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Guts Of Darkness
(CAN)
How to describe invisible, abstract music without falling into snobbery? Because speaking about a musical form of anti-music is like speaking about the Braille writing without being able to read it. This is the reflexion that comes in mind while listen this opus as dark and enigmatic as its cover. Pete Farn is a sound engineer from German who improvises purely experimental EM from the same ground of Tangerine Dream on Electronic Meditation area and all the psy prog rock from that same time. A cold, metallic and very abstract music that asks a good dose of auditive curiosity. And that worths it…
Space Opera starts with some melodious prisms catch on a static synth and which are mislaid in metal fogs stratified wanders, sometimes placidly cold, sometimes curiously attracting. I would say more a ballet that an opera, so much the dominion is slow and drawn-out. Metal that we twirl and which spread out all its leaves all its auditive striations as much suffering as curiously melodious, forming short moments of metallic floating. Sound, liquid in fusion and sound effects which, if we listen carefully, recalls indeed the birth of Tangerine Dream on Electronic Meditation.
Metaswamp is more underwater with spectral breaths and these strange duck cries which roll on balls to guttural frictions. A strange and fascinating sound fauna, as Confused Species and its weirdness that deviate on a strange melody with fluid and harmonious orchestrations. A hunting track where we fell like running in a dark corridor, to escape a metallic animal. On that level Creepers is a success with its harsh floating spectra which run on the metal cords of an acid cello. Titles of a concordant realism that respects the vision of the author. After Valley of Cages as absorbing as Space Opera, Layers brings a ghostly touch with beautiful dark mellotrons, dense and soft with the chorus and arrangements curiously charming on percussions out of its context. McSquare is an opus with strange metal fusions which join the curiosity and the creative ability of its architect. It is certainly not the kind of music which we like for his melodious approach, but that we can appreciate for his sound evolution.
Sylvain Lupari, 2008
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