Description

Remy - This is Not The End

Reviews

Sequential variations on anguishing themes, This is not the End is a daring opus where EM crosses the ambiguous meanders of a progressive contemporary music on crystalline sequences girdled of synth to flavours as apocalyptic as its chorus. This is not the End is a catalyst opus which will undoubtedly animate your evenings of interrogation and anguish.
Return to the Dream opens on an abyssal intro. Frictions of cords from an imaginary cello animate the wanders which float gently in an apocalyptic cosmos. A dark iron and steel environment reigns in this hermetic humming sphere. A world of paranoia that wakes up under the soft tinkling of a crystalline sequence, premise of an attracting hypnotic melody which blinks in the fog. Soft, soft. The movement borrows a dramatic tangent with orchestral arrangements worthy of a nightmarish thriller and its fine synthesized scratches. Atmosphere becomes heavier, marrying the reverberating waves of a threatening synth, opening the door to a final which explodes of sensuality with a beautiful bass line, good percussions and a synth grouser. There's Something In The Air continues in this surrealist environment. Strange sound circles mould an astral nebulosity where galactic choirs and ethereal breaths of phantasmal sirens grow in an atonal suggestive shadowy light, stuffed of clicking and dactylographic percussions. An Arcadian world which sinks in the laminated softness of Because It' S Said and its intro felted of soft percussions and resounding waves which are crushing in the oblivion. Gradually, the tempo is agitating under a fine bass line and nervous frolic metallic sequences. Fusion of atonic and freeze rhythm Because It' S Said accentuates a processional velocity before melting in a powerful chaos where feverish percussions are moulded to a zombiesc spiral sequence, a loud bass full of resonances and its tamed chorus. Exceptional musical theatre which reveals an audacity unique to great contemporary composers.

Those Days presses an ambient mould which wakes up languorously on a kind of ‘’groovy jazz’’ tempo with a synth to caught cold accordion smack. Superbly lustful, with a synth more than musical, Those Days is smoking of an obscure desire before sinking into the nevrotic madness of The Great Escape and its set of rhythms non rhythms on enhance synths. A musical piece at the borders of madness, that could recall Klaus Schulze mad instinct, which evolves in a very musical complexity and which is supported by a solid synth play and great percussions. Delirious EM that we unfortunately hear very seldom.

After these delusions of grandeur, the superb You and I carries out to daydream with its soft introductory sequence which undulates in the obscure corridors of the finale of Return to the Dream and its indolently sensual line. The Day Before we Die takes us back again on this sequence with a more crystalline approach. An intro which is dandleling on a limpid counting minimalism rhyme girdled of a synth to acute semi spectral breaths. A strange soundtrack from a virginal nightmare which takes again its chorus moulding moulded of bewitching breaths which charm under strike typists percussions. A beautiful finale to the disarming prelude of Return to the Dream.

This 7th opus of Remy is a daring one full of musical bounces to sequential similarities which astonish and charm, so much by their unpredictability than their lyric, even poetic, denouement. The kind of opus that is creates too rarely in this asepticized universe of broken down redundancies of inspiration. Great obsessional music.

May 2008. Sylvain Lupari / Guts Of Darkness