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Guts Of Darkness
(CAN)
Contaminated
Area is the 3rd album from the Polish synthesist. And as on Antimatter and
Industrial Love, Dorian Przystalski investigates all the facets of the
electronic universe, going from pure Berlin School (Blur Memory) to hard
techno (Rust) touching ambient (Lost Lore) and commercial goody (Choice of
Life).
Blur Memory opens magnificently Contaminated Area. A floating intro, which
derives in a warm misty waves cosmos. Waves which undulate with
bewitchment before sweet metallic percussions bring a lascivious tempo
which waddles on misled chords. A very beautiful title which broods a
light crescendo slowly dramatic, but absolutely daydreamer, with an
ethereal voice which oscillates towards a sweet sensuality. To me, it
is Dorian's most beautiful title. Glowing, Light Air has jazzy airs with a
very lyrical synth, interrupted with a slightly syncopated sequence.
Autumn Trees stays in the light harmonies. A fine movement, as
Bionight’s Mac, which grips to sober percussions and a captivating
synth. A beautiful title which sticks easily on a very melodious
structure. Purely ambient Lost Lore soaks into a biting sound
universe filled with colorful tones, creating an uncomfortable
nothingness. Some Roach dark and black, with subtle sound modulations
which creep into atonal carillons. Choice of Life clashes downright with
an approach between Soft Rock and New Age. A beautiful unidentified voice
on a sweet structure filled of rather classic riffs on a synth which rings
as panpipes. A funny sound mixture which flows well, but which also
goes downright away from a EM of all kind. Fiery, Rust is a hard
title which unwinds at the speed of lighting. Some hard industrial music
with percussions so unbridled as colorful, on a hyper technoïd beat.
White Clouds encloses softly Contaminated Area. A long pleasant title
to in the synthesized loops which strew a movement tinted of a cartesian
romanticism. Although enchantress the flute pours into a New
Age tone, quite as the synth solos, binding this Dorian's last opus in a
pell-mell musical rather poetic, exception made of Rust and Lost Lore, who
charms more that it can disappoint with those New Age inserts.
Sylvain Lupari, 2009
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