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  • Writer's pictureSylvain Lupari

ERIC G: Patrimonial (2020)

Following the paths of Nophicord, Patrimonial is in the same spirit of analog tones in s cosmic setting at the height of Eric G.'s visions

1 In Dark Waters 10:18

2 Funeral, pt. 1 12:54

3 Cold Wind Walz 3:33

4 Funeral, pt. 2 10:05

5 Duet 00:57

6 The Uranus Samba 4:00

7 Exorbitance 5:43

(DDL 47:32) (V.F.)

(Cosmic progressive rock EM)

Third album in the series; we clean my vaults, PATRIMONIAL is in the same spirit of Nophricord and Piezolake. Eric G invites us into the universe of an analog EM to such retro tones that the idea of having made a jump in the 70's and the 80's goes beyond the border of our ears. But there is a solid perfume of gloom which infiltrates the 48 minutes of this collection of titles composed in the early 80's. The synth solos, sometimes even the melodies, and especially the organ layers which sleep under each of the structures stick a sinister atmosphere that seems to connect with the 20 minutes of Funeral.

A rich and nourished cosmic decor is also within earshot. It's also the source of In Dark Waters which begins with organ layers falling from short with these tones of the 70's prog rock bands. Genesis' Tony Banks comes to mind immediately. A line from the sequencer emerges around 110 seconds farther. Its movement is fluid with slight ascending inflections which push an ambient rhythm to change skin under a shower of cosmic sound effects. A very nice fluty chant, the mellotron being also very present in PATRIMONIAL, envelops this electronic rhythm which goes up and down by exploiting each square inch of its traveling corridor. Synth pads and riffs with very Tangerine Dream fragrances are scattered between the impulses of the sequencer that remind Chris Franke's. The third impetus will be good. It leads In Dark Waters in a very good and lively cosmic rock, opening the path to a synth and its solos tinted with oriental perfumes. Let's say it starts PATRIMONIAL on the right foot!

Especially since the very austere Funeral, pt. 1 will need a few listens. And there is no guarantee that it will be won in the end! A sinister nasal chant rises at its opening. Exploiting more an atmospheric vision where the synth and mellotron exchange the favor of our ears, this first part soaks in a cosmic atmosphere with sharp airs which are like communications between extraterrestrials. At times, I think I hear sighs of Theremin. Ambient, the title offers a more charming vision in the second part with a more melodious approach to the keyboard. Cold Wind Walz is a very joyful little interlude. A kind of slightly more commercial synth-pop anthem with a melody that makes us run on clouds. The synth traces good solos on jerky keyboard riffs where our ears think they hear these old accordions of yesteryear. Moreover, the level of moroseness is maintained by the presence of this old organ which brings its melancholy to many places over PATRIMONIAL. Funeral, pt. 2 is more intense. Slow and ambient, the title lets hear good refrains and synth solos in a vision of French School's cosmic poetry. The Uranus Samba is an electronic samba (Sic!) which begins and ends by messages from Aliens. And after an intro absorbed by synth layers with colors and movements of aurora borealis in accelerated, Exorbitance releases a very good melody that would be a planetary hit à la Jean-Michel Jarre.

The idea is to know what could have continued to sleep in the vaults of the Swedish musician! At the very least, that's how I see, and hear, things. I would have let Duet out of it! But I tell myself that Eric G has his reasons to insert it there, at this precise place. For the rest, PATRIMONIAL will need some listening and adjustments for those who don't like the ambient moments. But overall, the Swedish musician-synthesizer offers us a staggering palette of vintage tones in an album that will reward your curiosity. It must be said that titles like In Dark Waters and Exorbitance are very good incentives to discover this album imagined and sewn with the fibers of the cosmos. I found it beautiful and good. Quite very good even!

Sylvain Lupari (April 10th, 2020) *****

Available at Eric G. Bandcamp

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