ANDY PICKFORD: Pareidolia (2017)
Updated: Aug 6, 2019
“There are some great moments in this Pareidolia that simply shows that the Pickford source is far from drying up”
1 Section One (Pieces 1-5) 1:17:36 2 Section Two (Pieces 6-10) 1:11:29 3 Section Three (Pieces 11-15) 1:13:04 Andy Pickford Music
(DDL 222:10) (V.F.) (Electronica, E-Rock & E-Ballads) Are you ready for another musical extravaganza from Andy Pickford? The fourth odyssey between rhythms and intergalactic ambiences from the melodist of the future carries admirably the sense of its name, PAREIDOLIA. In another immense mosaic where the hearing illusions are more realistic than improbable, Andy Pickford succeeds to surprise again with a pallet of rhythms, melodies and ambiences which proves that the Pickford source is far from drying up. The 3 long segments of more or less 74 minutes are structured like the 3 first ones which have begun this sonic journey between the constraints of Bandcamp at the end of 2016, that is 3 structures of rhythms for 2 phases of ballads… or almost. And if we make a small counting, the Prince of the England School has delivered an impressive amount of 13 albums since Harmonics in the Silence, if we include Vanguard III, in this impressive crisis of creativity. But is it good? That depends on points of view! In front of such a music mass, it's very difficult to call a winner. Unless isolating one from the others and siphon its sounds up until that our audio network reader gets tired of it or only wears out the notes and keys. But then, such an exercise would be made to the detriment of the other works from this collection and would oblige us to close our ears on other music made by other artists. Yes, but Phae…is it good? Yes!
Pareidolia (Section One - Pieces 1-5) starts with the tones of a helicopter landing on a bank of hollow winds. To be short and precise; on oblivion (sic!)! Floating waves laid an interplanetary mirage and the sensation to float in the space seizes immediately our senses. A movement of rhythm is slowly born in these vapors which decorate the 120 seconds of this introduction, as well as harmonies delicately chimed in the echo of a synth and of its tone of glass. Layers of voices get grafted around these crystal spirals that we can easily whistle or hum while waiting for the next spaceship. And of darkness all dressed up, the rhythm adorns itself of percussions slamming and fluttering like these wings of dragonflies while the sequencer crumbles a stroboscopic structure which suits very well to the development of the layers of ambiospherical effects. Other more incisive percussions hammer this rhythm which leaves its embryonic phase for a solid e-rock which tramples abundantly the borders of these hymns of collective dances and trances. PAREIDOLIA starts with charm and