BIOME: The Shores of Temenos (2018)
“In a context of meditative listening or to simply accompany us in the arms of Morpheus, this album is of an unequaled efficiency”
1 Ryuku 8:41 2 C Ov Bioluminescense 9:54 3 The Shores of Temenos (Bamboo Windsong Mix) 20:02 4 Chroma Sunset 5:55 5 Rain Temple 4:37 6 Elysium Portal 5:57
(Bonus Track CD only) Biome Music BM2018
(CD/DDL 55:08) (V.F.) (Biologically Infused Ambient Music)
What would an esoteric music be without the winds that propel its vibes? Dominant celestial winds, heavenly chirps and chords that sound like in this dialogue between humans and extraterrestrials from the movie Encounter of the Third Kind; Ryuku sets the tone for THE SHORES OF TEMENOS. These chords are metamorphosed in the spirit of a harp with notes as high as one feels to be in the sky, flying and observing a tropical forest. Between Kitaro, for a delicate enchanting rhythm, and Osamu Kitajima, the excellent The Source, the first moments of THE SHORES OF TEMENOS stroll with the word delight. The music is tenderly wrapping with those layers of voices painted by a veil of discrete buzzing, so she fails on a slightly jerky rhythmic river. Tom-tom percussions invite their selves to this spiritual dance where the sound fauna takes more and more shape and colors. Biome is the latest project by Gregory Kyryluk, the man behind Alpha Wave Movement and the Harmonic Resonance Recordings label. The Floridian musician is one who likes to explore new sonic textures while remaining in the realm of a meditative EM. More esoteric than the music in AWM, THE SHORES OF TEMENOS is a first opus which adapts the diversity of the digital sounds to more acoustic instruments. Instruments animated by a vision of freedom in an environment where man remains an unknown threat. The phases of rhythm remain in the field of ambient rhythms and are laying down by manual percussions which are supported by a sequencer in mode; come that I hypnotize you. And when they are present, it's to support the homogeneous dimension of the ambient structures. C Ov Bioluminescense is the perfect example! Its introduction flows with clouds of layers which clump together like those waves whose return fails on the arrival of the next. This effect of backwash offers astral songs and flutes on where get grafted multiple effects of drones, which are quite dominant on this album, as well as songs of stars and from azure breezes. Very celestial, the movement of C Ov Bioluminescense drifts to awaken a sequencer, around the 7th minute, whose lively but discreet oscillations only serve to lighten the weight of its atmospheres.
The Shores of Temenos (Bamboo Windsong Mix) is a great title mounted on multiple harmonic textures which scroll through the various metamorphoses of this imposing musical structure. The harp dominates as much as these flutes forged in bamboo. The sound result is spellbinding while the structure draws a little in Ryuku to feed the evolution of its 20 minutes. Except that here everything is happy, like a huge floral feast under palm trees and stars. These stars sparkle and fizzle in this fresco with oriental scents. Layers of heavenly voices and of mists carry ponds of evanescent melodies that are reborn in other forms, if not other textures. Rhythms are also forged from this electronic-acoustic union and retain a dreamlike vision, even when they accentuate a presence easily tamed by the multitude of esoteric elements that embrace the different textures on The Shores of Temenos (Bamboo Windsong Mix). A great title! Chroma Sunset is the liveliest title of this first Biome album. The structure hops up and down on a pulsating line whose repetitive knocking gives this illusion of a beat on the edge of the explosion, especially when sequences start spinning around. The melody is nostalgic with textures that metamorphose like a chameleon hiding in a multicolored canvas. Chords of keyboards, sometimes piano or guitar, wander in a corridor charged with lazy orchestrations and flutes breezes which at times are carving its tunes in symbiosis with the rhythmic pulsations. Rain Temple completes the download version of THE SHORES OF TEMENOS in a cinematographic vision. If sequences activate a stationary and very discreet rhythm, the musical decor is painted with orchestrations that come and go like the regular movement of this waltz which accompanies the fall of the leaves but with two textures, the one sober and the other one to lift the hairs of our box of emotions. It's a bit like a jam session between Philip Glass and Osamu Kitajima. Elysium Portal is a title that comes only with the purchase of the CD. It's a melody, in a small ballad mold for solitary soul, where the keyboard chords resonate with bell jingles in harmony with this celestial choir where several voices seem absent. This is a very beautiful title that makes me think a lot about these melodies black and melancholic Max Richter.
With these essences that go from Kitaro to Max Richter and some of Osamu Kitajima's works, THE SHORES OF TEMENOS is that kind of album that once in the skin, it doesn't want to leave. In a context of meditative listening or music to accompany us in the arms of Morpheus, this album is of an unequaled efficiency. And the more we listen, the more we love! In the end, Biome is a nice project by Gregory Kyryluk (we doubted it?). And I can't wait to hear more, because this mix of electronics and acoustics in a pristine tropical environment can still have immense charms to hear…