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BERLIN (2011)

by Nord

/
1.
Overture 09:21
2.
Berlin I 08:03
3.
Berlin II 08:55
4.
Berlin III 14:14
5.
Berlin IV 08:50
6.
Berlin V 11:44
7.
Berlin VI 14:06
8.

about

About this album in synthsequences.blogspot.com

"We jump up! And from the first steps our fingers cannot follow the beat of "Overture". So, imagine feet! It was with My Christmas Collection that I heard a segment of “BERLIN”, that is with the convincing and catchy rhythm of "Berlin III". "Overture" is from the same mold. Bass sequences, others more limpid and electronic percussion are all a hit! Arpeggios in glass and melodious chords get grafted to this hammering of the sequencer which jumps madly on the same spot but with such ferocity that the adjective velocity appears timid. The synth throws banks of fog and these sharp and pointed solos which are the point of reference of Nord's electronic hymns. "Overture" sets the tone to an album whose reference to the Berlin School extends more on its evolution than the rhythms discovered with "Berlin III" and this "Overture". We move from pure tempo forging by a creative and strong sequencer to moments which require a greater open mind, especially with "Berlin VI". But there are several little musical treats before you get there. The solos are lascivious and fiercely melodious in the semi-slow rhythm of "Berlin I". The organicosmic vision of interplanetary noises and these solos add a very Jean-Michel Jarre touch to this track whose strident and spectral harmonies give chills in the back. The rhythm evolves to reach a good velocity of a rock which is strongly attracted by the vibes of dance music with percussions which frolic and slam like a swarm of metallic wings in a factory of EM which does very Jarre. But it resists to this call and dominates in a good electronic rock! And when it's over, "Berlin II" falls into our ears. And we wonder, our ears too, whether there is not a mistake because we have the impression of re-hearing "Berlin I". And that's comprehensible! The pace is almost similar, and it will evolve to embrace a decidedly more dance approach. A slight fragrance of Arabian cosmic and harmonic pads, which sound like Moonbooter, are the first noticeable differences. There are more effects and more orchestral layers which throw artificial harmonies traveling on violin wings, I hear Software here, in a more dance-like approach. This is a good title with harmonies that a synth screws still very adroitly into our ears. We know "Berlin III" (Otherwise read my review of My Christmas Collection)!
So, let's jump to "Berlin IV" and its breaths in saccade which adorn its opening. Drawing a rhythm in the form of jerky fog breezes, the introduction takes two minutes to take off. And when it's done, a barrage of percussion and tssiit-tssiit added to futuristic Funky-like sequences attack our eardrums with a good rhythmic velocity which serves well the layers, lines and the harmonic solos of a synth which is also very generous on sound effects. Fine variances distort a rhythmic minimalist approach which breathes comfortably in Jarre's cosmic fauna. As we go forward the world of “BERLIN” evolves in a more audacious form. If the first 4 tracks invite us into the pure Berlin School animated by sequences whose variable speeds always breathe the magnetisms of the Berliner model, "Berlin IV" begins the transition between energic Berlin School, slowed down as the titles get unfold, and a cosmic dance music. Thus, what "Berlin V" is made of? Of a beat which is flowing like a semi-lascivious dance with strident solos melting into pleasant electronic harmonies. Loopy oscillations weave a melodious pattern that quietly makes its way between the ears while the rhythm is carved of jerky spasms which dance pretty well with the oscillations. Here, as everywhere in “BERLIN”, the spatial effects of French cosmic rock adorn these carousels, rolling with always catchy rhythms even if the speeds of the structures vary a lot, whereas the synths blow many influences of Klaus Schulze in their solos. Speaking of Schulze, the spheroidal structure of "Berlin VI" fits very well with his style of the 85-90 years. An appealing arpeggio ritornello, whose axis goes up and down in a vision of romance or of a lunar lullaby, is blooming from an introduction all in multicoloured sounds. Electronic effects, cosmic noises, Kraftwerk's oscillator gurgling, and orchestral layers irradiated of ether and opium particles are among the sound samples which blend into a very progressive decor and make the moods of "Berlin VI" a bit difficult to tame. The whole thing flirts more with sound experiments than the incisive melody which goes so deep between the ears. The synth tones embrace several psychedelic influences, including those of Conrad Schnitzler, and are at times the equivalent of a concerto for voices of eunuchs sick from an interplanetary virus. Let say it's a title that may scratch some ears! My beautiful Lise gave me a couple of questioning looks. "My Silent Agony" finishes this “BERLIN” with a first seraphic half. Dense and enveloping layers of anesthetic fog and Babylonian orchestrations play with impulses of intensity up until the rhythm hops up and down in its multiple oscillations and jolts which will ended without really having progressed.
Nearly 90 minutes of pure Berlin School for aficionados, we cannot say that Sztakics István Attila aims next to his target with a “BERLIN” whose first 60 minutes seduce those who learned to tame the style of the 75's. There is a slack after "Berlin IV", immersing the listener in a world that is not his and yet which is not that far. But a little open mind and you will discover a music that zeroes all possible horizons of the best of EM...which is the good old Berlin School!
Sylvain Lupari (February 24th, 2019)"

credits

released March 8, 2011

Music composed, arranged, performed and recorded by Sztakics István Attila.

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about

Nord Sfântu Gheorghe, Romania

Nord is a musician on synthesizers, sequencers and samplers, midi keyboards & theremin.
Electronic music composer

Rock Bands:
Tempest between 1991 - 1993,
Semaphore between 1993 - present.
Mercedes Band 2006 - 2014.

Solo electronic music projects
Roland N project 1994-1995
Nord project 2000 - present

Colaborations: Alba Ecstasy & Nord

Winer of the 11th place of SCHALLWELLE AWARD 2018.
... more

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