croisé. "Unseen Hand" infiltrates the finale of "We Continue" with a brook of shinning arpeggios which spreads a fascinating structure in suspension. The motionless movement of the multiple ticklings of sequences is invaded by the numerous bites of metallic elytron and by the caresses of a synth in mode Quiet Music. "Finger on the Pulses" proposes a figure of spasmodic rhythm. Lines of panting and nervous sequences skip and embrace themselves in a surprising movement of trance spiritual of which the liveliness is restrained by another line of a more nuanced and in a harmonic mode rhythm.
A Righteous Thing" walks us in the Now and Traveller era with a crawling structure of rhythm which is shaped in the shade of "We Continue". It’s a semi quiet phase which precedes the very good "Primary Phase" and its hypnotic loops which glitter on a rather lively structure of rhythm. We roll of the neck, we tap our thighs and we swing our feet on a rhythmic a little bit Groovy. A structure very near of an ethereal electronic rock (is it possible?) which is livened up by repetitive loops in tones full of contrasts and of others with an organic tint. And always these winged and seraphic momentums of a synth full of perfumes of sleep which wrap up the whole music of “Spiral Revelation”. The title-track is simply phenomenal! In a long minimalist structure where floats no hole, the rhythm of "Spiral Revelation" goes up and down in an envelope of tones which reminds the good moments of Robert Schroeder in the years 80-85. The slow and hypnotic progression of the 20 minutes of "Spiral Revelation" accentuates intensity and passion as the minutes pass, making of this title one of the best movements of retro Berlin School to have fired my ears since moons. This is a wonderful title which concludes another masterpiece of the illusionist of sounds and ambiences that is Steve Roach. “Spiral Revelation” is a must have without faults and without wait!

Sylvain Lupari (January 17th, 2017) &

You will find this album on the Projekt Bandcamp page here

dimanche 15 janvier 2017

SEQUENTIAL DREAMS: The Exodus Wave (2017)

“The Exodus Wave is another very good album from the gang of Sequential Dreams in the vein of TD's Seattle years”
1 Telemetry 4:38
2 Subspace Breach 3:16
3 Pleiadian Prophecy 6:57 
4 Interstellar 5:27
5 Wavefront 4:14
6 The Arcbuilders 5:56
7 Countdown to Launch 6:24
8 Quantum Theory 4:32
9 The Exodus Wave 6:15
10 Booster Separation 7:06 
11 Mission Objectives 3:47
12 Arcflight 5:56
13 Hibernation in a Virtual World 9:18
14 Approaching Terra Nova 4:32

Sequential Dreams (CD/DDL 78:21) ****
(Electronic Rock)
2017 kicks off the year in a very rock way for Borders Edge Music and the interplanetary band Sequential Dreams which throws its 6th album “The Exodus Wave”! Flanked by his last known accomplice, Bernhard Beibl, Ron Charron also encircled himself of the Californian synthesist Chris Pearre (Synthesist) and of Arend Westra of the duet Parallaxe whose album I had appreciated well; Breaking The Laws of Physics released in December 2015. Since the very beginning of Sequential Dreams, Ron Charron tries to get his music closer to that Tangerine Dream with a good electronic rock shaped between the roots of the mythical German trio of the 80’s and those of the years of hard electronic rock of the Seattle era. If every album moved closer to its purpose, “The Exodus Wave” hits the bull's eyes!
After a short ambio-cosmic passage, "
Telemetry" sets the tone with an energetic rhythm where Bernhard Beibl shows that he is still has this 220Volts biting with his guitar. Sometimes very rock and other times rather soft or hopping like a light electronic rock, the music breathes of freshness in the permutations of its phases. If the guitar of Beibl is biting, Ron Charron's piano is very melancholic and both instruments paint mutually the phases of a structure in movement. Always influenced by stories of the cosmos, the music of this last album of Sequential Dreams is unfolding like a soundtrack of a sci-fi movie. Thus, 14 titles for 78 minutes propose so a very structured EM which leaves no room to improvisation nor to long passages of ambiences which are rather inserted in the intro, either into short phases of each title, to feed better the intensity of the structures which are always in movements, with a few exceptions. When we also find 14 titles on an album of 78 minutes, there is good chances that the structures are fed by similar approaches. But we have to approach it like a big sound mosaic where the hard rock flirts with the soft rock wrapped of good electronic effects. The music goes well between the ears and Ron Charron takes a jealous care of giving to it an amazing way of turning it into totally short unexpected phases. "Subspace Breach" is the perfect example with an intensity embroidered in the heaviness from where pops out a really nice movement of gleaming sequences. Sequences which sparkle and lap innocently before being snatched up by riffs and solos from Bernhard Beibl who sounds very David Gilmour here. The movement of the rhythm reminds me enormously those of 220Volts with phases of rock and some little quiet ones where the percussions are nervous and the sequences are crystal clear as the spatters of water on a mirror. Ron Charron inserts effects of drama and intensity here and there, adding some more of weight to his story of global disaster. As in "Pleiadian Prophecy" who proposes a slower rhythm with good effects of synth. The percussions are very good and the sonic envelope which surrounds this title is equal to all which surrounds the 78 minutes of “The Exodus Wave”. Still here, Bernhard Beibl's guitar is very furious and gives a very TD depth to "Pleiadian Prophecy" which splits rather well its charms between its soft and rock phases.
Interstellar" is more in the ambient and intense kind with very good synth solos. It’s the most quite title of “The Exodus Wave” and it’s also the title which exploits the most the charms of the synth. "Wavefront" proposes a long ambio-spherical introduction a la Rubycon before taking a rather rock tangent with a rhythm which flounders and spits effects of jerks under the bites of nervous percussions. While a line of sequences adopts an oscillating structure, Beibl’s electric six-strings spits riffs and solos which get embraced by nice layers of voices. More elements which fill the electronic rock anthems of each track here. "The Arcbuilders" takes also some time to take off. And when it's done, we are entitled to a good movement of sequences a la Franke. The rhythm is lively with a Floyd guitar. The introduction is knotted in suspense while the rhythm which follows is a pale imitation of a good e-rock. With "Countdown to Launch" we are in the lands of Mars Polaris, to say the least of the introduction with its loops of guitars which remind of U2. The structure of rhythm is as light as that of "The Arcbuilders", but with more electronic effects and this even if the guitar dominates the ambiences and of "Countdown to Launch" and of “The Exodus Wave”. With its sibylline envelope and its rhythm which goes up and down, such as TD in its Flashpoint years, "Quantum Theory" unites the many phases of the long Tangerine Dream odyssey for a so short title. The title-track allies romance and lively rhythm with biting guitar riffs and unbridled percussions of which the crazy race is subjected to beautiful affectionate layers. Between a heavy rhythm and moments of ambience, "The Exodus Wave" is a very good indication of what we will found in this last album from Sequential Dreams. The same goes for the blazing "Booster Separation" which still proposes some Bernhard Beibl's good solos. "Mission Objective" and "Arcflight" propose good electronic rock which go very easily between the ears while "Hibernation in a Virtual World" is the most progressive title here. This is a very good one with good atmospheres! "Approaching Terra Nova" ends this last opus of Sequential Dreams with a lively and jerky rhythm which rocks between its liveliness and its heaviness. A title which reflects the whole dimension of “The Exodus Wave” which addresses to a public already conquered beforehand with a beautiful brochette of lively and mordant titles and always well structured to which one listens without too much difficulty. As in the time of Rockoon, the time of Jerome Froese, the time of Bernhard Beibl and of the TDI years from Edgar Froese's sound and music vessel.

Sylvain Lupari (January 14th, 2017) &

You will find this album on the Sequential Dreams Bandcamp page here

jeudi 12 janvier 2017

FRYDERYK JONA: Outer Lands (2016)

“Always great EM with a different direction, Other Lands will took you by surprise but is worth the efforts which we shall put discovering it”
1 Music for your Eyes 23:25
2 Drift away with Love in the Galaxies 21:25
3 Outer Lands 20:04

SynthMusik (CD Digipack 64:54) ****½
(Vintage Berlin School)
Other Lands” for other territories. Among these there is a territory that we already know well because Klaus Schulze has already united his music and his instruments to the very beautiful voice of Lisa Gerrard at the very end of 2000’s. Here it’s the female singer Alina Godunov who lends her voice of astral priestess to the very animated music of Fryderyk Jona. Another territory explored as well by the Polish musician is the one to twin his music, always so lively, to Ralf Hübner's incisive guitar, so giving a brief overview of what would have give an union FD Project and Klaus Schulze. And in spite of this incursion in another zone, this 6th opus of Fryderyk Jona is a safe bet for his fans and a warning shot to a sound universe of master Schulze that many fans and criticisms seem to have forgot a little bit too quickly.
A nebulous opening perfumed of cosmic effects, "
Music for your Eyes" contradicts a little the press information by coiling up in our ears with a structure which reminds of Under the Dome in The Aeon's Day from the outstanding album The Demon Haunted World. Except of this small walk in the lands of atmospheric effects, "Music for your Eyes" shakes our body with its rhythmic spasms which are accompanied by some great percussive treasures. The rhythm emerges in the edge of 5 minutes with stars which sparkle on the soft beatings of a line of bass sequences. The architect of sounds and percussions whom is Fryderyk Jona add chirpings which suit the oscillating curve of this line, pulsations which stretch as rubber kisses and jingles which remind us that percussions are also shaking the rhythmic structure of "Music for your Eyes" which struggles like the skeleton of a snake being reborn. And the voice of Alina Godunov! At the beginning, I was bored, even annoyed, by this elvish voice which made shade to a wonderful music. Rarely we have heard a Fryderyk Jona as aggressive as here. But after some listening, I jumped downright on this union which forces our eardrums to analyse a powerful music where the influences of Schulze are clearly more present in a 2nd part livened up by good percussions and chords of Groove under the very charming voice of Alina Godunov. It’s very good and the 3rd part, although short, is even more explosive. Under the Dome marinated to some Klaus Schulze in a Fryderyk Jona sauce, that is quite a big number. Let’s add the voice of Alina Godunov and we tell to ourselves that the stormy paths of the paradise, because there is nothing very of ethereal here, are not that far.
Drift away with Love in the Galaxies" is the little chef-d'oeuvre of “Other Lands”. There, the flavors of Schulze are omnipresent in an introduction as nebulous as textured with wide sound waves which kiss a cosmic shore. Staggering of its uncertain sequences, the structure of rhythm emerges after the point of the 3 minutes. We denote two different movements which sparkle in symbiosis of a fluty line. A shroud of fog which loses drizzle of voice makes this zigzagging structure amorphous on which are grafted other elements of rhythms, of which a heavy and roaring bass line, which accentuate the heaviness and finally the pulsatory velocity of "Drift away with Love in the Galaxies". We are in the lost paradises of The Dark Side of the Moog with this Groove rhythmic and its cosmic effects which get undone in stroboscopic strands. This superb title evolves slowly, a little as if Jona fed our ears with a little spoon. Ralf Hübner attacks our ears after we reach the 10 minutes. His solos are devastating and tear up the paint of the walls like a certain Frank Dorittke. It’s these solos which give a unique dimension to "Drift away with Love in the Galaxies" which amplifies its intensity while the minutes consume the pond of our emotions. If the slow evolution is smoothly made, the finale is explosive of intensity and emotion with a guitar and its soloes which flood us of its tears. This finale throws itself into the title-track and its structure as well bouncy, to some nuances near, as that of "Music for your Eyes", sonic artifices in less. Fryderyk Jona leaves more room to the voice of Alina Godunov, who is more passionate in his approach based on improvisation, being more discreet in the development of his structure. A structure which will flirt for a short time with the calm of an ambient passage, so giving a second breath to "Outer Lands" whose finale is to Klaus Schulze's excessiveness.
Difficult to tame, because quite far from the other works of
Fryderyk Jona, “Other Lands” is worth the efforts which we shall put discovering it. For that purpose, the approach of the Berliner by adoption deserves to be underlined because he makes a very beautiful transition between the voices and his music, as well as Ralf Hübner's incisive guitar and his synths throughout the 65 minutes of “Other Lands” which at the end is another very beautiful album of Fryderyk Jona... even if composed and offered outside our zone of comfort.

Sylvain Lupari (January 12th, 2017) &
You will find this album on the Fryderyk Jona web site here or via Bandcamp here

mercredi 11 janvier 2017

ALLUSTE: The Silence of Time (2016)

“The Silence of Time is a strong album where the sequencing patterns tame the silence, even with an array of soft rhythms and of their constant evolutions”
1 Fallen Angel from Heaven 11:45
2 Time of Silence 9:22
3 The Silence of Time 11:08
4 Into Infinity 10:01
5 SpaceTime Energy 7:02
6 From Turin to Bruxelles (Extended) 7:12
7 The Indifference of Time 8:15

Alluste Music (DDL 64:48) ****½
(Berlin School with soft sequenced harmonic beats)
Alluste is part of this artists' generation who grew up with the new technologies of the music softwares. Little by little, he climbed up the ladder of respectability by producing a series of albums where revolved a lot of catchy titles which found their way to our eardrums. And as most of these artists, Alluste became a machine to produce music, laying on virtual keyboards thoughts, dreams and visions. “The Silence of Time” crowns a very prolific year where Piero Monachello presented not less than 3 albums to his fans. An album more than interesting with a Alluste who confirms his place in the circle of the big names of EM.
A line of bass sequences skips delicately. Galloping silently on the sonic plains, it scatters sizzling and crackling shadows which find echoes in the wave-like movement of "
Fallen Angel from Heaven". Although the main structure spreads a minimalist approach, a series of lines which escape from it form some small rhythmic strands of which the random dances always maintain the rhythm in a vegetative state. Feeling more at ease with the synths, Alluste wraps his structure of very good solos while the movement of sequences frees other keys which skip with more velocity, like bees in search of nectar. With a music which depicts marvellously the sense of its title, "Fallen Angel from Heaven" sets the tone to a fascinating album from Alluste. Even with structures of sequences in perpetual movements or constantly evolving, “The Silence of Time” proposes a rather mild EM. So much that one would say that the sequences skip and cavort in a sort of absorbent cotton! As in "Time of Silence" where Alluste reties with his former spheroidal structures a la Software. The synth spreads its effects of mists which are humming among the multitude of undisciplined jingles and of which the entwinings are forging a ball of rhythm which rolls on itself. The title-track moves on with sequences perfumed of fluty tones and of which the delicate jerky jets form a harmonious phase where are cooing the charms of a twangy synth. Another line of sequences, as so shaded as that of "Fallen Angel from Heaven", skips in the background. It will become the main structure of a heavy and slow title with a light stroboscopic tangent which magnetize a harmonious line of which the charms will melt in layers of silvery mists.
Into Infinity" is a wonderful title with a slow and hypnotic structure which gets out from a nebulous opening. A line of sequences emerges from an ectoplasmic entity in order to skip as much slightly as a prisoner noticing that his gaoler has felt asleep. Striding across dark corridors, he hears the winds hooted and feels a metallic drizzle pecking him at his face. We are floating the senses on the watch! A synth unfolds its apathetic layer which doesn’t however put to sleep a firmer and more lively rhythmic approach which moves at the point of 6 minutes. This rhythm wins in intensity in a short phase where the synths are more colored with a swarm of melodious chords. It’s a very good title from Piero Monachello's repertoire, but the best remains without a doubt From Turin to Brussels, a single released in August 2016 and which is always available for free on the Bandcamp site of Alluste. But before going to its extended version, "SpaceTime Energy" has everything of Software of the 85 to 88 years with its morphic spirals but with the imprint of Alluste and of his melodies anchored in melancholy. "From Turin to Brussels (Extended)" is a great title well fed with juicy sequences and with a cosmic mist which get allied in a ballet in two tints and in two phases. The structure of rhythm offers keys which skip such as the feet of a young deer on a pond of fire. And, as it’s often the case with Alluste, the sequencer throws two other structures of rhythms which skip and oscillate in alternation, selling the first structure of rhythm in a momentary oversight. Over the years, the sequencer and its art of building rhythms have become the big strength of the Italian musician who succeeds constantly to thwart our waits with forms as unforeseen as unpredictable. The harmonies and the effects are fineries, well in symbiosis, which are often cherries on a sundae. "The Indifference of Time" shows how much Alluste has evolve since Constellation in 2008. The approach is a good mixture of old Neuronium's morphic beats and Michel Huygen's meditative ambiences in a good evolutionary structure of rhythm with sequences in continual movement and which adapts rather easily to the approach sometimes rock and sometimes fragile of a harmonious envelope which we notice hardly, so much the sequencer is dominant.
Dominant! Such is the qualifier that we can affix without mistake in those movements of sequences which surround an album where the silence runs away from everywhere. Without artifices, nor too many allegorical effects, “The Silence of Time” is a very good album where the sequencing patterns tame the silence, even with an array of soft rhythms, of soporific rhythms among which the ritornellos and the reversals are very good elements of charms. We have to listen to it loudly however because the production and the mastering are really cut from the guidelines of the silence.

Sylvain Lupari (January 10th, 2017) &
You will find this album on the Alluste Bandcamp page here