A few thoughtful electronic thuds, some distant sweeps of cosmic
wind... Slowly the curtain falls and we may cross the border between
this everyday world and that visionary one created by Vanderson. In
the second minute of the opening impression there appears, like a
frosty drawing on a window pane, a hypnotic sequence in the good old
Berlin style. As time goes by, further instruments join in, the
atmosphere gets hot and sticky and yet ethereal... Are we travelling
over mountainous roads through some ancient tropical forest, like it
was 1977 and we had Tangerine Dream's Sorcerer-LP spinning on our
turntable? The musical piece is wonderfully ?gluey? and unreal in a
very special numb way, it seems that this music is coming from some
unknown dimension. Rainy arpeggios in the second half will awaken the
Listener a bit, but they will also supply a load of melancholy.
The second track is a nicely groovy journey through shining,
shimmering desert sands - our footprints have a flutish-sequential
shape, whereas the tumbling clouds over our heads sound like Jarre
chords from Oxygene or Equinoxe. The composition has a unique melodic
touch to it; the musical feast lasts about 8 minutes, but all the main
voices suddenly begin to disappear and dismantle, the only actors left
on the stage are electronic subvoices, unformed thoughts, voiceless
full-stops... until only silence reigns.
Slowly awakening murmurs let the Listener know that the third piece
has begun. This is the most "Berlinian" impression in the whole
playlist, one can hear not only some echoes of Tangerine Dream's music
but also reminiscences of the sounds created by younger cadets of the
Berlin School - let's take AirSculpture, for example, since
Vanderson's frequencies have something in common with their Pogofish.
This 13-minute vision gets complicated and ornamentated, there appears
a hypnotic rhythm-line, from the foamy sequences a powerful solo is
formed. As if it still was not enough, we will hear amazing mellotron
"chorals", so that the pumping sequences may turn into motionless
The final track is slower, dreamier, has a deeper shade of ambience.
The beginning of this piece is the same deep black electronic water as
Klaus Schulze's Blanche. As time goes by, the mist disappears and a
solemn sequence is built - once more with a lot of hypnotic atmosphere
to go along with it. A very Schulzean solo marks the plot point of the
composition; the sequence drives higher, there come even more
emotions, recollections... It's a pity that 13 minutes and 40 second
do pass away so quickly... The piece ends all of a sudden, as if its
main sentence hadn't been said to an end... The best thing for the
Listener to do is to push the "play" button once again - and drift
along, towards some other tale, some other dream, some other vision.
Vanderson's music is visual-rich and visionary indeed.
- Vision Part 1
- Vision Part 2
- Vision Part 3
2011. Press Information
Vanderson is part of this invasion of Polish musicians who embellish the EM scene for the biggest pleasure of our ears. Influenced by Berlin School, both vintage and new, Maciej Wierzchowski composes a music which oscillates constantly between these two universes, caressing sometimes the cosmic meanders and its tones so metallic as heterogeneous established by Jarre, at least on Visions, in conformity with what would be completely suited to call today; the Poland School style. Visions is his 7th work and his very first on the label of his native land; Generator Pl. An album which will please undoubtedly the fans of old good Berlin School.
Sounds of gongs cross the ages, resounding among fine cosmic streaks and its winds which blow to scatter a cosmic silence. Fine sequences drum. Their delicate and feverish palpitations draw the souvenirs of a distant musical world furnished by the art of Klaus Schulze to modulate silk rhythms. A soft celestial flute covers this fragile poetic tempo which quietly goes towards an atmospheric passage where solitary chords roam among the singings of crickets and threatening reverberations. We are a little after the 6th minute and "Vision Part I" escapes with sequences which skip with more ardour. Sequences to crisscrossed strikes which intertwine in the doubloons of their hasty succession, moulding these nervous and hypnotic rhythmic which made the delights of vintage Berlin School of the Schulzeís years that Maciej Wierzchowski sprays with copious synth solos and heterogeneous electronic tones. This rhythm at the same time soft and nervous fed the skeleton of "Powerminers" which be gins with drops falling from a cave walls. Slow synthesized waves sunk into violined stratas are rocking there, waiting for these sequences with a soft chaotic and repetitive pace which team up to fine percussions while the exhilarating minimalist rhythm of "Powerminers" flows under a thick cloud of cosmic tones and soft flutes which sing under pleasant orchestral arrangements. Very musical, "Powerminers" ends its lyrical journey in the jingles of an intra-ground station and its trains which fit into each other, a little as in the universe of Jean Michel Jarre and his Magnetic Fields.
These tones of trains continue beyond "Vision Part II" whose rhythm is drummed by sequences to arrhythmic pulsations which spawn in the shade of discreet reverberations. Clouds of mist cover this rhythm which accelerates subtly its pace, while cymbals and percussions are framing a soft semi frenzied ascent which binds itself in percussions to tones of anvils wrapped in wadding to burst in a heavy and boosted ambiance. A very electronic ambiance filled by fragrances of Tangerine Dream and Air Sculpture with furious synth solos. The intro of "Vision Part III" reminds me a lot of the essays of Adelbert Von Deyen on his very beautiful Atmospheres (1980). The mood is as well poetic as cosmic with its clouds of spatial dusts which enfold the warm winds of lyrical synths. This is superb vintage years cosmic Berlin School we are hearing here with all this panoply of analog electronic tones which become entangled in a perfect atmospheric symbiosis. We feel a life inside these organic ins tabilities which implode of an oniric slowness, waiting for the smallest space of freedom to explode of a progressive rhythm. And the opening occurs a little before the 5th minute with sequences which alternate in a perfect symmetry, drawing a rhythm limping on cyclic and crisscrossed chords which waddle by following the movement of a more harmonious synth line. This hypnotic rhythm set by carillons and reverberations hangs on to wonderful solos which enlace and coil on a minimalist tangent a bit evolutive.
I adored Vandersonís Visions. Itís a splendid return in time when vintage Berlin School had this capacity to seduce with its soft minimalist sequences which fed long hypnotic movements where the modifications in structures were as perceptible as a blinking of lash. Evolutive rhythms which were of use as assizes to long and languishing synth solos or musical canvas to atmospheric sound paintings where the imagination rocked our dreams and transcends our fantasies. Itís very beautiful and too short! And this gives me the taste to go off to explore the world of Vanderson.
2012. Sylvain Lupari / gutsofdarkness.com & synth&sequences.com