If “Lichen Patterns” offers a rather relaxing structure, “Ritual Sequence” raises the level of intensity with more hectic percussions. Percussions which plough heathen moods fed by the groans of Didge, the muffled songs of spectres and those of the flutes with a tint of blowpipe. The structure reminds me extremely Steve Roach, especially with those synth lines floating such as long lassoes without preys to catch, in his quest of the Australian deserts with tones and organic pulsations which are smothered by a dense layer of synth to the very ancestral aromas. “Orison” distances itself from the usual style of Shane Morris with a clearly more tribal approach. One would say a ritual dance of the Middle East with lively percussions and with airs of Armenian flutes; the Duduks. If the percussions play a leading role in “Blood Moon”, the rhythms to which they give birth are not less very peaceful here. So, “Unfolding” is closer of Steve Roach‘s ambient tribal universe than “Ritual Sequence“. In fact both titles are closely bound by the same atmospheres, aboriginal flutes in less. If the percussions are also well fed, they are less strong and let glitter ringings of carillons which throw an aura of incantatory mysticism on the most ambient, the most serene track of “Blood Moon”. I like it! And the sonic shroud is filled with small hearing pleasures which are going to delight those who are gourmand of sounds and tones. “Night Rapture” is the highlight of “Blood Moon”. The intro grows slowly with percussions which trace a laborious ascent. Little by little the pace accentuates its cadence beneath muffled growls, which stretch in long reverberations, and synth lines of which some are escaping and form shadows which float like ethereal songs. It’s dark, heavy and insistent. Like an ambient trance! The subtle crescendo is very wrapping. Between the uncomfortable blackness of the nights of agitation and the hypnosis of the continual upward percussions, “Night Rapture” infiltrates our senses with a merciless will of bewitchment. The ambient stubborn rhythm is always climbing these timeless staircases while that some rich synth lines are erupting, such as slow waves rolling with harmonies always a little muddled up which inject a mix of ethereal and sibylline ambiences. This is incredibly mesmerizing. Our eardrums tremble under the din of the percussions. The wild approach of “Night Rapture” evaporates bit by bit after the 12th minute into some shivers and insect noises, ending so a journey at the end of the ominous and fascinating ambiences of “Blood Moon”; an album in the same lineage as Proof Positive and Spiral Meditations by Steve Roach. A very beautiful album which opens new perspectives to the ambient tribal genre, due to the wealth of its rhythms and its soundscapes to the evolutions as much audacious than the ingenuity behind the multiplicity of the patterns of manual percussions.
Sylvain Lupari (April 26th, 2015)
gutsofdarkness.com & synthsequences.blogspot.ca
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Simply sublime, “Growing into New Territory” offers an array of beatings which sparkle and skip in a very dialectical approach. One would say a race of fragile small-steps which avoid the same traps, while the lines of synth are spreading an ambient soundscape, and so very soothing, which covers a forest half sleepy. “Waiting for the Storm to Pass” reminds me the ambient, organic and shamanic rhythms from the tandem Roach/Metcalf. In spite that the track remains quiet, we feel a threat floating throughout its 13 minutes. ShaneMorris & Mystified may claim to create a prehistoric tone, at times we believe in it firmly, that the spectral approach of a secret society also perspires all through the 60 minutes of “Evolution”. And this even if we dive in the heart of luxuriant aboriginal vibes with “Waiting for the Storm to Pass” and its frame-drums’ tomtoms which make us travel just like being on the wings of a huge insect and flying with the wave-like of synth lines. The breaths of caves and the long drones, all both rather musical, decorate the ambiospherical intro of “Hunting in the Hills”. The fusion weaves a rather serene approach. Other more resonant synth lines are spreading some iridescent curves among which the magnetic singings and the reverberating pads arouse the awakening of the cymbalisation of the wooden cicadas. Hollow voices, which borrow the tones of frame-drums, and shamanic rattlers are quietly driving the serenity of “Hunting in the Hills” towards a more frightening passage, drawing the images that we visualize of a prey at the end of its resources. “The Trials of Evolved Man” seduced just as much with its docile pulsatory rhythm. The movement of the pulsations may be sustained; one would say an ambient techno with these jingles which adorn its parasitic gravity, that it awakens not at all the passivity of the synth lines, rather musical and very soothing I have to specify, which float such as the caresses of the gods on a fauna torn between its peace of mind and the rebellion of its mini-inhabitants. This very beautiful track throws a magnetizing crescendo, plunging the listener into a fascinating morphic state and so looping the loop of a trilogy of which we already regret its final part.
“Evolution” is a surprising album of ambient music which rivets the eater of sounds that we are in a mode of constant listening. A rather unique exploit for an album of ambient music. The soft rhythms, the caresses of synths and their unique electronic dialects, as much as those brilliant acoustic percussions coupled to the multiple quirky tones give a rather unique sonic texture which exceeds even the borders, nevertheless splendidly defined by Steve Roach and his accomplices, of a landscaped and aboriginal music. This is the very beautiful album that offers usShaneMorris & Mystified . One of the best in the genre. Magnetizing, bewitching and simply superb!
Sylvain Lupari (October 8th,2014)