Robert Schroeder – Paradise

1 review for Robert Schroeder – Paradise

1. 

   Sylvain Lupari / gutsofdarkness.com & synth&sequences.com – 2022-11-22

   Robert Schroeder is re-editing his catalogue for the biggest pleasure of his fans from the very beginning, but also for those who discovered the music of Robert Schroeder with his come-back in 2005 with Brainchips. Fifth and last album of Schroeder on the label, ‘Paradise’ follows the disconcerting tangent that the German synthesist has establishes with the publication of ‘Harmonic Ascendant’, which was followed by a semi conceptual album in Floating Music. Thus after magnificent cosmic and poetic ‘Galaxy Cygnus-A’, Robert Schroeder goes with another semi conceptual album in ‘Paradise’. The side A of ‘Paradise’ is simply superb and is in the same lineage as ‘Galaxy Cygnus-A’ and side A of ‘Harmonic Ascendant’ with an extremely poetic and musical approach, followed by side B which presents a diverse variety, as well as the very first commercial success of Schroeder with synth-pop ‘Skywalker’.

   The conceptual part of ‘Paradise’ begins with the stunning ‘In Memory of Paradise’ and ends with ‘Future Memories’. Its with the word, quite hardly audible, ‘Paradise’ that begins the introduction of ‘In Memory of Paradise’. This word rolls in loops, an audacious sampling mode for this era, reproducing an effect of breathlessness on soft synth riffs and layers with noises of an analog fauna unique to Schroeders works. Riffs of synth follow to shape a soft ascending cadence with a sequence to slightly metallic resonances and a play of keyboard from which keys grope around as cat steps. The juxtaposition of these chords to the resonant sequential movement results in a delicate melody which follows a tangent at once innocent and dramatic with graver synth impetus, while an acoustic guitar exhilarates the tempo of its weakened notes. ‘In Memory of Paradise’ pursues its hypnotic and minimalism evolution through noises of a slightly stocked highway. Even if the beat is not quite similar, its hard avoiding any paradox with the ‘Autobahn’ de Kraftwerk, but with the more dreamlike approach even if always so hypnotic. Subtly we fall on ‘Moments’ and its suave acoustic guitar which ties its notes to glass chords and a synth with delicate shooting solos. Solos which abound and encircle ‘Moments’ of superb twisted momentums whereas the tempo increases its pace by more jerky riffs. Riffs that are stowing to glasses tinkling whereas ‘Moments’ is flooded of a feverish synth approach with solos and mellotron breezes on the hypnotic and hopping rhythm which seduces since the first steps of ‘In Memory of Paradise’. ‘Deep Dream’ moderates emotions with a rhythmic as much hesitating which serves as beginnings since the opening of ‘Paradise’ with a widely staggering tempo which zigzags in an irizated sound fauna where soft synth layers lull to sleep a movement clutched by notes of a wandering acoustic guitar and so short-lived as ‘Balance’, before that ‘Future Memories’ redirects the rhythm towards its i ntroductory minimalist shape and these words of its intro which are repeating in loops.A vacillating synth wave opens the door to ‘SkyWalker’ fluid and steady tempo. Percussions and repetitive sequences hammer a flexible, minimalist and catchy tempo which is encircled by curt synth pads of which the riffs effect is mixing skilfully to light resonant oscillations frontlines to an amazing electronic guitar. Very synth-pop, ‘SkyWalker’ is the first commercial success of Schroeder and sounds very much as Beverly Hills Cop or Miami Vice soundtracks. Well, it was the 80s! ‘Time Machine’ takes us back into the suave and slow rhythms of side A with a soft minimalist and hypnotic tempo. A tempo which pulses under the weight of the heavy and resonant sequences while the synth frees brief chords before shaping wave-like solos, which sing like guitar solos, on a fine metallic mist and a tempo which goes by growing slightly the pace. With its plaintive and caustic synth layers, Timeless soaks into a strange universe where time is frozen. Fine notes of acoustic guitars roam into cor ridors filled of embittered mermaids singings of which hootings float as metallic threats in a wood eroded and devastated by rains and winds. A dark and iridescent track, ‘Timeless’ will remain quite representative of the very particular character whom is Robert Schroeder. This new edition of ‘Paradise’ offers a bonus track and its a ‘SkyWalker’ revamped by of furious riffs and solos of guitars which leads to Paradise conclusion. Wilder, more musical and just as much rhythmic, this version exploits a little more the Berlin School approach than synth-pop. Although the line remains very thin between both. I like, I prefer!

   ‘Paradise’ shows Robert Schroeder’s great versatility, both at the level of styles and the mastery of equipments that he conceives. His synths and keyboards let hear a mixture of very eclectic tones with a strange passion for guitars of which the fusion with those of Guenther Beckers is superbly surprising. ‘Paradise’ is a nice incursion in an ambivalent musical universe where emotions sail on the back of rhythms and atmospheres as honeyed as bewitching. To me, its an album as much beautiful as ‘Harmonic Ascendant’ and almost perfect as ‘Galaxy Cygnus-A’. As for ‘SkyWalker’, which is not that bad far from it, its synth-pop as in the 80s and a continuation of rhythms already touch on Floating Music. Its also a proof that Schroeder has always kept some room a more techno, synth-pop EM. A kind that he will explore deeper in years to come. In the meantime, those who are still suspended to the musical of ‘Harmonic Ascendant’ and ‘Galaxy A Cygnus-A’, you shouldnt let ‘Paradise’ passed by.

   2011. Sylvain Lupari / gutsofdarkness.com & synth&sequences.com