PETER IROCK: Seven (2018)
“Seven is this kind of album which can be listen to without too much difficulty and could especially initiate timorous ears to the world of EM”
1 The Nature Song 6:59 2 Start Universe 6:34 3 Seven 7:11 4 The Stone Flower 6:33 5 Galaxy 7:35 6 T.E. 7:49 Peter Irock Music
(DDL 42:41) (V.F.) (Symphonic E-RockVangelis' New Age)
Following the path of the Horizon album, Peter Irock tries to democratize the world of synthesizers and sequencers by offering an album where the influences of Vangelis enthroned among six structures which are in perpetual movement. Offered on various digital platforms, as well as most of the Spotify and Apple Music of this world, SEVEN is conceived in a New Age style with structures built on diversities. Indeed! Inside an average time of 6 minutes per title, you have to get your ears free and attentive in order to follow a music which disconcerts as much as it can seduce, and which is quite very accessible. Except that sometimes too much is not enough, especially at the level of arrangements where Peter Irock tries to fill our eyes of tears and to make our body waving of chills.
The Nature Song offers a good start. A soft rhythm, but quite punchy, bursts after these 2 minutes where multiple synth lines wove the opacity of an introduction forged in ambiospheric elements. The rhythm is lascivious with percussion effects fed by echoes and pearls which sparkle and sing an electronic romance. Some 90 seconds later, The Nature Song plunges into a harmonious and especially New Age approach with a pale imitation of Vangelis. Let's say that's the kind of title which pleases to my girlfriend, especially when orchestrations woven in tears counter a romantic ending. Start Universe evolves in an ambient approach where seraphic vocals seek shelter in weeping violins. These effects of nymphet voices extend into the territories of the fiery title-track which is a big electronic symphonic rock with a moving structure, kind of Yes. Well in saddle on percussions in mode progressive rock and well fed by riffs of a false guitar which still spits good solos, Seven is as homogeneous as a bunch of keys as evidenced by this saxophone solo while in fact unexpected. The Stone Flower takes Vangelis' influences with a pompous introduction where the multiple arrangements, and especially this very acute voice of oracle, are sculpted to give us chills. It depends on how you feel. But no matter, the music always evolves with its changing parameters. Galaxy is another title with a pompous opening which then undertakes a Vangelis' cosmic journey. The effects of voice to give us shivers are too much for nothing here, since the structure ends up being pretty enough with a tender melodious approach. The effects of bass drum rolling and of voices make me think of an imitation of Glorianna which can be found in the album Direct of the Greek Maestro. T.E. ends this short SEVEN with all the disparity which disrupts the essence of this album. The opening is quite Jean-Michel Jarre with percussive effects as noisy as in Chronology, directing the music towards a kind of EDM which runs away for a smooth Jazz rock. Another saxophone solo emanates from the synths of the Italian artist who revisits "T.E." for a more rock approach where fly high very good synth solos. And as the title flirts with the 8 minutes, his composer leads it into softer territories with an ambient finale.
Despite the many turnarounds in rather short structures, “Seven” is this kind of album which can be listen to without too much difficulty and could especially initiate timorous ears in the world of EM. Peter Irock is raking wide in each corner of a world fit for this kind of vision. From New Age to Jazz to progressive symphonic rock, not to mention the Berliner electronic approach, this album is especially full of cinematic moments that try to draw sighs and tears from the listener.
Sylvain Lupari (July 10th, 2018) *****
Available on Amazon