“Elosophy is richer in its atmospheric structures where Ebia multiplies the dormant impulses that form narrow circles which rotate within there”
1 Elosophy I 8:17
2 Elosophy II 6:04
3 Eternity 8:51
4 E-motion 6:50
5 Electron 7:53
6 Emage 11:38
7 Etopia 9:06
8 Equalizer 7:35
(CD/DDL 66:18) (V.F.)
(New Berlin School)
I like discovering a new artist, especially when he has his own sound and musical signature. And with the SynGate label, I'm at the right place. Ebia, whose real name is Jörg Bialinska, is a German musician/synthesist who belongs to this category of artists who come with a vision of their own. Composed in 2004, ELOSOPHY proposes a nice musical texture that is molded of unusual atmospheres with layers of rich and unctuous synths which develop into orchestral veils or in cosmic invasions. Its strong point lies in its assortment of sequences and of attractive percussive elements that startle our imagination and charm this hearing always in search of heterogeneous tones. In short, a fascinating album that is far from the usual sequenced movements of the Berlin School. Here the rhythm is imaginary and is shaped on circular movements, at the same time contradictory but always harmonious.
The introduction of Elosophy I resonates with coldness with muted knocks that extend into heavy buzzing. The intro is dark and soulless with thunders in an invisible rain and a cold wind that makes light metal tingling. A strange pulsating line strolls among strident and cold layers. A soft layer settles and warms the ambience with a long melodious and floating movement, supported by this strange pulsation. A placid silence breaks this embryonic symbiosis, where only pulsations can be heard. They amplify the beats of Elosophy I which gracefully floats on a light uniform sequencer where bass and loud chords flutter on a static and circular rhythm. The synth multiplies the floating pads that float on strange keyboard riffs that fall curtly, giving heaviness and depth to an impulse animated by felted percussion and good harmonious layers. We go adrift on Elosophy II which brings us to another level of rhythm with a sequencer and its nervous pulsations that flutter with multisonores keys. The rhythm is circular and is surrounded by chords that twirl on ordered cymbals. A crescendo effect settles quietly and jostles the tempo on a movement of sequenced percussions at jerky frequencies. A great moment that a synth surrounds by a short harmonious layer, sometimes strident, on a spheroidal movement flooded by arpeggios with pulsating reverberations. A very good entry that portrays the Ebia universe quite well. Eternity is a long ambient movement that evolves on short harmonies and floating streaks of a synth that blow its lines where the voices mingle with the exhalations of corrosive orchestrations. An ambient title that draws its richness from an ambivalent synth.
On the opposite, E-motion rocks things down! His two-tone military march offers a steady and lively rhythm on a good sequence that makes waving its loops and which is covered by the enveloping strata of a harmonious synth. The movement oscillates between two tempos on the same sequence. A temperate one, guided by metallic percussions, and a heavier and accentuated beat that is hammered by percussions and pulsations of lead. Electron engages on a rambling and nervous tempo in an agonizing atmosphere. Heavy pulsations flutter and flicker on austere synth pads, creating a harmonious convulsive circle. The last round never closed and make flee a thin line that wraps around its sonic body to gently extinguish this hypnotic circle. Emage is a title without movement, but a stationary rhythm. It is a circular structure draped with tight, harmonious and sometimes strident layers and with percussions and pulsations that plow a sober rhythm or a soft techno with the tssitt-tssitt cymbals. Etopia revolves around an undulating bass line and percussive pulsations in tam-tam tribal mode. The synth/keyboard chords flutter and dance in pulsating circular cycles at both dark and limpid where the breezes of the synth are haunting. Equalizer finishes this first opus of Ebia with an introduction where our senses float with the elements and the sound breezes. The rhythm waddles on very good arrangements when the percussions reorient it towards a movement which becomes more fluid and more sensual until its last striking of the sequencer.
Despite this presence of sequencer and percussions, ELOSOPHY is richer of its atmospheric structures. It's a strangely fascinating opus where Ebia multiplies the dormant pulses that form narrow circles, where everything turns into harmonious circular motions and makes our hearing startle by its subtle permutations and unpredictable impulses. The sound flora is dense and rich with textures that require more than one listening. Ebia! A name to remember.
Sylvain Lupari (January 2nd 2007) *****
Available on SynGate Bandcamp