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Guts
Of Darkness (CAN)
Syn this is the
synthesist David T. Dewdney. In 2002, he had impressed me with the
publication of his first opus Soundwave Traveller, classified 5th best EM title
of the year. At the time of an interview, he mentioned to
possess more than 70 hours of recordings. The Glass Bridge did therefore
leaves this gigantic musical bank that rests in the intrants of his
creativity.
After an intro very floating, where the synthetic strates multiply
themselves in softnesson of frugal laments, The Glass Bridge Parts I-III
animates itself towards the final minute with a curled sequencer
that recalls strangely the analogous dialect of Jean-Michel Jarre on
Equinoxe. Piercing the rhythm progresses on of beautiful ones put to bed
syntheticmellotron's, atmospheric percussions and a synthé blowing silky
synthetic agreementsand sharp, in the even grinds that Jean-Michel
Jarre on Magnetic Fields did. Shadowfall is a long title
floating and very atmospheric. A crossroads between Meddle of Pink Floyd and
Music for Airports of Brian Eno. Long, floating and very very touchy. Heart
of Orion is a long tiraillement between the dense atmospheres and
musical brightnesses that arise here and there, without really to taking
form.
Syn's Glass Bridge, well.. is a personal opus. The creation kind that
some says long on the character of an artist… Syn did big things, notably
all from the beginning. For a reason that I am unaware of, the personage
became bigger than its fans, than the music itself. This is an opus to the
unfinished atmospheres. A title that should have remained in the the
bank of Mr Dewdney. This squarely the production kind that did the
delights of the journalists, and columnists, that would want to fall to
shortened arm on the MÉ to disparage that this is cultural masturbation. Abstracted
art. I do not like negativism, but with The Glass Bridge, Syn uses the
reheated that already outfitted, fully and with more of originality, of
others tables.
Sylvain Lupari, 2006
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