|A1||Memories In Blue||2:30|
- Music By –
Back sleeve reads "Full Orchestral Sound" but the music is actually fully electronic.
- Matrix / Runout (Runout etched side A): MPO IM 18 A
- Matrix / Runout (Runout etched side B): MPO IM 18 B
- Edited 7 years agoIt is time to add a little review about the **most Beautiful Roger and Nardini** album, according to me, just because some of the track just fills the Summer holiday time in a wonderful emotional way while some others can step gently right into Autumn: only a truly organic album can make this happen.
Incidentally, when active composers are widely into their recording duties, something can happen like a magic can secretively add a particular feeling on the final output that would'nt be achieved anywhere else.
Here the music shows up finally as surprise: with four hands and two minds Roger and Teperino have fullfilled one of their hidden achievement with putting every small arrangment details at right point when needed, being the result a fully and wide ambiental soundscape made of multiple layers where every step and element just add more to the overrall impression.
The Duo craftmanship is totally awesome and will reborn again for a perfect sequel with IM 21 Lp "Nature Nocturne", this time with the Teperino-Nardini main ideas up front.
The music can be described as a kind of mixture between easy listening and lounge exotica, with a strong feel of changing background related to folding-on main melodies, lead on by high end solina electric keyboard or piano and synth.
Plus we have Teperino on percussions duty, and as always, his maniacal multiple sense and touch has added more "human" played cymbal musicality to standard drum set with the tempo "beat" is modulated with the specific use of an addictive electronic drum machine wich greatly enhances the percussive feel in order to recreate a very enchanting multi parallel array of beats.
Then the tracks' mood gently comes in accordingly, suggesting a bunch of fresh themed and meditative played numbers, the tracks gently fold on and recalls even from titles a weather reference with his quality of always changing-in.
The musical trick here it is the "always changing" background, the off basic first layer, wich is for ever fitted with the above melodies and wonderfully enhanced by the machine and human made spare percussions, at various degree: so this dense music is going on and in the "theoric pauses" after the cycling beats, there's that amazing evolving melodic shape that suggest a fell of organic unity.This can be defined like a "Liquidity" sensation for how the music flow and i find myself many times listening to this when connected to particular weather .
If you know what i'm talking about , the relation between Music and Weather and Seasons, you will understand how important is this relation within this album: a strong particular "Liquid" and "Fluidity" feeling here makes every tracks a step on into this unique idea of "Flowing", the "static" and "in moviment" sense of musicality.
So then the "Full Orchestral Sound" reference on back cover just makes a trick for the listener/reader because here this Orchestral sounding is obtained only in a modern electronic way, employing the Arp Solina pad that is truly a String Ensemble synthetiser and a real innovation for the Seventies: infact it reproduces the strings high pitch sounding near trueness from highs to lows, in a way that the music flows gently like water, soothing and liquid-like, since the inter-connession of many counterpoints and folding-on layers are here magically connected with a special "flowing on" mood, this being the magic word for this IM 18 release.
So here the tracks delivers firstly a classical form feel with returning "choruses" but are treated with magnificent craftmanship touch: infact here only with the use of these electronics (Solina, Electronic Bass Line, Drum machine and "Putney" synth and other custom electronics ) is possible to recreate that classical sound in a modern way with normal drums and hand percussions, just when these are playing an important role for details definitions.
Once put together electronic beats and normal cymbal or charleston, the latter ones played with steady hand and much sensitively, a perfect balance is achieved with the implementation of sound definition and a sense of omogeneity among different timbric sources.
The greatness of these songs infact is hidden into the "sound surprise" during listening.
Tracks like the perfect romantic Neapolitan serenata of "Early Love"(that makes better my actual summer days like medicine 3 times X day listening ), the spleen feelling of "Grey skies" and the dreamy "relaxing headache stress bending curved melody" of "Velvet Clouds"(rightly chosen by Luke Vibert for his first Nuggets anthology volume) are examples of how electronic fits into one particular classic form like a true Orchestra is playing with cellos violas and violins (but more like a string ensemble made famous by Mancini or Mantovani aching highs style but here adding some strange relevent infra-triggered synth soundings to structure.
For example, so surprisingly at one point in these tracks the piano enters in on surface with a melody to make a strong point section with the vibraphone making a counterpoint gesture on the song total dinamicity, with the hand percussion strongly remarking the passage on returning verse, finally delivering a sense of newness on each repetition.
All these musical little details make a conjunction with the wideness of ambient moods : we have the unbalanced structure of "Pink Sunset", the mythic swinging beats of "Topsy Bossa" , the argentine flashing of "Silver Drops", with the soothing "Mare Avia", the sportive "Young Games", the super gently hit "Bossa Bella", or we have the strange pitched keyboards of "Lonesome Flutes" for the relaxing moments that wonderfully creates a rightly blanced feeling of diversity and unity.
Even there are tracks on end side A wich are more fast and intricated with a progressive scale melody: one is "Moody Moment" gives a new breath to the tracks sequence using a different way of same formula: it starts like a speed race and bursts out like a firework in the climax section where the main sound gets his "high heights momentum" and then, quietly, but not bemused, falls down to a mythological fading end.
Following track "Remembrance" seems quietly to follow the same sad-meditative mood with the previous song and opening track "Memories in Blue" but this time much more quietly but largely full of spleen: delicate piano chords remarks the melody and synth let introduce in a bit of that smile in such mood situations leading to a comprehensive point of intents that could have been lasted some more seconds instead of been abruptly interrupted with a fade out (maybe this was unfortunately caused by the vinyl space missing once pressed).
But continuing the listening pleasure among 16 tracks of important lenghts, i must notice above all the fifth track on side B, named "Holy Isles" is so well constructed that resembles a miniature with some overcascading evolving melody at each step all along the 2:32 lenght,a battery of fireworks with multiple orgasms bursts n'climax, whith the ever changing high pitched background sounds gives multiple layers of elements wich balance the mind and body nerves with a steady phisiological response at every listening.
Despite this being one of the finest act of B side , I must signal the previous fourth track, the eponimous sensitive feerique "Dreamland", as being one of the best IM label track ever.
With a sense of disbelief and economic style of sounds we have the most gloomy and sensual dramatic track.The central melody is played by the synth, and awhile evolving, withount missing paces, without hesitation or interruption, it sslowly folds iin taking a preminent red color, ascending like a moving bird to a spinal (!) climax on a steady-tracked repetitive percussion.
So taking this for example we see how here we are overcoming the normality of background music: we have strong spiritual feeling with music clearly made with the heart and with many IM label records Roger and Teperino had free time to deliver their spiritual true approach to music, a music wich "delivers its goodies" in everycase.
This is when and how the music clearly affects positively the body !
I cannot barely guess HOW Teperino and Roger came to create such a magical sense into these tracks.
Maybe they just considered the entire array of sound pitches compared with human hearingand they came to set up a group of musical numbers with the single intent of composing keeping all the highs and lows spectrum along with a strategy of covering every possibilities related to the implied melodies and timbric exploitation, all into a reasonable time lenght of approx 2 minutes, (with considering a normal speeding up applied to master tape once pressed on vinyl).
These tracks delivers us a fully complete journey trough some kind of exotic mental paysage of the inner human heart, and each varying tracks are just more steps forward a new path of relaxation, eidetic immaginations, well being fresh mind and musical pleasure for mind and body: here the aforementioned liquid watery music feel gets stronger after each track but is just a subtle feeling that the listener has to learn to enjoy and catch at various degree, as Roger here has put one hidden a gem for the moments to come.
On ending I want to say that this music is like gold because no one else do music like this these days that has at the same time an old flavour and the truly modern fell: this has been made possible only by Roger mastermind touch that has grown from big band era in the 50' until coming to a high point of fusion with the most modern technological musical trickery in 1970-80.
There were lucky people in the mid seventies that were listening to Radio Television Belgique musical programs and probably happened to hear one of these songs streamed on air by local radio station in Belgium and even in european radio stations.
But as for now, with the recollecting of these records from dusty deposit of some nom muchactive UK and France agencies for music licenses or dismissed radio and phonoteques, it has become really like enjoying music on a personal secretative high level pleasure.(Thank you Xavier in Bruxelles)
Who knows if Roger would have knew that in 2010 his music would be still alive and kickin'?
Surely he knew, because we hear that he took so much joy to put into his special music, wich continues to feed the human spirit.