Description
- Surreal Dreams Part I (Science)
- Surreal Dreams Part II (Visions)
- Surreal Dreams Part III (3 Spheres)
- Hydrothermal Springs Part I to III
- The Real 9 11
- Surreal Dreams Part IV (alternate Rules)
- Surreal Dreams Part V (The End)
Melancholic harmonies and mysterious atmospheres and effects
Sylvain Lupari –
Uwe Reckzeh is part of this category of discrete artists who come and go, leaving behind works that make us regret the big gaps of time between each album. Except that sometimes the wait is worth it! Some 3 years after the release of Perfection Mode, Uwe Reckzeh comes out of his mutism to launch another striking album. On solid rhythms and on evolutionary mode as well as with arrangements always very stylized, Surreal Dreams takes again where Perfection Mode had stigmatized its footprints between our ears. Either with a kind of concept album where the phases of electronic rock and Berlin School inspired by the 80’s and 90’s of Tangerine Dream are pouring in with an always melodious approach from the Nordrhein-Westfalen musician. A superb album where the guitar and the synth are the kings of an electronic universe to the size of its possibilities.
The noises come from far away. It looks like a pile of chains breaking the last bones in a hubbub of clamor. A bass pulsation redirects our attention by structuring a bouncy and lively rhythm to which are added percussions which are always as effective as the sequencing patterns in the universe of Uwe Reckzeh. Synth riffs lay down the beginnings of a nascent melodious approach, while other riffs of an electronic guitar reaffirm the Dream influences on the territory of Surreal Dreams. Synth lines make singing these electronic birds whose songs coo on a structure weighed down by guitar riffs always a little more powerful. And behind all these clamours, these initial sounds and these structural elements in place, Surreal Dreams Part I (Science)” takes off in the skin of an electronic rock which takes advantage of the brief moments of hesitation between the phases of its development to oppose good solos of a six-strings vociferating of heavy and weighty riffs to sequences disguised as bells and of which the tinklings of ice disarm as much as enchant. With this tendency to constantly adding elements of surprises in his structures