Il est dit aussi, on ne sait où, que tout cela n'a plus d'importance.
Macrocosm a t'il une quelconque importance ?
La réponse est sans équivoque.
Premiers accords, "In darkness we trust", une lumineuse magie opère.
Il sera désormais difficile de s'en débarrasser, quelle étrange issue, quelle bien étrange perspective ...
Line up imparable, Michael Schreiber (Primal Scapes), Sven Piayda (Record Of Tides), Chris Huff, Jan Van Aachen & Andreas Hilburg confessent de cette nécessaire réflexion préalable, qui n'appartient qu'aux seuls protagonistes du bel ouvrage. Il faut aussi, peut-être, dire que le sinueux sentier électronique réserve, parfois, quelques insondables facéties pour ceux qui veulent s'en détourner.
Le (vaste) monde est à la portée d'une main qui s'ouvre.
Naissance d'un autre désir, "Private beach".
Ah ! le singulier et dévorant désir, la froide rupture d'hier, peut-être, autre chose aujourd'hui, un riff augural et courageux, sans compromis, la voix ample de Schreiber, "my private beach, sometimes ..." méthodique, souple et sensuelle.
Affirmé, un émoi grandissant pour ou avec "Her", des allures de hit décomplexé ou presque.
Il faut toutefois se méfier de ces mélancolies affleurantes (Still awake), tenaces, les solitudes encapuchées, signaux monosyllabiques (City trenches).
Si Primal Scapes a soudainement une élégante mémoire résiduelle faite d'un rêve (oublié) pour un New Gold ou de ceux des Lumières & trahisons d'un marquis déchu, méconnu, "Overseas" en conserve la parfaite et magnifique intensité, nostalgie baroque, déchirement du temps, de sa fragmentation.
Les pages se tournent, les doigts glissent nonchalemment à la surface, avancer, avancer encore et toujours, reconcilier hier et demain, un nouvel interstice sentimental et synchronique (Reach the streets) une déambulation solitaire, urbanité rythmique affectée et un nouveau coup de maître pour Michael Schreiber.
En survol annoncé et approche nocturne d'un dancefloor eighties, "Borrowed time", claviers regénerescents, la guitare de Sven Piayda croise le fer avec un chorus en riposte, what are we suppose to do ?
Ailleurs désespérément, "Despedida", spleen suspendu en arpèges virtuoses et électriques, piano lyrique, melodica d'un Andreas Hilburg devenu maître du jeu.
Macrocosm envisage une nouvelle figure intériorisée, introspective et "Easier Game" le confirme avec l'élégance d'un art rock que le Ferry de Roxy, ne pourrait renier, avant une déferlante fuzz, calibrée avec raffinement.
S'il est fort probable que les émules du Thin White Duke, ne se précipitent sur "Ashes to ashes", en quête d'équivalence comparative, d'un possible signe, message salvateur, l'hommage reste à la délicate périphérie d'un filigrane aussi fragile que le tempo ne vous entraine dans une course ponctuée des éclats fugaces des reverbères.
Piano grave, song writing minutieux pour un magnifique final, "Find a way" a l'illustre capacité de refermer un album dont les perspectives sont effectivement de la taille d'un ... Macrocosme !
thierry massard / 8 décembre 2022 - 17:35
It is said somewhere that thinking takes precedence over action.
It is also said, who knows where, that all this no longer matters.
Does Macrocosm matter?
It is also said, who knows where, that all this no longer matters.
Does Macrocosm matter?
The answer is unequivocal.
First chords, "In darkness we trust", a luminous magic operates.
It will now be difficult to get rid of it, what a strange outcome, what a very strange perspective ...
Inpregnable line up, Michael Schreiber (Primal Scapes), Sven Piayda (Record Of Tides), Chris Huff, Jan Van Aachen & Andreas Hilburg confess to this necessary preliminary reflection, which belongs only to the protagonists of the beautiful work. It should also, perhaps, be said that the winding electronic path sometimes reserves some unfathomable pranks for those who want to turn away from it.
The (vast) world is within reach of an opening hand.
Birth of another desire, "Private beach".
Ah! the singular and devouring desire, the cold rupture of yesterday, perhaps, something else today, an augural and courageous riff, without compromise, the ample voice of Schreiber, "my private beach, sometimes ..." methodical, supple and sensual.
Affirmed, a growing excitement for or with "Her", looks like an uninhibited hit or almost.
However, we must be wary of these outcropping (Still awake), tenacious melancholy, the hooded solitudes, monosyllabic signals (City trenches).
If Primal Scapes suddenly has an elegant residual memory made of a (forgotten) dream for a New Gold one or those of Lumières et trahisons of a fallen, misunderstood marquis, "Overseas" retains its perfect and magnificent intensity, baroque nostalgia, tearing of time, of its fragmentation.
The pages turn, the fingers slip nonchalantly on the surface, moving forward, moving forward again and again, reconciling yesterday and tomorrow, a new sentimental and synchronic interstice (Reach the streets) a solitary wandering, affected rhythmic urbanity and a new masterstroke for Michael Schreiber.
In announced flight and nocturnal approach of an eighties dancefloor, "Borrowed time", regenerating keyboards, Sven Piayda's guitar crosses swords with a chorus in response, what are we suppose to do ?
Elsewhere desperately, "Despedida", spleen suspended in virtuoso and electric arpeggios, lyrical piano, melodica of an Andreas Hilburg become master of the game.
If Primal Scapes suddenly has an elegant residual memory made of a (forgotten) dream for a New Gold one or those of Lumières et trahisons of a fallen, misunderstood marquis, "Overseas" retains its perfect and magnificent intensity, baroque nostalgia, tearing of time, of its fragmentation.
The pages turn, the fingers slip nonchalantly on the surface, moving forward, moving forward again and again, reconciling yesterday and tomorrow, a new sentimental and synchronic interstice (Reach the streets) a solitary wandering, affected rhythmic urbanity and a new masterstroke for Michael Schreiber.
In announced flight and nocturnal approach of an eighties dancefloor, "Borrowed time", regenerating keyboards, Sven Piayda's guitar crosses swords with a chorus in response, what are we suppose to do ?
Elsewhere desperately, "Despedida", spleen suspended in virtuoso and electric arpeggios, lyrical piano, melodica of an Andreas Hilburg become master of the game.
Macrocosm envisages a new internalized, introspective figure and "Easier Game" confirms it with the elegance of a rock art that Roxy's Ferry could not deny, before a wave of fuzz, calibrated with refinement.
If it is very likely that the emulators of the Thin White Duke, will rush to "Ashes to ashes", in search of comparative equivalence, of a possible sign, a saving message, the homage remains on the delicate periphery of a filigree as fragile as the tempo leads you on a race punctuated by the fleeting flashes of the lampposts.
If it is very likely that the emulators of the Thin White Duke, will rush to "Ashes to ashes", in search of comparative equivalence, of a possible sign, a saving message, the homage remains on the delicate periphery of a filigree as fragile as the tempo leads you on a race punctuated by the fleeting flashes of the lampposts.
Serious piano, meticulous song writing for a magnificent finale, "Find a way" has the illustrious ability to close an album whose perspectives have indeed the size of a... Macrocosm !
◉ Primal Scapes :: macrocosm
