The album to be discussed here is simply amazing. Classically inspired progressive rock fans can - nay, should - access here without hesitation. Finish would be the shortest review I've ever written ... and really everything had been told that!
But thankfully life is not only three-and four-dimensional but at least a concept album that really blows up every earthly chain, needs to be discussed really closely, even if my vocabulary given the overwhelming sound impressions threatens to dry up ....
In the 'Progressive Rock' category could be classified only in very superficial view the "Impressionist Symphony". The limits to the classics are not only gently touched, but far exceeded sprawling. Also, individual transition areas to jazz are nuanced, really touched only subtly.
Mastermind Cyrille Verdeaux settled for his "Impressionist Symphony", for which he Clearwaterreactivated after eleven years break from Impressionist composers such as Joseph-Maurice Raveland Claude Debussy inspired and devote himself the most famous impressionist painters of Europe such as Vincent van Gogh, Claude Monet, Paule Gauguin or Raymond de Toulouse-Lautrec Monfa .He approaches prove this not without wit and wordplay, what titles like "Time Is Monet", "Van Gogh 3rd Ear" or "Lautrec Too Loose".
The project Clearlight developed from 1975 when Cyrille 'Clear Light' Verdeaux together with threeGong members - the most famous among them certainly Steve Hillage - the "Clearwater Symphony" composed and grossed. A casual musician collective around Verdeaux played after that (m. W.) six more progressive works of art one.
most prominent members include Hillage flutist / saxophonist Didier Malherbe and keyboardist Tim Blake (both Gong ) and drummer Paul Sears ( The Muffins ). Besides solo project, especially the Fusion Violinist Craig Fry , the synthesizer expert Christophe Kovax ( Psyquest ) and the 'Chapman-embroiderer' Linda Cushma ( Oxygene8 ) from the highly ambitious troupe forth.
In addition to the influences from the Impressionist classical music could be Cyrille Verdeaux for his "Impressionist Symphony" certainly inspired by symphonic rock music. In contrast to the Trans-Siberian Orchestra , he worked here not with an 'organic' orchestra, but with a Kurzweil 2600;However, the sounds that he elicits this 'high-end device', deceptively real and sound virtually the same way. To this occurs Craig Fry acoustic violin, which in the manner of this Allen Sloan andJean-Luc Ponty understands how to play, at every available opportunity in the spotlight.
too, the varied work of Chick Corea at the French have their marks ("reñir En Couleur ") leave. In addition to the Kurzweil keyboard he is mainly a terrific sounding Bosendorfer 290 Imperial grand one, with which he - supported by string and brass arrangements from Kurzweil - a sometimes dreamy, sometimes demanding basis sets. For solo characters and accents on the other hand are the two synthesizers specialists Tim Blake and especially Christophe Kovax ("Degas De La Marine"!) responsible.
Is Steve Hillage involved, it is immediately (as in "Renoir En Couleur" and "Van Gogh 3rd Ear - Time Is Monet "and its' Reprise '" Money Time ") considerably rockier much closer to the classical period, however, the operators are" "(a wonderful dialogue between piano and violin) and the lyrical-ethereal" Gauguin Dans L' Autre "aligned. Impressionist music can hardly be!
For almost oriental influences make Tim Blake airwave violin and Don Falcone's Tubular Bells in "Pissarro King". As colorful as the painting of a landscape in Midi, "Lautrec Too Loose", which blithely between the analog sounds of turns Thomas Pence acoustic guitar and Verdeaux ' wing on the one hand and Remy Trans cosmic synth sounds on the other hand swings and the heart of the listener in very deep vibrated .
More than an hour long can these "Impressionist Symphony" first to captivate and then mercilessly away into new musical worlds. It is, however, as with hypnosis: you must be able to engage it, otherwise it works well hardly!
Who times Germany radio culture or SR 2 turns in the morning instead of tootling of radio Salü or RTL Luxembourg rather, its pure joy to Clear Lights long expected have new orchestral work.Guaranteed!
Cyrille Verdeaux (Kurzweil 2600, Bosendorfer 290 Imperial, synthesizer)
Steve Hillage (electric and gliss guitars, percussion - # 1,5,6)
Craig Fry (violin),
Didier Malherbe (doudouk, saxophone, flute),
Paul Sears ( drums, percussion) Linda Cushma (bass, chapman stick) Tim Blake (theremin, synthesizer XILS - # 3.6) Vincent Thomas-Penny (acoustic and electric guitars - # 3.7) Neil Bettencourt (drums - # 3) Don Falcone (tubular bells - # 3) Christophe Kovax (lead synthesizer - # 4.5) Remy Tran (cosmic synthesizer - # 4.7)
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Thursday, 24 April 2014
Clearlight German review translated
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