Description
- O N D E AT H 4 : 4 2
- I M M I T T E N D I 7 : 1 2
- E R R O R – 3 7 : 4 3
- R U B I C O N E M 7 : 0 7
- S P E R O 7 : 2 4
- U N C E R TA I N T Y 6 : 3 8
- L A S T D AY ( S A C R A M E N T ) 7 : 5 1
- M A R E T R A N Q U I L L I TAT I S 6 : 3 3
- A N E N D I N G 1 : 3 0
Sylvain Lupari / gutsofdarkness.com & synthsequences.blogspot.ca –
Quite a story that the one of Centillion! A first version was presented in a downloadable format around 2010 under the feather of Walter Rothe and Friends and under the title of Centillion 303. This version included 2 CD; one with 10 well separated tracks and another one (All in One Suite) which includes the original master with a 10 tracks suite of 56 minutes. And after? Silence on the radar until the circle of EM hears about a new edition of Centillion 303, which is mainly a soundtrack about an unsuccessful space journey to a distant star system, which will see the light of day on the Dutch label Groove Unlimited. Except that this time the album will be named Centillion and except that Pillion, made up of Walter Christian Rothe and Guy Drieghe, will be the author. This quite new edition, freshly remodelled by Ron Boots, brings these nuances and gives definitively more relief by purifying some passages slightly too long in their ambient moods, so giving a vision more livened up compared with the original work (compare Last Day to Fire and Water, you will understand) which preserves however all its theatrical cachet. Apart for valid all, Centillion offers a brand new track named Uncertainty. There is a small polemic around this work of which Walter Rothe claims the paternity, having signed mostly all the tracks. According to him, Centillion is more an album signed by Walter Rothe and Friends than by Pillion. But no matter. The result proves everything and I can assure you that Centillion is at the greatness of the imagination and the talent of Walter Christian Rothe to create dark and very inspiring works. And when the whole is tied up by Ron Boots, we are sure to have some very pleasant 57 minutes. And it is exactly the case!
On Death” begins Centillion with an approach imprinted by mystery. A vocoder calls out to our attention with a disturbing cybernetic story where bit by bit the ambiences are tinted of supernatural with tears of violins which float as sighs ignored in heavy threatening hummings. A pulsation muffles the first half. The knocks awaken some mocking bats which flitter on the shadows of the threatening sighs of violins and around a cardiac pulse of which the subtle arrhythmic variances are encircled of a somber Gothic mist. And a long groan switches off the ambiences of “On Death” and lead to “Immittende” which assails our ears with a long humming. A vibration which bursts such as a shrill metal siren and which hides a superb rhythm animated by jumping ions. Ions with warm tones which run and run under the cracklings of elytra of steel and these laments of violin which just don’t stop charming our hearing since “On Death”. The rhythmic structure of “Immittende” splits its elements