• Sylvain Lupari

ALBA ECSTASY: Albastru Infinit Vol. 2 (2019)

Updated: Jul 29, 2019

“Still and despite that the man is doing music like a crazy music-machine-maker, this Albastru Infinit Vol. 2 offers some nice musical gems”

1 Infinite Three 9:18 2 Navy Blue 13:22 3 Trumpets of Heaven 7:52 4 A Walk In The Clouds 7:07

5 Infinite Four 4:28

Alba Ecstasy Music (DDL 42:07)

(Berlin School with a scent of Romanian School)

ALBASTRU INFINIT Vol II is a second part about the theme of music inspired by an out-of-the-blue idea. And one will always have the idea of snubbing this kind of music made in assembly-line mode that our prejudices remain firmly outdone by this unique way of Mihail-Adrian Simion to put his ideas into music, like this painter that we all know who adorn his paintings by pitching paint spots which eventually take a shape and another one on his paintings. Is this art, even if these spontaneous mixtures fascinate the eye? To ask the question, is to answer it! This is the same principle with the music of Alba Ecstasy. And even more with this new series which offers its most interesting musical core with this ALBASTRU INFINIT Vol II.

Synthetized tears orchestrate whimps with its sober and opalescent tones in the opening Albastru Infinit: Infinite Three. Our ears perceive murmurs in this musical canvas painted of melancholy and where there is an obituary atmosphere. The sequencer releases an uncertain rhythm after the bridge of 5 minutes with keys which grope with indecision on tunes of this synth which favors the more contemporary tones of Klaus Schulze. These keys became percussive elements which are structuring, with the electronic percussions, a curt and hatched flow, a bit like knives finely cutting a line of rhythm. Another line of the sequencer emits a circular motion with keys vibrating in a series of undulating cascades. A movement that Alba Ecstasy will deepen in different forms throughout ALBASTRU INFINIT Vol II. Albastru Infinit: Navy Blue offers a slightly more stroboscopic spheroidal structure. Bright arpeggios jostle with an excitement in the tones to twirl in a narrow corridor. A bass pulsation dictates the pace of the movement which is the opposite of this bullfight for indomitable arpeggios. Another line adjacent to the beat unfolds a similar structure which alternates this movement between our ears. Sound effects, which quite make Klaus Schulze in the Dreams