1 Nineda 15:16
2 Ninaug 16:41
3 Nisotyc 18:59
4 Nimyht 14:38
SynGate | CD-r TI03 (CD-r 65:35) ****
(Minimalist New Berlin School style)
A line of sequences which swirls weakly make sparkle its keys which mumble into an electronic language and staggers in a figure of a bit imperfect spherical rhythm... but splendidly bewitching. "Nineda" continues where The Art of Decay, from A Scent of Jasmin (VoltageSessionII), had stopped. Electronic chirpings are of use as main structure to an unstable rhythm which ennobles its staggering approach of a good line of a crawling bass and with sober electronic percussions. Brilliant percussions by the way which stigmatize the approach of "Nineda" in a kind of down-tempo where everything around us spins with the grace of the drunkenness. Faithful to their signature of a very minimalist EM, Silvie von Tiefengrund and Mick von Tiefengrund still find a way to seduce with “The Code” where four long structures, just like in the first two albums of E-Tiefengrund, decorated of those same fineries manage to magnetize our attention. And not just a little! "Nineda" opens brightly this album and leads us into a cosmic Software territory, a little more progressive I would say, with a rhythm molded in an upward spiral where the language of the organic sequences spreads its 8 chords in a spicy psychedelic fauna filled of chirping and very electronic tones as well as of solos from a synth which sings as much as it talks. The main strength of the structure lies in its attractive play of percussions which scatters its strikes in the very rich tones with a judicious random vision. The effect gives a kind of Kraftwerk softened by a dense cloud of Hashish. Simple and damn effective. We would like that that lasts longer.
Well. It seems that there is a real code to be deciphered inside those four long tortuous sonic rivers which segment the 65 minutes of this last opus from E-Tiefengrund. I didn't get through it but an attentive listening would let suggest that "Ninaug" is "Nineda" but played speeded-up. If the percussions are alike there, the organic language and the synth solos are clearly more aggressive. And the 2nd part is visibly more audacious with a jerky approach, affecting thus a first rather vectorial sonic phase which gives a more complex, even a more psychedelic size, to "Ninaug". In particular with the addition of a crowd of electronic words and of long, tortuous and juicy synth solos. Hypnotic, "Nisotyc" proposes a movement of 8 crystal clear,and a bit resonant, sequences which dips the end of its rhythm structure on the surface of an ice-cold pond. The movement is delicate. It skips with a good swiftness under the bites of a synth, which scatter its threatening gurglings in the braids of good airy solos, until some good strikes of percussions get it out of this lethargic aspect. A good line of bass supports the bludgeoning of the percussions, giving a slyly shadow to a rhythm always very serial which spreads now a slightly stroboscopic shape. And this is doubtless the beauty of those four structures of “The Code”; the passive evolution. Whether it's in the play of the percussions, here it's the bass line which mumble the heavy and resounding rhythm, or a gap in the movement of sequences, the music of “The Code” is always in a evolutionary mode, even if sometimes everything is so similar. As this sneaky walks from "Nisotyc" which feeds on that of "Ninaug". If the resemblance can seem tangible, there are just enough nuances to make us doubt. Here, it's the synth solos which add a different tint. In this universe where everything is traced in the similarity, "Nimyht" distances itself by its very Neu! approach. We even hear some kinds of guitar riffs chewing a fluid movement where a series of sequences collide and clink in a figure of rhythm which dislocates itself with fine jerks. The percussions solidify this very Teutonic approach that synth pads is flavoring of an envelope as much dramatic, at some places, as ethereal. As in the four structures of “The Code”, the minimalist approaches are constantly adorned with changes in steps, here it's rather the chain of riffs, or the organic languages of the synths (if not the soloing), or still in the plump chirping of synth which here are transformed into heavy threatening oscillations. The finale exploits a very electronic scission, one would say a sonic storm, which will make the walls of our neighbors tremble. So take notice...
Four long repetitive structures molded on movements of four sequenced steps, or two series of four intimately bound, which skip, walk and roam in a universe of sounds as much magnetizing that a painting of colorful sound volutes of synchronized spots; “The Code”, offers enough subtleties to avoid the traps of the redundancy of the minimalist works. And like in Voltage Sessions and A Scent of Jasmin (VoltageSessionII), the play of the percussions and the insertion of one sequence isolated in the movements of rhythm stimulate the interest regarding a Teutonic work which lulls itself of the influences of Kraftwerk, Neu! and Software. And if the rhythms still remain the heart of the charms of the duet E-Tiefengrund, we cannot however ignore his progression, which is translated here by a little more boldness, where Silvie von Tiefengrund and Mick von Tiefengrund manage to introduce a parallel universe very near the golden years of the psychedelic movement into structures of rhythms closer to the contemporary years of the New Berlin School. The fusion of both antipodes becomes then an inexplicable elegance to our ears.
Sylvain Lupari (May 3rd, 2015)
You will find this album on the SynGate web shop here
You will find this album on the SynGate web shop here