This is the liverecording of the concert of Redshift at the latest Hapshire Jam Festival. All new titles.
- Sister moon
- Roses are red ...
- Two worlds & in-between
- Chain gun
2011. Press Information
There are a lot of things going on "Colder", an album full of bouncing and where nothing is alike and everything soaks in weighing diversified rhythms. Presented during the 9th Hampshire Jam festival, "Colder" follows the paths of "Turning Towards Us" and "Last" with a heavy, complex and dark music to surprising harmonious outcomes. An album builds on powerful atmospheres as symphonic as apocalyptic, "Colder" is amazingly powerful with its heavy sequences which ride and stagger beneath the weight of multidimensional synths and of which the arrhythmic sequential strikes accompany sombre melodies which bind even more our dependence to this cult group which, years after years and albums after albums, succeeds to seduce a public always in search of the after Rubycon from Tangerine Dream.
The strange crusade of "Colder" begins with 'Sister Moon' and its long complaint with biting reverberations which edges oneís way among sharp and twisted streaks. Layers of a caustic synth flood an apocalyptic atmosphere while sequenced percussions mould a sordid march of mutilated warriors who move in a military march towards a plain filled of a mystic one synth mist. This cadence is supported by fine and delicate crystalline arpeggios of an electric piano which float in a dusty atmosphere whereas breaths of synth hoot in the sadness and prepare the flight of 'Sister Moon'. And 'Sister Moon' takes its flight on heavy resonant pulsations and agile nervous sequences that feed a rhythmic structure which bends on the weight of heavy layers coming from a lugubrious and apocalyptic synth which redefines the sequential approach with thundering pulsations, creating a heavier and darker approach. A howling synth which also drops some suave mellotron melodies of an Arabian world fragrances, floo ded by a rhythmic heaviness and besieged by a thick cloud of sequences which resound, stagger and are criss-crossing on a rhythmic which goes and comes, pressed on its circular and arrhythmic sequences and adorned by curt and dramatic synth pads. And gradually steps weaken and the heavy rhythm of 'Sister Moon' is getting languid. Only the keyboard keys resound in a space filled by resonant oscillations and funeral orations of wandering choirs on plains abandoned by rhythms. Itís a short moment of calm where the solitary electric piano drops some hesitating notes which leaking away in a mist snatched by rising sequences. These sequences resuscitate nervously before exploding in the heavy breezes of a synth which divides up its abyssal melody taken by a sequential torrent of a power unique to Redshift. After this first explosion of thundering rhythms, 'Roses are Red' serves as a link between explosives musical world with its tranquility eroded by weighty caustic oscillations to prepared the arrival 'Two Worlds and In-between' and its pulsations which beat beneath a musical sky torn by silvered streaks whereas an odd sequence pulses among wandering chorus. A sequence of which strummed beatings permute to turn into a syncopated ring which quivers beneath these choirs more and more abundant and gases of mist which breathe out from abysses. But while we sense the ground vacillating beneath our feet, appears a strange ballad puffed by a scraggy synth. Itís a tenebrous ballad accompanied by a choir of outer graves which hums on delicate movements of sequences and synths sometimes apocalyptic and sometimes symphonic. Thatís a very nice and strange meshing that we have here and it goes deeper into complexity with arrhythmic beatings which roam stealthily, fractioning its heaviness with more incisive sequences dancing in a circular movement. Wild the rhythm is feeding on sequences to nervous doubloons, merging its sequences and keyboard keys beneath a thick mellotron membrane which makes spin 'Two Worlds and In-between' finale towards the more serene horizons of its soft introductory melody which charms of its beautiful flute and which is getting lost in the industrial pulsations of 'Azure'.
'Azure' is "Colder" 2nd bridge. Itís also a wonderful melody forged in fine notes of piano and a delicious moment of a sombre romanticism that we would wish longer, especially with the coming of a great mellotron which charms of its enchanted flute. 'Colder', the title track, widens its silvered synth layers in a destroyed zone where the mist hasnít yet time to evaporate that metallic pulsations beat delicately before joining a more hypnotic sequenced pulsation. And the rhythm explodes on a blow of anvil! A heavy sequenced oscillation ŗ la Ricochet pierces the uncertainty rhythms of 'Colder' which dither between the hard line and the one more atonal before the track deviates in a sharp whirlwind where Ian Boddy's electronic guitar grinds up the ambiance of his caustic and tearing solos. Solos which fly over and ride the divided and fragmented rhythms of 'Colder'. Towards the 7th minute the rhythm calms down and 'Colder' crosses a subliminal phase choirs that are dragging such as fog among n otes of a lonely piano. But sequences are taking back their rights to rhythm with an incredible violence, making 'Colder' spins in a bedazzled waltz where sequences swirl timelessly, accompanied by furious caustic solos of a guitar with merciless riffs which tear the heaviness of these furious rhythms. A heaviness amplified in the finale, leaving the motionless spectators of ice. 'Chain Gun' concludes 'Colder' with a long intro where the breathes of souls in perdition are leaking away on a sequence which raises a funeral march more accentuated than the one on 'Sister Moon'. A march where synths expire breathes of ice before those heavy sequences which shear this stride tear the evolution of 'Chain Gun' which is hiding beneath breathes of fire and a splendid fluty mellotron, dividing even more the rhythm which will be reborn under a charming melody sung by an oniric mellotron. A chant that persists in returning its melody in spite of the metallic darkness, caustic lacerations and demented shouts of synths which are vanishing in a march accompanied now with a fluty synth.
With all this complexity as well as in structures as in rhythms, "Colder" is monumental! Itís an outstanding album where Redshiftís strike force is ennobled by these sweet melodies that are dragging elsewhere. Rarely did I hear such heavy and powerful album and where haunting and spectral musical structures can loosen so much romanticism. The sound fauna that hides in "Colder" is absolutely delirious. Every corner of this dark and booming album hides its musical wealth behind a pleiad of tones as creative as unsuspected. By far itís the most accomplished and complete Redshift album who finally tamed his style to spread it with all the nobility that it requires.
2011. Sylvain Lupari / gutsofdarkness.com & synth&sequences.com