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  • Writer's pictureSylvain Lupari

DIGIALSIMPLYWORLD: Tout Devient La Musique (2013)

Tout Devient La Musique is a striking ambiosonic album build around a sound fauna to make bleed the eardrums

1 Flame of Earth 7:51

2 One Light Day from Home 6:42

3 Un Lieu où Tout Devient la Musique 6:01

4 Konradopulosuss 8:04

5 Amnesia 8:27

6 Time Travel 8:06

7 Year 2013 9:37

8 Year 2058 8:26

9 Tout Devient la Musique 12:25

10 Fin de Siècle 5:40

(DDL 81:18) (V.F.)

(Ambient industrial landscapes)

Somber breezes arise of the void, awakening metallic beatings of which the random knocks reverberate in an echo which wraps Flame of Earth of a surrealist ambient layer. There is rain on this earth of ambiences. As there is rain everywhere around TOUT DEVIENT LA MUSIQUE. A rain where the crystalline drops burst out on the ground by crumbling. Their earthly rings are getting lost into white noises, illuminating the dance of interferences of which the crackling feeds the endemic blackness of a silence which roars of its invisible jaws while the iridescent rhythm of Flame of Earth shies away like a train fleeing the agony. “The noise is a curse to music, his unwanted child, rejected at the childbirth and returned to an unknown. Placed well, the noise becomes a coherent element of the musical space.” These words are from Marcin Melka, the man behind DigitalSimplyWorld, and depict marvellously his sonic universe soaked of harmonious corrosivity. TOUT DEVIENT LA MUSIQUE is a striking ambiosonic album which arm itself of fuzzy rhythms and of ghost melodies which get lost in a sound fauna to make bleed the eardrums. But once these ears accustomed to the sound-effects atmospheres of DigitalSimplyWorld; everything becomes music.

One Light Day from Home steals the same psybient ambiosonic pattern of the opening track. The ambiences are denser. Our ears confuse the drops of metallic greyness, the electrostatic breaths, the sounds of lost footsteps and the breaths of Minotaurs which float on a backcloth weaved by the breezes of a synth to the dark breaths. And this is the big difference between The City Dark Synth and this album. Marcin Melka knits an always intense and very thick sonic garden, except that he adds to it a touch of musicality with ectoplasmic harmonies, Konradopulosuss, who hum on ambient abstract rhythms, such as in Time Travel or still Fin de Siècle. Un Lieu où Tout Devient la Musique is particularly well made at this level. The vocal samplings sketch an aura of echo which undulates in a loop, forging a delicate rhythm which rolls in a universe of paranoid whispers. Rather disturbing! Amnesia? Well the title says it all. It's an intense ambient phase where all the breaths of the black souls weave a slow cerebral flight. I like these disturbing voices towards the finale, just as the organic fauna which stimulates the listening of the very ambiospherical Year 2013 where the knockings of a train running on wooden rails forge a strange monophasic rhythm. Year 2058 is more intense, even apocalyptic. The title-track is simply superb. DigitalSimplyWorld lists all of his sonic palette and assembles it in a really good mosaic where the noises form some ill-assorted harmonies which hum on rhythms as abstract as ambient. We easily imagine ourselves being in a grotto, as in a big deserted downtown or still in a mythical forest where the line between the sensation to be between two universes is more than tangible. This last parallel reflects the entire dimension TOUT DEVIENT LA MUSIQUE; an album where the noises resuscitate the rhythms and harmonies abandoned in their angers of having been ignored since the beginning of times.

Sylvain Lupari (January 26th, 2013) *****

Available at DigitalSimplyWorld Bandcamp

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