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  • Noryani | Southeast 225

    Noryani | Southeast 225

    Bestseller Good price
    It's the second time that the Noryani project releases its compositions on the Generator.pl label. The music presented here sounds very fresh - it is a unique combination of traditional electronica, melodious chill-out and polidimensional ambience with a slight touch of film- and classical music to it. Southeast 225 reminds me of a differentiated photo-album full of well-tempered, mysterious electronic postcards. The opening track is a nostalgic puzzle of moods a'la Vangelis' Antarctica and Isan's Meet Next Life: a really good mixture of traditional and daring electronica. The second piece of music enables us to imagine a collaboration between Daniel Pemberton and Edgar Froese; still let's not forget that it's just a description of the mood of a track which was composed and produced by some other artist, not that famous yet, but apparently as talented as the two just mentioned.
    The third track is my favourite one so far - it's impossible not to be fond of this enthralling mix of haunting drums at mid-pace with hypnotic chords! Shall I give this association a clear shape and name two artists, who could have conceived such a mood had they wanted to work together? I say: Biosphere and Fever Ray! But once more, it's Noryani who's responsible for this fascinating mood. The fourth track reminds me of Joseph Turner's sea-paintings, almost invisible through the delicate haze of green, yellowish or azure-blue accents. This piece of music is truly magical, it allows great melancholy and high hopes to intermingle.
    The fifth composition is Noryani's idea of a synthesis between rhythm-oriented sequential electronica and the sombre face of el-pop. It's exactly how the dream of Kraftwerk's showroom dummies could sound. The sixth impression has much in common with newer Mike Oldfield's music, especially with the nostalgic soundscapes from the double album Light / Shade - mostly because of this very specifically sounding piano, I think. There is also this very vastness and association freedom accompanying the music - sultry music, seductive music. There is so much room under this coffee-coloured sky and all its piano-sound stars...
    The seventh track is once more an impressing mixture of well sounding drums as if taken from some odd, long-forgotten Eskimo fairytale and vibrating, wintermood electronics with a slight touch of specific nostalgia to it. Both tracks #8 and #9 could function just great as film soundtracks. There is enough space here to have any association and any colour we like. It's like seeing the music itself, we can see its movements, we do not only hear all these harmonic soundscapes, we can see and touch them. It’s this very kind of music one should enjoy in complete darkness, without being interrupted. The tenth tale is about the struggle between two different moods - doubt and bravery, melancholy and open-mindedness, the beauty of the piano and the harshness of the other instruments.
    The final impression is a beautiful superior comment to a forgotten celtic legend, a soundscape illustrating blackened drawings suddenly found in recurring green waves of grass at dawn. How can one build such fantastic electronic castles? Even after hours of repeated listening we won't be able to answer that question... but we will be able to dream new electronic dreams hour for hour - it's worth it!

    Igor Wróblewski

    Availability: Goods in stock | product: 1CD

    7,64 EUR
  • Noryani | Northeast 117

    Noryani | Northeast 117

    Bestseller Good price
    A little gift from Poland,


    doesn't really consider himself as an artist but rather as a music creator. We must listen to it before agreeing to such a statement! Because the Polish synthesist, or sound sculptor, has a superb talent to create a melodious music which dives into rhythmic storms as dynamic as varied and unexpected. Northeast 117 is his first album. A nice one carefully thought through which presents 9 tracks all so melodious one from the others which soak into cadences and sequences in continual permutations. Suave, synths are vaporous with nice orchestrations which are not without reminding the silky angelic world of Vangelis more exactly in the periods of Direct to Voices, while passing by Blade Runner.
    A fine sequential carousel with sonority of a limpid circular harp opens the first measures of Destinations-Northeast. A synth puts down light pads of mist whereas the carousel waves with more insistence. Some percussions to hybrid tones frame the pace which beats beneath arrhythmic pulsations, wrapped by suave synth solos with a scent of saxophone. The rhythm slightly more accentuated and a more fed structure, Destinations-Northeast evolves towards a sequential whirlwind where notes of a quixotic harp sway on a pounding rhythm and synths to symphonic breezes. After a noisy metallic click Monumentos (El Primer Círculo) offers a soft movement of melodious synth which multiplies its harmonious layers such as a


    soundtrack. The movement is smooth and bended on a fine sequence which softly waves, dragging Monumentos (El Primer Círculo) towards a very nice synth lament. It's a very nice track where the hair skin raises quite as the spine so much the resemblance with


    is striking, in particular with Monumentos (El Segundo Círculo) and its dramatic structure to Middle East fragrances fed by beautiful orchestral arrangements, good beatings of symphonic percussions and synth filled with suave stratums and dark choruses. Aroma de las Naranjas pursues this musical quest very near


    soils with a heavy and atonal track which spins of its heavy metallic synth stratums. If the first phase mixes choirs synths layers to reverberating curves, the second phase livens up of a fine line of percussion which skips nervously, but subtly, beneath a symphonic synth duped of heavy rippling stratums. The tempo becomes more precise at the end of the road with keyboards and piano keys which dance on a more lively structure where hoarse metallic breezes are fitting on a slightly syncopated sequence.
    Canela is another beautiful track that shows all the sound work created by


    on Northeast 117. A track which shows several unexpected developments and which subjugates by the beauty of its approach a bit jazzy. Movements of rail trains unfasten the intro. They stop there, where a sulphurous synth to saxophone solos glean on a rhythm which settles down. Sensual, Canela opens a hybrid sequential movement where sequenced chords pulse and are subdivided into balanced chords and others which take the shape of industrial jingles that we heard almost everywhere on Northeast 117. Subtly the tempo deviates towards a tribal approach. But it's a short detour before it takes back its cruising speed with a surprising hybrid sequential movement which charms beneath the breezes of a wandering saxophone. Caramelo moves on with a short ambient intro fed by a multitude of eclectic tones. Percussions fall and mould a jerky rhythm that a good line of bass embellishes with its hopping notes. Synths are always as vaporous as harmonious and sing on a rhythmic structure struck by good percussions with anvil sounds and encircled by a light syncopated movement. New from far Away is a strange ballad. Strange because beautiful with its tearful synth which draws an approach of a solitary cowboy and by those percussions which tumble to mould an indefinite rhythm that winces more than it moves. It's a nice track that, like most of the tracks on Northeast 117, suffers of a kind of musical bipolarity because it always eventually bursts of a still rhythm on a soft fluty synth. Solid State (Interpolar) is a blend of techno and very energetic free-jazz with its pulsating percussions and its warmth synth lines. It's a real knocker! Re-Set encloses this first opus of


    with a superb melodious approach hunted and torpedoed by a solid syncopated rhythm. Delicate notes of an acoustic guitar are pinched with firmness and plot a soft melancholy which drags its sadness on a mellotron cloud. Threatening reverberations break this ethereal melodious combination, opening the door to percussions which strike shyly the pace on a finely jerky sequential line. Quietly Re-Set dresses itself with a range of composite tones, before biting the rhythm on a jerked sequence which explodes in a fiery movement of a very schizophonic techno. It is the proof by nine that Northeast 117 is feeding on unpredictable rhythms and musical styles more than varied on structures initially very melodious. Here is a nice album of a beautiful musicality that one listens to as we breathe the freshness of the wind and where


    is as well enigmatic as very promising.

    Sylvain Lupari - gutsofdarkness.com & synth&sequences.com

    We take a sequential trip as soon as the first piece begins. As far as famous synthesizer artists are concerned, there come



    Paul Nagle

    to one's mind - here it is, a lonely snowy park, somewhere far away car- and neon-lights are shimmering, and this very place lives a life of its own, caught with a hidden synthesizer-oriented camera... The second piece is quite rapturous, optimistic; such mid-tempo pace and "sunrainy" melodies are normally associated with musicians collaborating with the Neu Harmony label.
    The shape of the third piece is marked by silence and pauses as well as by lurking sequential passages and some catchy tunes a'la


    (let's pay attention to the arrangements - doesn't it all sound a bit as if it was Blade Runner's twin?... The fourth track is based on penetrative dark beams, whereby a kettle full of black ambient mass is boiling. This would be an ingenious intro, and behold, it turns out to be a whole piece of music! Apart from that, there appear some nice bassline sighs in the background - until now it's my favourite piece of the set.
    Track five... Long shadowy sounds flow through space a bit as if it was some early


    record, and the main melody is here the jewel in the crown - a gramophone recollection, a leaf found near the puddle in the park whose specific form reminds us of something nice, warm and long forgotten. Such is the atmosphere of this piece of music, yet another one among my favourites. The sweepy percussion line could also be a work by


    , another master of nostalgia with a bit of humor to it. The sixth piece illustrates the question "What is time?" quite well. There they go, sombre and melancholic chords, accompanied by some murky background-sounds and an elegant trance percussion line. This one is a very nice melange of elpop and chilly electro in a navyblue-silvery organic mood. Track seven brings some windy keyboards, while an electronic sandstorm is approaching. An interesting way to serve electronic romanticism and a good deal of suspense. In the eighth composition a catchy sequential "riff" appears, reminding me of the atmosphere of non-hit tracks from Peter Gabriel's So. Here we have nice "singing" drum patterns and a pleasant recurring melody. The sequencer joins in and, after two minutes from the start, a trance beat-line. Now there is pretty much going on at all levels, static keyboard soundscapes get mixed nicely with percussive dynamics. At dawn we take a look through the window and see all the buildings and cars as if in a deformed negative photo - as if it were the same as usual, and still, what an enthralling surprise! Track nine is the final word. Soft guitar sounds as if from some other dimension, wax dawn mantra; through the window we catch a glimpse of the snowy park from the opening track. The street lamps fade out, night turns into bent cold dawn, we cannot be sure if it is a black garbage bag or a raven preparing to fly away, there, behind the bench, in this gloomy aura... Such a beautiful piece of music to wake up with, an introduction to yet another snowy, frosty day. A track I could compare this one with is Thomas P. Heckmann's fantastic Astral Chains. Strongly recommended.

    Igor Wróblewski

    Availability: Goods in stock | product: 1CD

    7,64 EUR