Artist: Synth Replicants
P: 2023
"Trip Back Los Santos" (5'57) could be located in the TD time frame that goes from "Tangram" (1980), to "Hyperborea" (1983). Modern sequencing, with a real drums simulation even very well achieved, uncomplicated melodies, ethereal textures under a pseudo-digital cloak that photographs that stage to perfection. That seems to be the sound strategy for this album.
Because "Closer to the Sun" (7'20) could be part of "Exit" or "White Eagle" without much effort. Again the "percussions" have been reliably picked up by their electronics. A strong suit for Synth Replicants, any organic-looking rhythm approach. Difficult virtue that not everyone achieves with the required quality. Often relegated to the background. A very original cut with rhythm as the base.
We go back a few years in the career of the Sleepy Tangerine, and "Babushka Dream" (9'06) contains more 70s essences. Background mellotron, traditional Berlin sequencer, and even electric guitar solos, (which I'd bet is a synth!), Emulating Edgar Froese's sunny psychedelics. Extraordinary sound vignette with analogue sandwiches and progressive formwork of the first order. Per Thomhav is well acquainted with this mambo, and reproduces it with optimum skill.
Mysticism is essential to this, and in "In the Name of the Father" (5'33) we have an example of cosmic introspection at the highest level. This synth-replicant is now more Roy Batty than Nexus 6. Approaching the oxygenated French, in its more Schulzian beginnings.
What a formidable architectural perspective the rhythm of "No Getaway" (6'50) offers us. As in the Bauhaus aesthetic movement itself, also native to Berlin, here there is practical and functional minimalism, in sequential conversation. Simple but resounding. Explorer and assimilable at the same time.
And as one of its established principles, "form follows function." I do not rule out Dusseldorf strokes in context. Impressionism is also made wonderful music here in "Colors of the Rainbow" (7'14), and now we almost stay on "Stratosfear" for reference. Like a cosmic Cézanne or Degas, surrounded by synthesizers, the kosmische canvas is here a success in today's creation of synthesis. Never as revivalism, and yes pulsating work in accordance with the present. The great achievement of the Berlin School is its eternal futurism.
I will always say it.
"Into the Night" (6'50) is perfect retro-synth for a series like "Strange Things".
"Memory" (4'00) is a love poem written and performed with perfection
The work of this Danish project deserves much more coverage. It would not be fair, paraphrasing his ancestor, to lose himself "like tears in the rain." Nexus 10.
JJ IGLESIAS
Weight:
0,105
kg per
piece
