After almost one year of hard studio work we're proud to say that LOOM's first studio album is now finished and has found it's way to the pressing plant. Expect a blend of traditional electronica combined with great melodies, modern guitar techniques and virtuosic musicallity.|
- Polaroids From Anywhere [8:09]
- Cloudwalk [4:35]
- Quantal Highways [4:17]
- The Vedic Ritual [8:39]
- A Grand Solar Minimum [7:07]
- Bandhu [9:33]
- A Night Out At The Cirqus Voltaire [6:17]
- Chants Beyond The Underworld [5:07]
- Emerald Suite [8:27]
- Tachycardia [5:54]
Created and produced by one of the most promising electronic music project in the scene.
A beautiful fluty chant reflects in smooth and discreet orchestral arrangements. He announces the turbulences of "Polaroids from Anywhere"; a track filled by the vicious approaches of Jerome Froese and of his best moods of Neptunes. This is a track which hooks me straight from the first listening. After an ambiospherical intro blocked by a host of noises of which the roots recall the metallic ambiences of the Logos years, the tears and laments of synths bring to mind the White Eagle years. Sequences and percussions? The Hyperborea and the Poland years. Here is all the discomfort of “The Tree Hates the Forest”! "Polaroids from Anywhere" feels one's way forward by the means of good flickered sequences, effects of cotton gases and the jerky riffs from Jerome's Guitartronica. Between its phases of heavy but static rhythm and its floating melodic ambiences where each sonic morsels is as a fusion between Jerome Froese's universes and that of Johannes Schmoelling in Tangerine Dream, "Polaroids from Anywhere", just like "A Grand Solar Minimum" and its orchestral perfumes as well as "Emerald Suite" and its very Schmoelling harmonious envelope, does its stand-still of a way which teases constantly the hearing, but without ever taking off. It's good, but something is missing. And this observation is for the height of “The Tree Hates the Forest”.
Oh... do I have some difficulty with this last album of Loom. Not that it's not good! It's not just great. I would rather say that it's not as high as the expectations. To say the least, mine. And the waits were very high, with good reason, further to both EP and especially after Scored; a superb live album with some appetizers of what should have come later. Cornered between the Virgin, Jive and Miramar years of Tangerine Dream, the very stylized harmonious approaches of Johannes Schmoelling as well as the rhythms and heavy and hatched riffs of Jerome Froese, the best of the examples is "Bandhu", “The Tree Hates the Forest” seems to be a victim of the egos of the trio's members. Each track is flooded in ambivalent structures where we have the vague impression that each member of Loom tries to impress and to challenge the other ones. So is missing a form of cohesion complicity, contrary to Scored or even 200 002. We find very good ideas which are not enough exploited because the track goes towards another avenue, always so good, but always so briefly exploited. There are piece of music that we listen to and which gives us more the taste of listening to some Dream albums or yet to Jerome's music. The essence of Schmoelling? Mostly we find it everywhere. I don't really think that it was the effect looked for by Loom. To say the least, it's not what I was expecting. If we have good flashbacks of 200 002's Rejuvenation, we rather notice pretty fast that each track on this album is a kind of sonic Babel tower where too many ingredients, peculiar to each and to their roots, are bubbling up in structures quite rather inviting. Very promising and flooded in sound effects ŕ la Exit, "The Vedic Ritual" lands flat. If we like the approach of dreamy ballad of "Cloud Walk" and its notes of electric piano, which slumber in a kind of Logos' moods and as well as on a chain of circular sequences, we try to understand in which mood are situated the boiling "Quantal Highways" and "A Night out at the Cirqus Voltaire" which sound like big New Age symphonic e-rock ŕ la Vangelis and Yanni. It's not bad, but something is missing there. And this in spite of the very good solos from Schmoelling. At this level "Chants Beyond the Underworld" is more successful. The influence of Schmoelling remains and his clothes of Vangelis perspire very dramatic filmic inspirations. "Tachycardia" is a bomb! A hyperactive track which would have without a shadow of doubt figured on Jerome's album or still Robert Waters' so much the rhythm, powerful and dynamic, diminishes not at all the fine melodious breezes.
As you can read, “The Tree Hates the Forest” is not that bad. It's a lively and dynamic album where the vast experience of Johannes Schmoelling seems to retain the enthusiasm of his two young accomplices. In so doing, each track of “The Tree Hates the Forest” explodes of these various visions and approaches of Schmoelling, Froese and … Waters. Strange, I was going to write Franke. At doing too much, at loading to the rim each of the structures and by wanting to embrace the egos of all and each, Loom missed its blow. Each music piece abounds of personal imprints from the members of the trio which too often tries to cross the most promising or the most commercial lands of the Dream. As would say my love Lise; too much it is as not enough. But what else could we expect from Loom?
2014. Sylvain Lupari / gutsofdarkness.com & synthsequences.blogspot.ca