BERND KISTENMACHER: Paradise (2014)
Updated: Dec 16, 2019
“A titanic opus, Paradise is probably, imho of course, Bernd Kistenmacher's best album ever”
1 Ghosts 4:52 2 Born from Innocence 16:18 3 Devastating Destruction 7:33 4 Raindance 12:09 5 Distant Danger 6:53 6 Everlasting Magic 8:45 7 Belt of Forests 9:14
(CD 65:37) (V.F) (Symphonic EM)
Bernd Kistenmacher had literally riveted my ears to my loudspeakers with the striking Utopia. He managed to implant a rather dramatic cachet in black intrusive universe where the dissonance has found the roads of harmony. Clearly more melodious, a bit less clashing, a little more ambiospherical but always so wrapped by an immense dramatic veil, PARADISE lies down its fascinating influence on our senses. The paradise in question is literally the one that we wish at the end of our days. Is it a utopia? The link is to make, so much Bernd Kistenmacher pulls us with so much subtlety in the spheres of a fantasy that alone we have the keys of the secret.
Singings of birds are waiting for our ears at the opening of Ghosts. Their chants are melting in a threatening decoration where are muttering breaths of thunder and oozes a rain which becomes more and more plentiful. An attractive sound fauna unveils little by little its charms as time goes by and as Ghosts evaporates in its dust. Delicate philharmonic breezes are blowing among the paradisiacal birdsongs, bringing these soft ambiences outside the paths of sadness. Of all this, there will be the vestiges of a forgotten melody which will resuscitate in the tumults of Born from Innocence. But before, its intro shines like a rivulet of prisms delicately whipped by lazy breezes. An unctuous wave gets gild by the charms of a flute, while slowly some notes of a Hispanic guitar try to lure the percussions which are tumbling more and more heavily. The tumult, the dissonance of Utopia is reborn here. The rhythm of Born from Innocence is hammered by titanic percussions which structure a heavy and slow war march. The melody buried in Ghosts splashes up here by the breaths of a philharmonic synth. The rhythm is shaking with frantic percussions. Angelic voices perfume the ambiences of a celestial approach while the heavy bass line inflates its trumpetings. We dive into the comfortable Kistenmacher frenzy. Violent thunders of percussions roll like infernal waves of rhythm, propelling whispers and sniggers. Voices, elements of paranoia get graft in a hubbub as much dissonant as this heavy and violent structure of rhythm which will free itself of its madness at around the 9th minute into a more rock structure. And as if it was possible, Born from Innocence glorifies itself of a fluid rhythm, surprisingly musical. A kind of heavy but fluid hip-hop which quietly turns around in the electronic markers of its intro. Wonderful and totally exhilarating! Already, I feel that this album will fill me of pleasure, as much as Utopia. From a snore of a chainsaw to that of a big bumblebee, the intro of Devastating Destruction does nothing to moderate my waits. And as soon as the chords of nostalgic Vangelis go out from dusts of trees coming to fall, the magic remains stuck deep in my eardrums. Sad and oppressive, Devastating Destruction is a very me