Post by REWO on Oct 27, 2009 8:33:38 GMT
written by Sylvain Lupari (and translated from French by him) on here: www.gutsofdarkness.com/god/objet.php?objet=12544
and translated:
Kaleidoscopic Surrealism (Ambientlive ALR3017)
Recorded between 2000 and 2003, Kaleidoscopic Surrealism is an album to thousand sounds prisms which sparkle in a cosmos at once irradiant and intriguing. A quiet album where René Van Der Wouden multiplies crystal clear and crystalline chords, in a frozen musical universe with elongated evolutions. For sure there are some animated tracks such as Confessions of a Colormachine and Playground Mystique, but the rest is a sweet galactic symphony which looks like Tomita on its cosmic works. A beautiful analogy that shows the sonorous limpidity of Van Der Wouden's 3rd opus.
A delicate and poetic opus begins with somber chords staggering in a misty cosmos. A taciturn and lugubrious intro, on beautiful sidewinder spirals and synthesized waves which hem idly in an iridescent universe of thousand sonorous prisms. Kaleidoscopic Dreams continues this morphic softness with a solitary guitar whose keys float in a soft ethereal fog, covered of echotic synthesized streaks. A movement full with tenderness and romantic where pleasant voices of astral sirens are molding delicately to tambourine chords drawing a nervous flow on beautiful orchestral arrangements. The synthesized layers marry the movement of a violins section whereas the rhythm becomes more vitaminized, more obvious on a violin synth whose chords are dancing lovingly on a pace that gets more and more pronounced. Kaleidoscopic Image II takes again the soft ethereal atmospheres with arpeggios of a quixotic harp which are mislaid in a synthesized static to Vangelis sonorities, as lugubrious as iridescent from the sound stars which fly over a sky fill of heavy resonances. A soft floating musical piece with beautiful flying strips and orchestral chords, which are closing in the shades of a cosmos where stratas are oscillating with a splendid lyrical tenderness.
Confessions of a Colormachine is heavier, with good but little rockier percussions and keyboard, on a hiccoughing and jerky minimalist rhythm which filters a synth to multiple harmonious breaths. Whereas Playground Mystique presents an undulating pace on a synth to trombone savor which encircled crystalline chords that loop frivolously. With Changing Places we penetrate in the long ambient corridor of Kaleidoscopic Surrealism. A spatial intro overhung by musical meteorites with sonorities as beautiful as heteroclite which are captive of a long atonal corridor strewn with reverberation and keys of strayed pianos. A cold cosmos, sometimes musical, with the kaleidoscopic sound colors, striated with soft synth to circles of influences and warm undulations stuffed of sound reflexions which vibrate in this polyhedral nothingness to prolongs in the morphic and metallic breaths of Surreal Darkness and the oceanic tranquility of Kaleidoscopic Surrealism. There where layers gently waltz in an empty stellar inhabited of fine sonorities of a prismatic and unreal world, a little to the image of this opus curiously attracting.
Sylvain Lupari (Phaedream) from Guts Of Darkness
The French Magazine of Dark & Experimental Music
and translated:
Kaleidoscopic Surrealism (Ambientlive ALR3017)
Recorded between 2000 and 2003, Kaleidoscopic Surrealism is an album to thousand sounds prisms which sparkle in a cosmos at once irradiant and intriguing. A quiet album where René Van Der Wouden multiplies crystal clear and crystalline chords, in a frozen musical universe with elongated evolutions. For sure there are some animated tracks such as Confessions of a Colormachine and Playground Mystique, but the rest is a sweet galactic symphony which looks like Tomita on its cosmic works. A beautiful analogy that shows the sonorous limpidity of Van Der Wouden's 3rd opus.
A delicate and poetic opus begins with somber chords staggering in a misty cosmos. A taciturn and lugubrious intro, on beautiful sidewinder spirals and synthesized waves which hem idly in an iridescent universe of thousand sonorous prisms. Kaleidoscopic Dreams continues this morphic softness with a solitary guitar whose keys float in a soft ethereal fog, covered of echotic synthesized streaks. A movement full with tenderness and romantic where pleasant voices of astral sirens are molding delicately to tambourine chords drawing a nervous flow on beautiful orchestral arrangements. The synthesized layers marry the movement of a violins section whereas the rhythm becomes more vitaminized, more obvious on a violin synth whose chords are dancing lovingly on a pace that gets more and more pronounced. Kaleidoscopic Image II takes again the soft ethereal atmospheres with arpeggios of a quixotic harp which are mislaid in a synthesized static to Vangelis sonorities, as lugubrious as iridescent from the sound stars which fly over a sky fill of heavy resonances. A soft floating musical piece with beautiful flying strips and orchestral chords, which are closing in the shades of a cosmos where stratas are oscillating with a splendid lyrical tenderness.
Confessions of a Colormachine is heavier, with good but little rockier percussions and keyboard, on a hiccoughing and jerky minimalist rhythm which filters a synth to multiple harmonious breaths. Whereas Playground Mystique presents an undulating pace on a synth to trombone savor which encircled crystalline chords that loop frivolously. With Changing Places we penetrate in the long ambient corridor of Kaleidoscopic Surrealism. A spatial intro overhung by musical meteorites with sonorities as beautiful as heteroclite which are captive of a long atonal corridor strewn with reverberation and keys of strayed pianos. A cold cosmos, sometimes musical, with the kaleidoscopic sound colors, striated with soft synth to circles of influences and warm undulations stuffed of sound reflexions which vibrate in this polyhedral nothingness to prolongs in the morphic and metallic breaths of Surreal Darkness and the oceanic tranquility of Kaleidoscopic Surrealism. There where layers gently waltz in an empty stellar inhabited of fine sonorities of a prismatic and unreal world, a little to the image of this opus curiously attracting.
Sylvain Lupari (Phaedream) from Guts Of Darkness
The French Magazine of Dark & Experimental Music
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