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Sylvain Lupari

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  1. Sylvain Lupari

    Timewind - Klaus Schulze

    We are in 1975; Pink Floyd pushes the delusions of progressive music by using a synthesized, atmospheric and floating approach with Wish you Were Here. Progressive rock gets more nobility and the electronic rock continues on its cosmic élan. While Tangerine Dream releases the somber Rubycon, Klaus Schulze shapes its spectral waves to offer us an outstanding work without smudges. Behind a stunning artwork, Klaus proposes us a galactic journey on the wings of time. Timewind, dedicated to Richard Wagner, is a long cosmic journey as much enchanting as its artwork. A metallic wind blows on a dusty dune, pushing a multitude of sound plots which spin in the ambient air. Cold winds freeze the time on a bass line of which minimalist pulsations roll in loops while the cosmic touch of Klaus Sculze is unfolding with his Farfisa and synth waves which undulate on a sequential movement increasing with a heavier amplitude. Everything is with softness and fineness. On a heavy bass which tacks with darkness, "Bayreuth Return" drags its harmonies on tenebrous synth strata which leave their imprints for the passages to come. And the return of Bayreuth is doing with a cyclic whirlwind of synth layers which roll with subtle deviances, keeping the same delicacy of its movement until it stops to contemplate the extent of the road to be followed. Far off, the horizon is flat and desertic. It’s constituted by the same hypnotic sound abundance which attracts "Bayreuth Return" towards its endless walking. A walking in solitary where synth lizards push hoarse breaths, raising cosmic dusts which evaporate on sequential rhythms. Rhythms dancing in loops in a swirling abyss. And so Bayreuth ends abruptly its sound odyssey. If you liked this galactic journey "Wahnfried 1883", inspired from the works of Wagner, continues in the same wake. Floating the intro is soaked with a heavy synth which moves hardly. In a latent state of suspension the intro is soaked by a heavy synth of which the waves float with passion but move hardly. Fixed in time the movement is surrounded with dusts of synth angels fluttering on subtle sequences which move with the delicacy of a spiral in weightlessness. Slow, supple and superbly intense "Wahnfried 1883" is an intense musical journey in the heart of analog years and its floating structures. A voyage in the borders of a cosmos that we still didn’t get all of its seducing beauty. Timewind is the cd which had reveals Klaus Schulze to the American audience. And it’s understandable. Schulze plays with heavy rhythms and sequences with more maturity and depth. If "Bayreuth Return" kicks down the basses of our loud speakers with its undulating and rebel bass line, the synth strata which decorate the sidereal beauty of "Wahnfried 1883" get full of all the beauty that Schulze puts in them. Timwind is the fusion of anterior works from Schulze with the increasing maturity that he imposes to his style in order to prepare us very well to other great works. For that time it’s a colossal work which was going to free the inspiration and the boldness of several newcomers. A re edition of Timewind! Was it worth it? Absolutely! Was it worthily of a 2 CD set? Of course…Although these are nice variations on the same theme since that ''Echoes of Times'' and ''Solar Wind'' are two variations of "Bayreuth Return" played in concert. Klaus Schulze played his classic on 3 occasions, in nearly 2 hours with different outtakes. After a stop he got back to play it in a different way. Only sequences are identical and the variations showed in intros. ''Solar Wind'' is being simply divine with its fluidity, while ''Windy Times'', writes in 2000, is a kind of mix of Timewind. It’s shorter and faster, while rolling on the same sequential pattern. It’s very good! Good as all of this double re edition of Timewind which is presented with a nice booklet which shows lot of inner notes and all the great artworks where Timewind was carefully wrapped. It’s a wonderful journey in time with the man to timeless music. Sylvain Lupari (2007)
  2. Sylvain Lupari

    Mosaique by Robert Schröder

    Always very avant-gardist, Robert Schröder liked to go off the beaten track by propelling his electronic music, guided by the PPG Wave 2synth, in an approach of rock band with the contribution of real musicians, either; Charly Büchel on guitar, Rob van Schalk on bass and Fred Severloh at the drum. The result gave a rather Funky album, a style that Robert Schröder will push even more in the coming years, that could be played as well at 45 rpm than at 33 rpm. “Mosaique” was released only on vinyl. For a reason of author's rights, this album, that Robert Schröder seems to deny, has never known a second life on CD or has been remastered with a new mixing or with minor differences such as with Floating Music and Paradise. And several people, including me your humble servant to have approached the very question with Robert, don't see when or how a new remastered version will hatch on CD. That would be very pleasant though to have a special mixing with both speed. We can always dream, no!? But was it such a solid album? Produced by Klaus Schulze, the high quality of “Mosaique” was to avoid the tendency of the beginning of the 80's which gave a metallic timbre to the music with the use of digital synths. And yes, it's was and still is a very beautiful album! The title-track therefore shows sonic roundness and sonic curvatures as well as a delicate shield of warmth with a good bass which structures an ambient Funk well adorned by Schröder's electronic effects. The synth chirps and holds a secret language throughout the 12 minutes of "Mosaique". A little as in Floating Music, the Cosmic Funk is king and the music is abundantly coated with electronic effects and with loops of exuberant singings which roll in background. Synth pads, under the shape of riffs, cut short on others which are more floating and on other ones which loosen some harmonious effects with a tone of old organ. The oil is on and the band gets organized with shyness, rather making way to Rob van Schalk and Robert Schröder. If the percussions espouse the gurglings of the bass, and by ricochet the synth lines, the guitar throws some good solos in mode fuzz wah-wah with a psychedelic tendency due to its use of the famous TalkBox. It's after these soloes that "Mosaique" abandons its uncertain orientation to explode in a good rock supported by wild percussions and by Charly Büchel's greater ferocity. It's interesting to hear rock fought under cosmic effects and ethereal layers. That gives a unique dimension, which today stays a path that only too few artists try to walk in. "Utopia" goes in our ears with a movement which limps like the gait of this duck that Robert Schröder makes cackle through his PPG Wave 2. This first movement is charmingly oscillating and releases a shadow which sparkles in the echo of its lame gait. The title becomes a kind of fascinating electronic Bolero both by the appearance of the other electronic effects and by the integration of the drum and bass. Robert Schröder modulates here synth solos which make very discreet, just like the guitar, making the charms of "Utopia" which accelerates the pace with a more lively drum play. "Aix-La-Chapelle" is a stunning military march full of life, cheerfulness and tones! It's on the album “Mosaique” "Computervoice" first took shape. And we are quite far from this shortened version that we find on the album of the same name which was released 3 years after. The introduction soaks in a very nice cosmic envelope with layers which shiver while welcoming delicate arpeggios which skip there without a real goal. This so attractive movement of sequences pierces this membrane of cosmic ambiences near the point of 5 minutes. The next 3 minutes belong to history but with clearly more incisive percussions. "Computervoice" goes away from history in order to end with a strummed approach. The synth unwinds its solos and its fluty harmonies there while the guitar sweeps the horizons with falls of notes, like a strange harp, adding so a dramatic weight in a finale that we would never have suspected. I try to imagine now the frenzy if we play "Computervoice" at 45 rpm! We speak very few of “Mosaique” and nevertheless it's a very good album, although that I less liked "Aachen", which has all its important place in Robert Schröder's discography. The first version of "Computervoice" is clearly more musical while the Face A is simply ahead of its time. Even that it sounds very good today and gives very good vibes. It's a pity that we find so few information about it, although we can find it at a rather decent price on eBay. I have a friend who possesses it in vinyl and I also bought this album a long time ago. I recorded it on tape and later on Mini-Disc. But the sound was already a tempest of fryings …So Thanks to Nick who kindly transferred it on a CD-r so that I could finally listened it again and write about it. Sylvain Lupari (November 5th, 2017)
  3. Sylvain Lupari


    A distant shadow whistling like a hollow breeze, hoops which spread layers of echoes, bubbles of white noises which burst and a cadaveric pulsation of a bass which tries to create a rhythm; "Innermost Structure" dips us back into this universe of soft rhythms and surrealist ambiences which had structured the main part of the last studio album from Martin Nonstatic, Granite released on the Lyonnais label Ultimae Records in 2015. And contrary to his nom de plume, Martin van Rossum proposes on “Ligand” another universe where the stasis of elements and of the white noises saturate structures where the rhythms try to hatch out from these embryos frozen in the oblivion. And "Innermost Structure" sets the tone with a movement of rhythm which pounds without exploding in a decoration where those white noises, some floating synth layers, nice percussive effects and the eternal reverberations oblige the new born rhythm to dance with its harmonious reflects. Built upon a mosaic which flirts with the 80 minutes, the music of “Ligand” is stigmatized with a fascinating paternity between each title. "Outermost Structure" seizes of finale of "Innermost Structure" for finally proposed a good mid-tempo splendidly decorated with percussive effects besides the usual Martin Nonstatic's sound fauna. It makes a title inspired and inspiring for these dances of Zombies gassed with ether. Effects of voices, layers of waters which crash between our ears, resounding sound arcs and an evasive melody add to the impressive sound flora of this album the elements of charms which give some more of depth to the very stylized psybient model of Martin van Rossum. "Parabolic View" is more in mode waiting and ambient, even with a harmonious structure raised on good impulses of sequences. Between rhythms and atmospheric variations, "Variegation" does rather futuristic. The setting is adorned of the reverberating effects from the bass line and good percussions metallized of sonic honey. A suspended drizzle cheers up the vibes with explosions of sizzling bubbles in this short title which offers after all some nice bumpy phases of rhythms. "Harmonices Mundi" is my real first crush in this “Ligand”. After a rather long introduction of ambiospherical extraterrestrial elements, a good structure of harmonious sequences draws a spheroidal approach on which get grafted a nice fluty shadow. The strong presence of this beast with a bass draws its reverberating effects while the scenery of ambient elements gets out from a sonic horn of plenty in order to feast around this so harmonious and danceable rhythm. We enter in the 2nd phase of this Martin Nonstatic's last album with "Methodical Random" and the title-track. Two tracks which blow incomplete rhythms in always phantasmagorical moods, where absent voices and organic effects always enrich the DNA of “Ligand”. "Trochilidae" is another catchy piece of music which proposes a nice down-tempo which is haloed of melancholy. A melancholy twisted by a piano as evanescent as tenderly poignant. The music is interrupted as much as the phases of rhythms. And here, it's a good spiral movement of the sequencer which connects ambiences and down-tempo. The bass pulsations, as it's all over the 80 minutes of this album, throws a resonance effect into our spinal bones and makes vibrate our soul. In this album where each title inhales the perfumes of the last one, Martin Nonstatic succeeded to amaze with new elements. As in "Parallel Thoughts" and its guitar riffs which appear from nowhere to make turn pale, although it's only for a short moment, the impressive sound fauna here. Always between brief phases of rhythms and these dense sound magmas blown by a mortuary bass, "Kepler's Laws" succeeds to wake up our waits with a strong layer of a vampiric bass which roams over a growing rhythm aborted in a high wall of ambiences. And "Dendrictic Ice" ends this last odyssey started in the imagination of Martin van Rossum with more strength and din in the phases of rhythm which rather seem to make laugh a layer of mocking bass. In a sound decoration simply galvanizing for the ears never full of sound delights, “Ligand” hits the jackpot! On the other hand, the constant struggling of the structures of rhythms and the amplification of the atmospheric phases will ask for some listening before really appreciate the complexity of this last Martin Nonstatic's album. And when it's done, we are entitled to hope for some very big things from this artist among whom the curiosity and the sound research should inevitably be transformed into works as much impressive as the biggest albums of this label of which the sound and the artistic aestheticism meet brilliantly the challenges that it's impose to itself. Sylvain Lupari (December 13th, 2017) *** ½**
  4. Sylvain Lupari

    In Luv by MTA Lab

    In a parallel to his solo career, Thomas Meier highlights other musical visions within the trio MTA LAB which includes the musicians Marcel Margis (Synth, Sequencer and Drumcomputer) and Andre Danker (Synth and guitars) since 2016. Walking a little on ashes of Synthetica, especially for these dances of Zombies snorting ether, “In Luv” still exploits these evolutionary structures of rhythms where the sequences and the percussions confront or complete each other in a pond of percussive effects even more striking. Available in a download format on the Bandcamp site of SynGate, “In Luv” shows proudly its 80 minutes in a very good mosaic of rhythms and of ambiences where every title is linked within their differences. And there are! I discovered a very beautiful album where I had the feeling, and more than once, to hear some very good Pyramid Peak. "In Luv" starts with sinister waves where voices and vocal effects, as well as shadowy lines forge a nebulous introduction. Fragments of waves get loose to form sound strands a bit more melodious which float in this electronic decoration haloed of murmurs and of layers of voices. A sequence escapes from the attention of the sequencer to skip like a dolphin which pierces the horizon of waters while begin to stream some percussive ornaments as much pleasant to the ears as these songs of astral flutes begin to take forms more and more harmonious. A line of bass snores in this setting, spreading reverberating layers which give more depth to the slow evolution of "In Luv". Even with its very good effects of percussions, the structure of rhythm remains as so little conventional as the multiple capacities of the instruments which uses the German trio. If a synth charms with sharpened songs of flutes, another casts lines of bass reverberations which sculpt solos of which the origins seem to arise from the vintage years. The percussions, the oscillating sequences and the very good line of bass forge the base of a progressive rhythm which is slightly more livened up than ambient. The finale is melting in the immense jingles of "Timeless", where the synth layers are necessarily from the Backdance era. The rhythm is more livened up with an eternal ascent of the sequencer movement, sculpting even the movement of a train on the way towards mountains. It's a good title which sounds very Pyramid Peak (the splendid "Industrial Pulse" sounds even more) with good cosmic effects, a captivating rhythm and a sequencer which strews the road of jumping keys a bit uncontrollable. A very good piece of music which unloads its last beatings, a bit more muted, in the introductory tumult of "Synergy", a title heat up by multiple lines of sequences which bind themselves in automated percussions. This rhythm sparkles between our ears with a good liveliness, leaving little place to the synths which stand back, casting here and there reverberations of singing waves and very vintage electronic effects. Except towards the finale where a synth blows a little more dramatic, kind of apocalyptic, approach. So far, I like what I hear. It's a very good fusion between the retro and the new Berlin School styles. "Analogus" highlights this spasmodic movement of the sequencer which makes its keys oscillate in beautiful aerial effects and chirping solos. It's no big deal, but it passes very well because of the nuances in the structure of rhythm rather motorik. I also like the wealth of the anesthetic layers. Please adjust your earphones because "SynthFctry" proposes several little noisy and percussive effects. The rhythm is knotted in jerky spasms which parade like cutting knocks under the chants of a rather passive synth. Very good effects of organic percussions manhandle this convoluted structure in the 2nd part, so giving the taste to listen again to " SynthFctry " immediately. Except that the anarchy of the movement of crystal the balls is swallowed by a more fluid movement of the sequencer, of the bass percussions and of another movement which sounds like these old rock dances of the 70's and of the 80's. Between "SynthFctry" and "Timeless", "Industrial Pulse" screws us to our earphones with a so great electronic rock where the jingles of the percussions and the twinkling movement of the sequencer get a hold onto the elastic effect of the bass line. The solos are immense and intense. They give a little break to a rhythm which needs to breath before taking this shape of snakes fleeing a forest fire such as imagined by Chris Franke at the end of the 70's. Even the synth sometimes breathes of these perfumes of Tangerine Dream with very nice harmonious phases. It's a great track which invites us in a dance of fingers and to roll of the neck with great solos and fragments of harmonies in a setting richly vaporized of multiple effects in all sorts. And if we thought that we have hit the jackpot, "Sequenz Isolation" screws us even more profoundly in the universe of “In Luv” with another rich phase built on the ambiguities between the sequencer and the bludgeoning of the percussions, I hear Jarre here, while the synths, rich in harmonious solos, are apparently intimidated by the robustness and the creativity of Marcel Margis. As much good my friends as the best of Pyramid Peak! Sylvain Lupari (December 11th, 2017) ****½*