jeudi 1 décembre 2016

FRYDERYK JONA: Init Mind (2015)

“What we have here is a sublime album which mixes both poles of the Berlin School style”

1 Init Mind I 23:05
2 Init Mind II 23:18

SynthMusik (CD 46:23) ****½
(Mix of vintage and contemporary Berlin School)
I received this “Init Mind” at the same time as Electronic Ballad at the end of 2015. And if I remember well, I had been seduced as much at the listening of this 3rd solo album of Fryderyk Jona as with Electronic Ballad. At that time, and it’s always like that anyway, my desk was full, and my PC even more, of albums to be chronicled. Months have spent and one day I listened to “Init Mind”. I was blown again! I had to talk about it. But when? And then I receive Warm Sequencing last month. The occasion is thus quite dreamed to speak to you about an album that I would have had to speak to you in 2015. And here is why …
After some seconds of dark ambiences, a sequencer movement launches a lively and fluid line of rhythm with a delicately jerky flow. A wave of bass warms the atmospheres while jingles as well as charming effects of percussions give a little more relief to these crystalline sequences and to a rhythm which shines of beautiful electronic effects. On these hybrid oscillations, the chants of the synth borrow a style of cosmic Funk, a little as
Klaus Schulze in his Dreams era. Conjugating the art of the minimalism marvellously, Fryderyk Jona shows talent and control by adding to "Init Mind I" all the fineries of the EM of the 90’s on a structure which also frees perfumes of the analog era. Pulsations of bass drum, a light permutation in the minimalist approach, short more aerial and especially very good percussive effects are supporting the subtle variances of this first part of “Init Mind”. At times, Fryderyk Jona strips his structure by keeping elements which feed a crescendo that we feel bursting all the time, adding as much depth as suspense to "Init Mind I". The awaited explosion won’t come here. It’s rather a rhythm always relatively soft which is rocked by beautiful glittering effects like an astral water and good more pronounced bass pulsations that the Polish synthesist offers to our ears. The synth takes the fineries of a forsaken saxophonist with beautiful solos while quietly the anticipated swiftness takes finally the top, just a little before the finale of "Init Mind I" where we simply just can't stop to make a link with the The Dark Side of the Moog series. If "Init Mind I" sways between seduction and indecision, its older brother will leave us no chance!
The onset of "
Init Mind 2" is also dark, although that some more translucent synth layers sweep its landscape. It’s the beat a bit Groove that gets out of these vapes a little before the 120 seconds which decides between both minimalist figures of “Init Mind”. Here, the percussions are also seductive as in the colossal Miditerranean Pads from Klaus Schulze. Electronic bongo drums resound in the 4 corners of our hi-fi room while the bass line shapes a rhythm as slow as a moonwalk with a wavelike motion of which the repeated pulsations lead towards a more accentuated level. In symbiosis with this very hypnotic tempo, the synth lays a wave which vacillates like a flame while delighting our ears of solos which sing as those of a quite shy guitar. This wonderful movement switches off its magic at around the 8 minutes, diving into some meditative moods and hesitations between a revival or the total abandonment to soporific ambiences. At this point the synth layers caress us like the hand of a restless mom. And 3 minutes farther, the rhythm refuses the resignation by making burst percussions on a delicate movement of sequences which is waving like the flame of before. We always float on the wings of those synth solos which are melancholic and melodious. These solos bring us towards a guitar endowed with an acoustic texture and a rhythmic pattern as heavy as sensual where Fryderyk Jona spreads the perfumes of his fantasies. Magical that I tell you! Magic in an album which plunges us into a universe that we have never wanted to leave.

Sylvain Lupari (December 1st, 2016) &
You will find this album on the Fryderyk Jona web site here or via Bandcamp here

mardi 29 novembre 2016

OWANN: Eternal Return (2016)

“Between rhythms and ambiences, the music of Eternal Return travels with the elegance of the most beautiful sonic poems”
1 Return to Sils-Maria 9:40
2 Frozen 5:56
3 White Forest 6:48
4 Silvaplana 15:40
5 Muottas Muragl 5:25
6 Eternal Return 8:00
7 Walking in Surlei 20:12
8 Memories 4:24

Wool-E Discs | WED006 (Digipak 76:05) ****½
(Mix of ambient moods and Berlin School)
Like winds coming from icy summits, a distant humming sweeps the horizons of "Return to Sils-Maria". We hear waves there to roll in the air, as these snowbanks which tumble down from the mountains. And then, the noise of the void which widens its veil of the sadness. And behind these 90 seconds, a superb movement of crystal clear sequences pierces the mystery and draws spheroidal circles of which the graceful movements of the fairy ballerinas swirl on the slow amplitudes of a completely delicious bass line. We dance and dance in our head with these fairies, like we waltz on the theatrical ice where are tipping over the fogs and the frosts of the cold. We are not alone. No! Layers of synth with perfumes as much heavy as black wrap these embraces of an unreal touch, so giving more tonus to the circular rhythm of "Return to Sils-Maria" which is a splendid opening to this 2nd long-awaited album from Owann. Inspired by the several stays of the German philosopher Friedrich Nietzsche in Sils-Maria between 1881 and 1883, Johan De Paepe undertook a kind of musical pilgrimage in the winter of 2016. Blown by the beauty of the landscapes, his trip inspired him the title of “Eternal Return” following a concept, a contents of thoughts, wrote by Friedrich Nietzsche during a stay in the enchanting décor of this small village of Switzerland. This sound collection of Owann is so traced on the model of his very beautiful Particles; an album intensely poetic. And between rhythms and ambiences, his music travels with the elegance of the most beautiful sonic poems. After this small jewel which is "Return to Sils-Maria", "Frozen" throws us in a state of hibernation with slow synth layers filled of sizzling and grave tones which infuse a delicate sibylline perfume. The undulation of the layers makes sing the cold in a universe of deep ambient moods as penetrating as that of the Steve Roach. The opening of "White Forest" is like a fine drizzle which crystallizes its embrace. If the movement is slow, it's still melodious with a piano which tosses its notes as thousands of branches which burst under the torture of the cold. We even hear the ghosts of the forest here to snivel of solitude. We can even imagine their breaths get congeal in the cold while the echo of the keyboard chords gets lost among these heavy effects of reverberations which hide the lunar decoration of “Eternal Return”. After an introduction of ambiences where our ears get beatified in front of a concert of drones which accumulate its iridescent lamentations in a symphony for cold hummings, "Silvaplana" glitters between our ears as these Michael Stearns' mirages in M'Ocean! Fluid but relatively quiet, the sequenced waves stack static loops of rhythm which let fall some repetitive harmonious filets where hide murmurs and humming of an astral choir. This is a splendid title which little by little takes the shape a very good morphic slow dance.
"Muottas Muragl" is a crossing between the ambient moods of "
Frozen" and "White Forest" with pinched keyboard chords which reveal a perfume of Steve Howe. Intense and dramatic, like the title-track which also proposes a wall of breaths and hummings in a warmer and also more sibylline envelope. The same recipe is kept for the opening of the sublime "Walking in Surlei" which will climb all the roads of the Berlin School EM style with its delicately jerky structure of rhythm where the sequences possess this breath of glass flute while keeping a percussive approach. A wide carpet of mist unties some strands which roam like starving spectres. Simply joyous. The music dives into an ambiosonic void after the point of 8:30 minutes. Then a sweet movement of sequences so close to those of Klaus Schulze’s contemporary years emerges. The beat gets on its feet again some 90 seconds farther. As much beautiful and magnetic as its first phase, it adopts an approach closer to Electronica with a nice morphic down-tempo. The bangings, the mute choir and the effects of resounding drones lead this wonderful title in a completely unexpected territory. Brilliant! Hat to Owann for it. "Memories" concludes this superb album of Johan De Paepe with a piano which throws its notes as we filter our souvenirs. The melody which results from it is like a shower of tears over the most beautiful moments of a life passage already too far. Yes, a very beautiful album my friends.Sylvain Lupari (November 29th, 2016) &

You will find this album on the Owann Bandcamp page here

dimanche 27 novembre 2016

ANDY PICKFORD: Adagiometry Vol. 3 (2016)

“It's maybe the least convincing to me but still it remains a very good composition work and music”
1 Adagiometry No. 3 3:50
2 Velcronomics 5:36
3 In Silent Vigil 4:40
4 Could You Cry (Speechless Mix) 5:15

AD Music ‎– AD183 (DDL 19:22) ***
(Orchestral et cinematographic EM)

If the first 2 volumes of the Adagiometry series began with slow orchestral approaches, Andy Pickford changes a little the order with “Adagiometry Vol. 3” by caressing an approach which aims to be more Electronica. Indeed, "Adagiometry No. 3" offers a good down-tempo a bit nonchalant, like approach of a cowboy who arrives at Daisy Town, in a good Lounge mood. The rhythm is delicate and the play of the percussions is rather catchy. "Adagiometry No 3" wraps itself afterward with a very spheroidal orchestral approach with its thick cloud of philharmonic strings which wind around a structure of rhythm which gives us some little ants in our legs. "Velcronomics" is more convincing with a structure still sat on a good percussions pattern and on chords which stretch their charms in lines a bit stroboscopic. I like the effects of percussions and I have this vague feeling here to hear some Peter Murphy in The Answer is Clear from the album Should the World Fail to Fall Apart. This adds all the charms to another title which plays in the area of nightclub music. Mr. Pickford returns to his symphonic serenades with the lento of "In Silent Vigil". This time, horns hide a very slow walking which is knocked by heavy percussions. The violins make very solemn! Intense and dramatic, one would imagine to be at the movie. "Could You Cry (Speechless Mix)" is halfway between synth-pop and the cinematic music of Andy Pickford. It’s a soft ballad sat on a delicate up-tempo sculptured by some sober percussions a bit Electronica. The layers of violin fight to restore a cinematic mood which leaks out little by little in an envelope of Japanese melody.
Does the
Adagiometry series get out of breath? We shall judge after the 4th volume. In the meantime, “Adagiometry Vol. 3” is the least convincing E.P. of this series. If the music always remains quite good, its flight towards other kinds mixed in orchestrations as celestial as filmic, such as heard during the first 2 first volumes, leaves us a little on our appetite. A little something is missing there. We shall see in Adagiometry Vol. 4

Sylvain Lupari (November 26th, 2016) &

You will find this album on the AD Music web shop here

vendredi 25 novembre 2016

ANDY PICKFORD: Adagiometry Vol. 2 (2016)

“Music to make shivers your soul? You can't have any better than this!”
1 Adagiometry No. 2 3:14
2 Asgard 6:44
3 Celandine 5:28
4 Time Enough 4:15

AD Music ‎– AD182 (DDL 19:44) ***½
(Orchestral et cinematographic EM)
I know! I made the promise to get back to you sooner about this fascinating series of 5 E.P. by Andy Pickford. The time missing and the numerous download albums which have arrived got me away from that goal. So here it is, I will offer you 2 criticisms from this Adagiometry series. When I write fascinating, I don’t want to mean about the dark or experimental character of the music, but rather about its very romantic aspect. So, following the precepts of the first volume, “Adagiometry Vol. 2” proposes about 20 minutes of a music with soft perfume of romance. The approach remains always very cinematographic with points of emotionalism which make us raise the hairs of our soul.
Adagiometry No 2" follows the orchestral bend of its young brother with a slow movement where the strings of violins and of cellos tear an apathetic heaviness with flutes and clarinets which caress the movement of a delicate aerial envelope. It’s kind of impossible to not like it, even if we are far from the phases of EM as such. And I don’t believe that it’s the purpose aimed by Andy Pickford anyway. In the Scandinavian mythology, "Asgard" is a domain situated in the center of the Earth. And it’s exactly there that Mister Pickford guides us with a wonderful serenade where a voice splendidly morphic and celestial as well as a nomadic guitar entail us in a beautiful harmonious duel. The piano is so delicate that its notes tremble like sheets falling from a frail oak. Kind of castanets decorate this wedding march with a scent of mystery. The slow march of "Asgard" follows its arch of emotionalism to dive into an intense poignant broth around at about the 5th minute, nailing even more our backbone to our armchair. There also our soul shivers. Things get to normal a bit with "Celandine" which is a good down-tempo flooded in luxurious arrangements of which the purpose is to make shiver our feelings again. The finale is a little bit abrupt, it looks like seconds are missing, but that remains a damned good little very pleasant title to hear. "Time Enough" concludes this 2nd part on the tales and mysteries of Andy Pickford with a darker approach which is as slow as "Adagiometry No 2", except that orchestrations are less intense (although…) and except that the minimalist suite of the piano is adding a suspicion of mystery. A little 20 minutes of EM of this style? I take that anytime! Not complicated but very beautiful, “Adagiometry Vol. 2” shows all the murderer power of Andy Pickford s music.

Sylvain Lupari (November 25th, 2016) &
You will find this album on the AD Music web shop here

jeudi 24 novembre 2016

OPERA'S SPACE: Aus-Flug (2016)

“A plethora of heterogeneous tones and sounds in a good diversity of EM genders, Aus-Flug will please for sure those who are fond of experimental music”
1 Bauchlandung 2:13
2 Spacecamp 6:05
3 Passage 6:15
4 Kurskorrektur 5:26
5 Plasmaspur 5:20
6 Interferenzflug 5:34
7 Weltraumbahnhof 7:14
8 Mutantenjazz 6:36
9 Wurmlochkoller 6:43
10 Teilchenentschleuniger 7:12
11 Gravitation 4:32
12 Treibkraft 6:31

SynGate-Luna | CD-r pf15 (CD-R/DDL 69:44) ***½
(Neo Psychedelic Cosmic Rock)
Ringings of mini gong and bells are running after the shadows of a bass line of which the fluidity has an equal only its threatening air. And then there are noises! A lot of them. Cybernetic dialogues mixed with creakings of metal in pain and fuzz-wah-wah of guitars a bit psychedelic decorate a soundscape where a Tibetan tranquility fights with its devils. If I tell you PeteFarn, will it ring a bell? Well it’s the man behind this strange group Opera's Space. “Aus-Flug” is a first album which transcends his solo works by injecting colors into his universe a lot already not too easy to seize.
After the short introduction of "Bauchlandung", "Spacecamp" plunges us into a cosmos where noises of video game find refuge in a surprising morphic mid-tempo fed by a bass line which spits its poison in the evasive harmonies of a guitar in search of its soul. Voices? Yes there is, but not everywhere! Here and there, like here. They decorate a universe of sound psychosis where every instrument possesses its dialogue, creating a huge sound tectonic plate which doesn't have to be shy in front of the din of the Tower of Babel. This refuge for tones in extinction is all over the 70 minutes of this surprising album which is “Aus-Flug”. Surprising because of its pallet of sounds and tones, but also by its big diversity at the level of the rhythms, placing the album between Cosmic Rock, Krautrock and ambient music quite psychedelic. Like "Passage" and its soft flute which seems unreal in this sound universe in decomposition. "Kurskorrektur" offers a structure of rhythm sometimes bouncing and sometimes quieter in an envelope a bit tribal. The noises? Always and they oversize a harmonious approach which is rather seductive here. And so parades the very particular universe of “Aus-Flug”. We are entitled to some fascinating acid jazz-rock a la King Crimson on titles such as "Interferenzflug", the percussions are very good here, "Plasmaspur", which flirts with a touch of Electronica, and "Gravitation". We also have some ambient music on a background of Jazz with "Mutantenjazz" and the very musical "Teilchenentschleuniger" which is a very good track. Soft and relaxing music which is on the verge of the experimentation of sounds with "Weltraumbahnhof", another very good piece of music here, "Wurmlochkoller" and finally the kind of a bit Funk "Treibkraft".
A mosaic of rhythms and of kinds on the background of neo-psychedelic music, “Aus-Flug” is an album which addresses above all to a public fond of experimental music. But a wider audience will find some benefit here, so much the borders between the abstract and the musicality get entangled charmingly on certain titles. Making of this album, as disturbing as surprising, a pleasant surprise which we tame rather easily. I really enjoyed it. And the sound fauna is immensely enveloping with loudspeakers. So it's an album which draws all its wealth without earphones, although it’s completely charming with them.

Sylvain Lupari (November 24th, 2016) &
You will find this album on the SynGate Bandcamp page here