|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
review by Mark Morton Saccomani has produced a very strong follow up to his recent collaborative efforts. This solo outing has many original moments and touches, and also keeps alive the vivid soundtrack "tone painting" of Vangelis. It is presented as an outer space travelogue in sound and a listener that closes his or her eyes and focuses on the music, like I did, can indeed experience a sonic voyage taking place in the fascinating world of imagination. "En Depassant la Planete Pluton" opens the set, and presents a lovely theme that is nicely framed and highlighted with good sound creation and attractive percussion, including a touch of the Vangelis "kettledrum" sounds. The piece features unobtrusive and subtle "Berlin" rhythmic sequences, appealing string pads and whirring effect sounds that are panned nicely for interest. "Nimbus Cosmique" continues with expanded harmony and a looser rhythmic feel with quite a few effect sounds. Here, Saccomani is portraying the cosmic wonder of traveling distances through space. This includes copious amounts of pitch modulation and some filter squelching , all tastefully used. Gradually a theme and a rhythmic sequence emerge from this. There is still a great deal of pitch modulation that alternates with searching string patches. As is often the case with Saccomani, the sequence provides an ostinato but sounds original at the same time, no easy feat. The melodic theme manages to sound both sad and deep. "A l'approche d'un trou noir" is an abstract interlude that conveys the feeling of being "between stops" out in transitional space and drawing near a large celestial body of some type. "Nuages de Magellan" begins with a continuation of abstract sounds before a quiet oboe-like melody emerges from the backdrop of a steady-state drone. Occasional swooping sounds add to the effect of an isolated traveler who has come a great distance to observe something strange and wonderful that can be seen nowhere else. "L'infini a ses Limites" changes the mood somewhat by beginning with clipped sequences and static, short, melodic motives with insistent percussion. Percussion is used in other places in the set, but only in a very quiet way until this piece. The drone takes over in the middle of the piece and the mood switches to a drone-based composition with pitch modulation and timbre changes. This longish piece reminds me of what has been called a soundscape and it has a different feel from the other pieces. The piece conveys to me the wordless wondering that must come when contemplating the vastness of space from the traveler's perspective. The set finishes with the brief "Retour vers la Terre", which has a very prominent theme and a symphonic sound and feel. It was very nice to hear a set that managed to sound different and modern, through the combination of many elements, and yet also harkened back to the glory days of Vangelis. Saccomani has again demonstrated his skill at balancing old and original elements. Fans of abstract soundscapes and Vangelis from the late seventies and early eighties would enjoy this set. If this intrigues you, attain this CD. |
|