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  • Writer's pictureSylvain Lupari

VANDERSON: Visions (2011)

Updated: Oct 10, 2020

Visions is a magnificent journey into times when the vintage Berlin School had this capacity to seduce with its soft minimalist sequences

1 Vision Part I 10:54

2 Powerminers 8:18

3 Vision Part II 12:43

4 Vision Part III 13:30

(CD 45:35) (V.F.)

(Berlin School)

Vanderson is among this invasion of Poland musicians who enriched the EM scene to the delight of our ears. Influenced by the Berlin School, both vintage and new, Maciej Wierzchowski composes music that constantly oscillates between these two universes, sometimes caressing the cosmic meanders and its metallic and heterogeneous tones established by Jean-Michel Jarre, at the very least on VISIONS, in accordance with what would be quite appropriate to call Poland School today. VISIONS is his 7th album and his very first on the label of his native land, Generator pl. An album that will certainly please fans of good old Berlin School.

Bells through the ages echo among fine cosmic streaks and the winds are blowing to disperse cosmic silence. Soft sequences are drumming. Their delicate and feverish palpitations draw memories of a distant musical world such as created by Klaus Schulze's art of modulating rhythms of silk. A celestial flute covers this fragile poetic tempo which quietly heads towards an atmospheric passage where solitary chords wander among the chants of crickets and of the threatening reverberations. We are a little after the 6th minute and Vision Part I escapes with sequences which skip with more ardor. Sequences with crisscrossed strikes intertwine with their doubles, shaping those nervous, spasmodic, and hypnotic rhythms that made the delights of the vintage Berlin School of the vintage years that Maciej Wierzchowski sprinkles with copious synth solos and heterogeneous electronic sounds. This rhythm, both gentle and nervous, feeds the skeleton of Powerminers which begins with drops of water flowing from the walls of a cave. Slow synth waves cast in violin strata sway there, awaiting these sequences with a chaotic and repetitive flow which coalesces with percussions while the exhilarating minimalist rhythm of Powerminers flows under a cloud of cosmic tones and soft flutes which sing under orchestral arrangements. Very musical, Powerminers ends its lyrical journey in the rattling of an underground station and its interlocking trains, a bit like in the universe of Jean-Michel Jarre in his Magnetic Fields.

These train tones continue beyond Vision Part II whose rhythm is drummed by sequences with arrhythmic pulses which spawn in the shade of discrete reverberations. Clouds of mist cover this rhythm which subtly accelerates the pace, while cymbals and percussions frame a semi frenetic ascent which is tied to percussions with the sounds of cotton wool anvils to burst in a heavy and boosted ambience. A very electronic atmosphere with the scents of Tangerine Dream and Air Sculpture with furious synth solos. The intro of Vision Part III reminds me of Adelbert Von Deyen's essays on the very good Atmospheres in 1980. The ambiences are both poetic and cosmic with this clouds of space dusts which surround warm lyrical synth winds. It's a superb cosmic Berlin School of the vintage years with all this panoply of analog electronic sounds which are entangled in a perfect atmospheric symbiosis. We feel a life inside these organic movements which implode in a dreamlike slowness, waiting for the smallest space of freedom to explode with a progressive rhythm. And the opening occurs a little before the 5th minute with sequences which alternate in perfect symmetry, drawing a hobbling rhythm on cyclic and intertwined chords which waddle following the movement of a more harmonious synth line. This hypnotic rhythm set with chimes and reverberations clings to superb solos which embrace and swirl on a minimalist tangent a bit evolutionary.

I loved this Vanderson's VISIONS. It's a magnificent return to the time when the vintage Berlin School had this capacity to seduce with its soft minimalist sequences which fed long hypnotic movements where the changes in the structures were as noticeable as a blink of an eyelash. Evolutionary rhythms which served as the basis for long and languid synth solos or musical canvas where the imagination rocked our dreams and transcended our fantasies. It's very good and too short! And so, it makes me want to explore the world of Vanderson.

Sylvain Lupari (February 28th, 2012) *****

Available at Generator pl

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