This is part #1 of "Building a cathedral".|
- Call [4:57]
- Stone on Stone [6:20]
- Walk [5:32]
- Flying Buttres [5:02]
- Exodus 3:14 [8:55]
- Reflection [5:12]
- Prayer [3:55]
- Darkness [1:55]
- Column North [6:17]
- Meditate [3:31]
- Melancholy [3:41]
- The insolent walk Nocturne of Gargoyles [9:25]
- Towers [2:31]
- Cupola [7:24]
Part #2 is released on GR-095.
"Building Sequential Stones, Ecclesias Cathedrales Aedificans Vol. 1" is the great title of the second album (after "Epikus") on the Groove-label by the Spanish specialist of the sequencer John Lakveet. On this album he further manages to master his style, which is an own view on retro/Berlin School.
Big percussion opens the first track on the album, "Apellatio (Call)" which soon continues with John’s by now familiar sequencer work. What sets him apart from a lot of other retro/Berlin School-artists is that he creates rather short pieces. With 9:25 minutes, "Linsolent Promenade Nocturne Des Gargouilles (The Insulent Walk Nocturne Of Gargoyles") -by the way, again a fine title, is the longest track. Sometimes the sequences are absolutely great like in "Petra Super Petram (Stone On Stone), Exudus 3:14 (Exodus 3:14)", "Columna Septentrid (North Column)", the track mentioned above with the fine title and "Tholus (Cupola)".
Then again, there are also some meditative and serene moments on the album as in "Voluta (Reflection)", "Dratio (Prayer)", "Meditatio (Meditate)" and "Obscuritas (Darkness)", all with great Mellotron sounds.
"Building Sequential Stones, Ecclesias Cathedrales Aedificans Vol. 1" is a treat for every fan of sequencer-based electronic music.
2003. Press information
Spanish synthesist Lakveet has produced a couple of previous choice EM morsels to date, but these 2 really take the cake. If you love ballsy sequences and pulsating melodic riffs, then both installments of "Sequential Stones" will knock your socks off. Start with Volume 1 and you will want Volume 2 as well.
2009. Archie Patterson
John Lakveet is a Berlin school valedictorian. Building Sequential Stones Eccliases Cathedrales Aedificans, Vol. 1, his second CD on the Groove label, is a superb mix of retro electronica and modern European Berlin school e-music.
(It is also a great title!) It is a progression of biblical proportion and biblical references as John takes listeners on a tour of introspection, reflection and discovery. He contrasts and combines sequences and atmospheres deftly and effectively as he creates several (14) vehicles for several journeys.
This is a spectacular disc from a spectacular musician!
2004. Jim Brenholts
This is a spectacular album where John Lakveet shows his talent in the creation of complex themes with powerful rhythms, mysterious melodies and unusual atmospheres.
The 14 pieces included in this CD are pure Space Sequencer music of the best quality, with the philosophy of exploring new sonic continents nonetheless without abandoning melody and rhythm.
The artist stages a spectacular performance of synthesizers and sequencers, all of them set at the service of electronic music in its most cosmic side. The melodies are intense, lucid, direct.
The rhythms are usually based on the sequencers. The music has a certain majestic air, and helps to evoke, in the imagination of the listener, voyages to exotic places and impressive experiences.
Here we have a recording, in short, that no lover to these kinds of music should miss in their collection.
2004. Jorge Munnshe
Drum flourishes then flutey synth get ‘Call’ underway. It only takes a minute however before an awesome sequence spews forward with an avalanche of notes. It gets beefier by the second, a staccato melody bouncing amongst all the pulsations. A bass beat imparts even more energy. A new sequence emerges (a little Jarre like this one) then the first returns to join it.
All comes to a sudden halt only for an even better sequence and melodic loop to emerge for ‘Stone on Stone’. Things start and stop but then the foot in really put down on the accelerator as the sequence belts forward once more. If you like your sequences loud and proud, that really get those foundations shaking, then look no further! As all the notes rush at you there is also constant mutation in the patterns, keeping things incredibly exciting throughout. This is a feature of every track here.
‘Walk’ deploys yet another sequence. It’s all pleasantly melodic, having a rather Peter Baumann feel to it. It’s amazing that so far each track has managed to be even better than the last and yet I was even in raptures about the opener!
‘Flying Buttres’ is a curious title but yet another winner. The initial sequence is a rather staccato quirky affair. It morphs cleverly and becomes the perfect backing for a slow wistful lead line. Bass pulsations and drumbeat carry things forward as a very effective solo fires off like a laser. Things seem to become more complex but also more exciting by the moment.
There is a rather different feel for ‘Exodus 3:14’ as a forceful repeated lead line blasts out and is joined by quite a heavy bass rhythm then very rapid sawing sequence. So much has already gone on but in the second minute things start to unwind, resulting in quite a (intentionally) chaotic section out of which yet another fantastic sequence emerges, building all the time, until another slow down in the fifth minute. We are left with just a seven-note sequence which fades into lush mellotron.
‘Reflection’ has a mass of swirling notes just like rays of light shimmering from a gently undulating lake. Crystalline note droplets act like a gentle rain on the water. A rather curious lead line almost screeches over the top- not the most successful track on the album.
‘Prayer’ starts with a lovely flute solo. Just before the second minute it is as if things have changed from beauty to ominous danger. The melody if repeated but this time in a mournful sort of way. One of only four tracks on the album without a sequence- but emotionally very powerful.
‘Darkness’ is the second, it is very short, more of an interlude. I would say it is more melancholy than dark though.
‘North Column’ returns us to sequencer driven territory. Initially a bright high register sequence rings out but it isn’t long before a ball breaking bass one comes to join it. A new sequence comes to replace the first and exciting stabs of energy act like a solo through all the pulsations. The sequences move up yet another gear, the solo now coming in salvos, pitch bending all over the place. Absolutely fantastic!
Lovely thick flutey synth mixes with the sound of the wind creating quite a beautiful setting for ‘Meditate’. A sequence, almost like a sawing cello adds a little energy (don’t quite know how I would meditate to this) and also inventiveness that is so effective. The sequence disappears and tranquil pads take us to a gentle finish.
An organ strikes up for ‘Melancholy’, another rare sequenceless track. It fades away to be replaced by tinkling effects, more flute then mellotron. Just exquisite.
Back to another rather Baumannesque sequence for ‘The Insolent Walk Nocturne of Gargoyles’. It’s all slow and moody until the third minute when another sequence of Earthquake proportions enters along with heavily pitch bending lead lineideal for solo heroics. The sequences keep coming, each one superb, creating a devastating wall of sound. Absolutely fantastic!
Things calm down once more for ‘Towers’, a really effective little atmospheric piece.
‘Cupola’ initially retains a similar atmosphere (though maybe a little darker). It’s like being in some very large enclosed area with water dripping from the ceiling. Soft pads lighten the atmosphere a little then gradually an echoing sequence emerges followed by a second one that is like cracking static, then a deeper and meaner third. A moody lead plays along with the pulsations. Yet another excellent track which winds up a really special album.
Con su anterior trabajo, John Lakveet ya ayudó a destruir algunos tópicos con respecto a la música electrónica. Epikus vió la luz en el 2003, y en sus once temas, Lakveet demostró que la música hecha con sintetizadores y otros medios electrónicos también puede resultar épica, lo cual siempre resulta refrescante en una sociedad musical que sigue tendiendo a enterder la música electrónica como algo sin un sentimiento real.
Afortunadamente poco nos ha hecho esperar el sintetista catalán para brindarnos un nuevo trabajo. Groove Unlimited, el sello holandés de música electrónica, tras haber publicado Epikus, se encargó también de la publicación del nuevo disco. A finales del 2003 veía la luz Building Sequential Stones Vol.1.
La trayectoria musical de John Lakveet ha sido siempre interesante. Desde sus trabajos como uno de los cuatro miembros permanentes en los primeros trabajos del legendario grupo electrónico At-Mooss, pasando por sus colaboración con Dom F. Scab (también fueron compañeros de batallas electrónicas en At-Mooss) titulada Silent Mars, o sus trabajos en solitario (Sequentiagite, Epikus), John ha demostrado una gran capacidad para componer electrónica de calidad.
Es casi imposible no referirse a la escuela de Berlin al escuchar esta música. De hecho los primigenios compositores de electrónica de los años 70 como Tangerine Dream han marcado en parte la trayectoria musical de muchos de los actuales músicos o grupos electrónicos. No voy a caer en la tentación de hacer comparaciones, pero algunos de esos grandes pioneros que desarrollaron no sólo aquella música, sino los sintetizadores para crearla son a la electrónica algo parecido a los grandes y reconocidos grupos rock que han marcado a tanta gente.
Sin embargo, y es una opinión personal, la música de John Lakveet es "personal e intrasferible", como complemento a la escuela de Berlin o la de Dusseldorf (impulsada por Kraftwerk), a la característica electrónica espacial americana o a la música hecha en Holanda, Belgica y en muchos otros lugares, quisieramos descubrir una "escuela española" (hay aquí grandes sintetistas con grandes ideas) o, afinando un poco más, una escuela "catalana", ya que el moviemiento musical que allí hay, bien merece un reconocimiento. John Lakveet encajaría perfectamente allí.
Con respecto al disco que nos ocupa, su inspiración llega desde las catedrales. Al modo de un arquitecto medieval, él va edificando un disco con 14 temas.
Apellatio ("Call") es el tema que inicia el proyecto. Interesantes percusiones para comenzar... algo va a ocurrir... melodías con reverb... y, pasado un minuto, comienza una de las reconocibles secuencias del músico, que de forma progresiva va creciendo hasta generar un tema rítmico y envolvente.
Una nueva secuencia aparece en Petra Super Petram ("Stone On Stone") donde poco a poco va anadiendo melodías y enriqueciendo la secuencia de bajo sintético.
El tercer tema Andare ("Walk") comienza, sin embargo con un trabajo menos frenético, siendo temas más reflexivos Voluta ("Reflection"), Meditatio ("Meditation") y Melancholia ("Melancholy").
Turris ("Towers") comienza con una lenta secuencia, amenizada con melodías y diversos efectos, mientras que L'Insolent Promenade Nocturne des Gargouilles ("The Insolent Walk Nocturne of Gargoyles") es el tema más largo del disco. En este tema, al escuchar los sonidos de órgano ligeramente sintetizado no nos es difícil imaginar al Vangelis más sinfónico y coral de los últimos trabajos del griego, a la vez que podemos imaginar las gárgolas tomando vida por la noche.
Así, en conjunto, Building Sequential Stones Vol. 1 es un trabajo evocador, que contiene frenéticas y contagiosas secuencias sintéticas, mezcladas con momentos de largos acordes, más lentos y pausados, donde siempre aparecen los característicos efectos sonoros de John Lakveet.
Un trabajo, sin duda recomendable para aquellos que aprecian la electrónica bien hecha. Ya solo nos queda que pronto aparezca Building Sequential Stones Vol.2.
2005. Jorge Sergio
In "Apellatio" (4:57) we push the heavy door of a huge cathedral open and gaze at the bewildering spectacle which lay before our eyes. Fast sequencers reflect the chaotic thoughts in our minds. The luminous sounds lift us up and we float through space and shatter the barrier between earth and heaven.
Lakveet surpasses his own genius, when we enter "Exudus 3:14" (8:55) where warm, rapturous solos meander over layers of different pumping, pulsing dark sequencers. In the background incredibly fast tremolos lighting up in the background. Still haven’t told you anything about the crystal clear, bright effects that splash in your ears.
And when we have find our destination, we seek contemplation in misty Mellotron flutes ("Prayer") and slowly sink in to darkness ("Obscuritas"), which is not really darkness more filtered light.
After more complex sequence bundles ("North Column"), more reflecting pearls rise up ("Meditace", "Melancholia") and before we leave this eternal space again, Lakveet feet us for the last time excellent atmospheres ("Turris" and "Tholus").
Luckily we know there will be more, so we can yearn for vol. 2.
This release from 2003 features 75 minutes of sequencer electronics.
Crafted in the sequencer-heavy Berlin School style of electronic music, Lakveet's compositions explore this mode in short-form, the average track clocking in at between three to five minutes. This brief duration compresses the drama and expression of his music, increasing the directness of the tuneage.
Crystalline electronics cavort with solemn delineation, goaded by chords-as-rhythms into peppy tunes of engaging disposition. Atmospheric foundations drift in conjunction with more demonstrative embellishment as cyclic riffs explore interesting variations of meticulous intent.
Shrill tones merge with ethereal elements, all harnessed into fanciful melodies that strive to pay homage to structures of antediluvian granite. This connection of sound and stone produces a stirring mood, one in which ancient traditions are converted into modern expressions of technological codification. The cathedrals of olden become houses of digital worship, conjoining the past and the future in fabrications of sparkling melodies.
Jubilant riffs unfold in commodious union with deliberately pensive electronic textures.
Passion evolves with every passing moment, infecting everything from amorphous vapors to emphatic core sounds, and attributing a grandeur to the whole. Just as cathedrals were humanity's crude means of elevating their beliefs to be nearer to their deity, this music acts as a sonic bridge between man and sky, uniting earth and heaven for intrinsic appreciation.
2004. Matt Howarth / Sonic Curiosity
Hmm, with album titles like these, what do you think the music will sound like?
Deceptive at first, "Call" opens Volume 1 with tribal drums and faraway synth flutes. But it gives itself away only a minute in, cranking up a storming sequence not unlike Klaus Schulze’s work on En=Trance or Trance Appeal.
"Stone on Stone" starts without pretense, jumping right into another hypnotic loop, again very Schulze-like.
The 30 tracks on these 2 CD's are generally fairly short, providing considerable variety given the constant emphasis on sequencing. For example, across its 6-minute length, "Stone on Stone" has at least three distinct passages, each flowing nicely into the next. Others, like "Walk", stay with a particular groove and ride it out to the end.
Both discs feature the same cathedral on the front cover, with a decidedly religious theme to titles such as "Reflectio,", "Prayer", and "Exodus 3:1,", that moment when God tells Moses that "I AM WHO I AM."
It’s difficult to imagine this very modern music accompanying that historic moment, but it’s an interesting thought.
"Prayer" is more in keeping with its name, as calm serene flutes play.
On Volume 1 I tend to prefer atmospheric tracks like "Meditate", of which there are several.
2004. Phil Derby / Electroambient Space