Description

Remy - Connected

Reviews

Remy returns to these virtual pages with an offering thematically connected
to his recent Disconnected, in title at least. The music is similarly influenced by Klaus Schulze, circa 1975-78 and fans of Schulze's recordings of that era are almost sure to enjoy this one. Remy composes very ably in this style, and while the stylistic innovations may be few, he is able to use and twist the style to respond to his personal expressions. As far as I can tell, Remy plays all the instruments and/or instrumental lines on this recording, (the featured sounds are synth sounds) and while that is becoming more the norm in this field, listeners should be reminded that it is quite an accomplishment. Moreover, Remy is careful to make sure that the lines he plays are idiomatic - that a bass line, even if it is played on a synth, sounds like a bass line and that drum parts make good sense as drum parts. This facilitates the mode of expression used in this recording tremendously and sets it apart from some of the other recordings of this type. The recording opens with "Ou Sont Les Femmes", a very long, slowly undulating sad, mysterious, minor key track. The primary sounds at the beginning of the piece are any number of whooshes and other gradations of white noise mixed in with a heavily phased string-organ sound playing sparse minor chords with a very slow harmonic rhythm. Gradually a steady but relatively subdued drum pulse is introduced and an interesting quasi-melodic bass line plays. Solo synth tones, sounding eerily like Schulze's trademark solo sounds, float over the ambient haze. The piece is dripping with relaxed and nostalgic expression. The sheer length of the piece induces a drifty trance in the attentive or casual listener. I found the piece very relaxing and evocative. "All Together" begins with a vigorous and rhythmically ambitious "Berlin" sequence built on an eastern sounding scale.This sequence quickly interlocks with some short, supporting motives and the piece begins to bounce along. Remy uses a calm string sound underneath the sequence and a few tasteful effects sounds to propel the piece. Rhythmic accents are also used to keep the listener off balance. Drums are again present but do not dominate. "Ended Traditions" uses a fretless bass sound quite effectively and is the most unique sounding piece of the set. While the Berlin lineage is manifest, the piece also manages to sound new and singular. Although the harmony could be lifted from the first piece, the rhythm is much more
syncopated and stop-and-go rather than rolling or building like the more rhythmically static Berlin style. While this is not entirely successful, lending the piece a bit of a choppy sound that is, to these ears, not-quite-intended, Remy is to be commended for attempting to express things out of the comfort mode. The final piece "Missing Part" is a fun, mid-tempo exploration of fast timbre changes and filter resonance highlights. Some light funkiness is introduced with the cycling groove that develops and the
chords in the background, again based on the relatively un expanded harmony, ably assist this funky mood. Remy is to be applauded for providing listeners with quality music in this style. His understanding of the elements necessary to make a successful piece in this style and his emphasis on evocative expression make this a rewarding listen for Berlin School disciples worldwide.

Mark Morton / Wind And Wire