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  • Writer's pictureSylvain Lupari

BRIDGE TO IMLA: Lost (2021)

The music can take us to unique soundscapes like the one on the cover

1 Lost 6:27

2 Rivers of Pangea 17:38

3 Changhsingian 3:23

4 Valley of the Sunken Forest 9:11

5 These Trees are our Homes 5:49

6 Ice Shelf 5:48

7 With the Rising Tide 12:00

8 Cruising Dark Seas 5:07

9 Good-Bye to these Fields of Gold 4:26

10 Of Nightmares and of Dreams 5:54

Bonus Tracks (40:51)

11 Session 2012 (Part 1) 6:17

12 Session 2012 (Part 2) 10:00

13 Session 2012 (Part 3) 7:57

14 Session 2012 (Part 5) 6:57

15 Dreaming at Hanging Rock 9:40

Bridge to Imla Music

(CD 75:49 /DDL 116:39) (V.F.)

(Ambient soundscapes)

LOST! There are many ways to be lost. Lost, as in getting lost or lost in thought. Or simply being lost between two ideas...between two projects. It is a bit this lost that Michael Brückner refers to for this last Bridge to Imla album composed, recorded and mastered with his accomplice Hans-Dieter Schmidt. We go back to the time of The Radiant Sea when the duo was in charge of the Winter-Light label. Composed to be performed live, the music of The Radiant Sea became lost in time. For 9 months! The German duo set about composing alternative music that has found its way to this point. LOST was lost on recording tapes since the formation of the duo, which offered its music primarily on SoundCloud, from 2012 to 2021. LOST is nothing more and nothing less, for the most part, an extension of The Radiant Sea. So, an ambient music full of mysteries and legends…

It's with the moaning of a cello that the title-track plunges us right away into the ambiences of the album which started with a buzzing burst from which a good fight of chimpanzees is setting the moods. Ambient track with echo effects rolling in loops and evasive melodic episodes, Lost draws our attention with this cello, which will become a crying violin, injecting a lyrical drama in intense musical arrangements and a sound magma filled with a dialogue still to be decoded. After a short introduction of electronic material, Rivers of Pangea unfolds its minimalist structure of sequenced keys that roll in ascending loops. Synth layers, floating rather than flying, caress this continuous horizontal ascension having this characteristic to absorb everything that passes and to filter it in soft ambient melody. The bass extends its vampiric shadow accompanied by the hoofbeats of a one-legged man while this flute coming from nowhere blows a melody with a hint of the Middle East. A beautiful music that loses its slight rhythmic dominance around the 8th minute to lead Rivers of Pangea into a violin/cello dialogue surrounded by sound effects of a nature that gradually comes back to life. Beats! Strange beats that sound like those old dinghies floating on big rivers choking and coming back to life under the soft incantations of Mike Oldfield's piano. The only thing missing is The Sailor's Hornpipe! Changhsingian