D'VOXX: Télégraphe (2019)
Updated: Feb 12
“The art of creativity at its peak!”
1 Opera 5:37 2 Akalla Norr 8:15 3 Télégraphe 5:59 4 Aotou 6:50 5 Tempelhof 5:39 6 Akalla Söder 9:00 7 Dinamo 6:27 8 Skalka 6:28 9 Terminus 1:47
(CD/DDL 55:59) (V.F.)
(Art for ears, Berlin School, Electronica)
For several people, including me, EM created from scratch with modular synths was the prerogative of experimental music, even abstract. Approaches have evolved over time, including the first albums of Tangerine Dream that revolutionized the genre with the mastery of Chris Franke and, later, as well as Mark Shreeve for Redshift and Arc. But more often than not, the use of modular synthesizers was synonymous with experimental visions. The DiN label tries to democratize the genre with albums such as Tone Science Module 1 and 2, Submission Vol. 1 and 2, as well as avant-garde artists such as Bluetech, Lyonel Bauchet, Mazmoneth, Arc and Ian Boddy himself. We must add to this list d'Voxx, a duet composed of Paul Borg and Nino Auricchio. These two musicians have a remarkable track record that has given them prestige and fame in the business, and this in different spheres of musical productions. For the last 3 years, they have been going to different music and sounds events, since the music is above all art for the ears, and many festivals where they have performed the main lines of TELEGRAPHE. Proposed as much in manufactured CD, to the number of 1000 copies, as well as in downloadable format, the music has a post-apocalyptic cachet with as main theme; railway stations around Europe. Each title represents a station with introductions and finales drowned in the sound effects inherent to these stations and to the operation of the wagons. TELEGRAPHE visits 9 stations over a distance of 56 minutes entirely made from modular synths and contrary to what I read, we are very far from the ambient style.
Located in Paris, Opera begins with the sound effects of a train coming to the station. We hear the hubbub, the creasing and footsteps of the crowd and a voice in a loudspeaker. We hear above all an oscillating line spreading its charms with a melody cooing in repetitive loops. Percussion clicks dictate a rapid pace whose main source is this line that coos with small nuances in the bait of its charms. Aside from this rhythmic structure and its melody weaver of earworm, the tonal fauna breathes very heterogeneous tones, unique to the charms of modular synth music. We arrive at Akalla Norr and its oscillating worm like a water snake that ripples faster than the eyes. Percussive effects feed these rotating eight figures into an oscillating waltz that accepts even more percussions. The pace takes a more pronounced tangent from which emerges a percussive fauna and loops of synths that dance in symbiosis with this rhythmic structure too fast to dance, unless performing straightening as a genius getting out and getting in his bottle in mode accelerated. Taking advantage of its 8 minutes, Akalla Norr continues to inject spasmodic effects that will intensify a course ending in a phase of atmospheric elements. The title-track features a big, loud Electronica like early electronic hits as Zoolook or Herbie Hancock with Rockit. The analogy may seem lame, but it serves only to explain the nature of the sharp and jerky rhythms in TELEGRAPHE. Aotou is less spasmodic with a more fluid roundness that encourages neurons to dance. There are good sound effects, here as elsewhere, that give an incredible tonal dimension to the album. Tempelhof offers a good experimental and melodious synth-pop while Akalla Söder gives a panoply of oscillatory lines that come and go in the least energetic structure of the album. Dinamo picks up the rhythm guides with a strong and acid Electronica. The drums play hungry castanets and roll at a high speed on the stoic beats and a bass line with magnetizing vibrations. The spheroidal melody is hypnotic and oscillates with an unfulfilled hunger for fast and repetitive circles. It's loud, heavy and energetic. And it changes of skin! Always in a jungle of the most creative sound effects, Skalka offers a moderate Electronica, like a contagious hip-hop for the ears. Terminus concludes TELEGRAPHE as it should! Either a rest period before getting back on track with this creative album that constantly challenges our ears. And no, it's not ambient music. Only music with impregnable rhythms for the feet and legs, unless you are a break-dancing star or a hyperactive choreographer who is not afraid of challenges.
Sylvain Lupari (March 19th, 2019) *****
Available at DiN's Bandcamp