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takeshi from here on 2001-10-19 16:21 [#00043681] | |||||||||
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Aphex Twin Creative misunderstood or engineering of the mountain pastures? It has been quite difficult to dry up praises with regard to a major actor in musical creation for more than ten years, one of the largest schizophrenes of the musical world, I named Sir Richard D. James. And yet after the listening of Drukqs, its 7th album, something takes place, an internal debate engages. Here glosses which this artist challenges always more world, gathers the public ones, widens well his audience beyond simple the fans of electronic musics, with original experiments, interesting by their strangeness and sometimes frankly captivating it is necessary well to say it. But until where this evolution must it fascinate us? Aren't we likely to lose our free will when the quasi-unanimity is made around a quasi sacrilized character? Being here abstracted music, within the meaning of experimental, referring to any tendency, any standard, it is difficult to call upon its usual reference marks. Then inevitably, one takes account of criticism, of the opinions, and then it can happen that one loses objectivity, neutrality. Then does one inevitably owe gargariser of the new album of Aphex Twin? Room of torture? Here, radicalism, thorough with its paroxysm on all the titles, maintains the tension uninterrupted, in spite of the presence of frequent interludes ambient. No the compromise, therefore, in an intersidereal war where industrial sounds and déstructurés station-wagon beat clash with blow of gusts jungle hardcore. And then when the cyclone deviates, it is to leave the place to calms frankly worrying. A heavy atmosphere, therefore, materialized by tortured sound experiments, deprived of all beat, where acute metal sounds tear the vacuum on bottom of saturated resonances of infrabasses. Welcome in the haunted universe of professor Aphex, more barred than ever, where resound of the howls of terrorized women. Are we locked up in a room of torture? Not, us are diffused simply it tape-sound of the nightmares of a man, one surangoissé. One is then in a hurry to hear again the passages to rhythmic overloaded, so much this vacuum freezes us. " Where is the limit between music and noise? " Hermetism Thus, general environment is particularly dark and worrying, including when the type-setter seems to want to put back us the spirit with melodies with the piano. But the simplicity and the sadness of those do not make, in fact, that to express the threshold of depresses reached by an engineering, Petri, obviously, of a deep discomfort (as it is often the case at the geniuses) and whose uvre, this time, is completely inaccessible (let us be honest). Difficult of extasier, therefore, in front of such a hermetism. Difficult also to determine the step of the artist bus contrary to usually, the majority of the compositions of this album do not touch. Certain pieces, although very worked, seem even of a disconcerting poverty. Provided that our engineering is not locked up too a long time in this very personal step. Marginality, yes, but. Then, true neurosis or taken well of party deliberated radical in reaction to the tendency having devoted the down sirupeux and different tempo deep. " funky-jazzy-latino ". house, being confined of the mode from now on impossible to circumvent of Lounge; perhaps is this quite simply both at the same time? Because it should well be admitted, the electronic music democratizing at speed large V, it does not tend to be radicalized (in any case not on the level of the stars of which obviously formed part Aphex Twin). Then for or counters the " barred " music, in any case a thing is sure: once again it is in addition to-Handle which one takes the most risks. One would answer: " yes but is it necessary to replace too many lounge and house commercial by noise? ", then the great debate on the contemporary art (concrete music.) is started again. Where is the limit between music and noise? Does there exist only one border? But all the same, when a disc does not make that to break the ears the question " is quite necessary? " emerges to much. Marginality, yes, but when it brings something again, of new, or, in any case, when it gets at least an emotion. A uvre which cools. And if this dear D. James had concocté itself all that, wearied of a disproportionate success which would annoy it. Would the king of vice thus have pushed his mischievousness until creating a uvre which cools, which restricts a disturbing unanimity? Perhaps finally, the Master of the underground wishes to remain underground per hour when its last experiments almost became the standard, in any case a fashion. Written by Luc Demont from Amazon |
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Phobiazero from Sweden on 2001-10-19 23:09 [#00043794] | |||||||||
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Jesus! Thanks man! |
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Phobiazero from Sweden on 2001-10-19 23:18 [#00043795] | |||||||||
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...but using Babel Fish takes away the whole thing, doesn't it? |
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