• Sylvain Lupari

Syndromeda Order in the Chaos of Life (2022)

Updated: Oct 12

Syndromeda's best of all eras? I think so!

1 Born out of Chaos 12:44

2 The Silence after Chaos 15:31

3 The Happy Few 12:30

4 Carroussel 9:17

5 At the End Everything will be OK 13:47

6 Lord have Mercy 9:57

SynGate SS30

(CD-(r)/DDL 73:49) (V.F.)

(Dark ambient Berlin School)

Organic sequences, chirping effects stuck on convoluted and twisted synth lines, sharp synth blasts and muffled, sometimes rubbery, rhythms are always in tune with the musical tales of the Syndromeda universe. Flirting between Berlin School and psybient in a music of ambiences always close to the darkness, the Belgian musician delivers us a very strong album in ORDER IN THE CHAOS OF LIFE. Danny Budts abandons somewhat his more complex structures in order to offer a more direct album that depicts the reality of a societal era confronted with new viruses, both medical and computer, pandemic, war and famine that it creates in the less well off people and finally the recession that it creates in a society increasingly focused on individualism and narcissism. In a perfect balance between its legendary atmospheric phases and its bouncy rhythms like worn rubber, Syndromeda draws from its nostalgia to offer beautiful melodic structures rarely heard in its previous albums. In short, something new from Syndromeda!

A roaring shadow laments in the opening of Born out of Chaos. Its ethereal chant mingle with a siren of urgency, as a nest of sound quietly unravels its oblong and sinuous reverberations that swirl and float in an opening that flirts with a dark psybient. Always haloed by an organic texture, Danny Budts' jumping chords start to beat in this slow maelstrom controlled, from the second minute of the track. Initially arrhythmic and connecting their tone to those of the radioactive waves, the leaps coordinate in a minimalist movement, one can even hear their shadow doing the same, on the tip of their tones, creating a rhythm bouncing like a worn rubber. A layer of chthonian voices and high-pitched whistles overlay this subjugating rhythm that hops around until it starts to gambol about 30 seconds into the 7th minute. Though bouncing in an ascending Berlin School pattern, the rhythm remains meditative in nature under a dense musicality painted with ochre tones as dark as shrill. With menacing shadows, twisted waves and eardrum-splittingly sharp aural embraces, the discovery of ORDER IN THE CHAOS OF LIFE continues with The Silence after Chaos. Keyboard chords create a concerto of electronic chirps whose highs are in symbiosis with the disturbing elements of an opening always so afflicted. A good synth wave with an old organ tone comes to cast a more musical veil, as in the good old days of Klaus Schulze, a few seconds after the 5th minute. A pulsating rhythm structure emerges after the 8th minute. Its movement echoes with its heaviness and resonance, creating a zigzagging and spasmod