Le Voyage begins like a Hallmark greeting card and ends with a slow burning raga of enchantment. The pedestrian innocence of the mostly acoustic opening number "Drop In" is inviting. It acts like a sugar coating that coaxes the weary into eating the matrix-revealing blue pill, because this album gets a little weird and trippy. The choice tracks feature in the second half, but in order to get there, The Alps puts together a collage of twelve-string guitar, piano, groovy bass, effects freak outs, self-referntial samples, and field recordings that, when listened to in the prescribed order, come off as a little sloppy. The sample-crazy, synth effect interludes are extremely busy and too long. They were apparently influenced by GRM's musique concrète archive and the Radiophonic Workshop, but without a film from the 1970's to anchor them, they feel unnecessary in the context of all the other gorgeously played pastoral pieces and spartan, guru grooves.
Monday, May 24, 2010
The Alps - Le Voyage
Le Voyage begins like a Hallmark greeting card and ends with a slow burning raga of enchantment. The pedestrian innocence of the mostly acoustic opening number "Drop In" is inviting. It acts like a sugar coating that coaxes the weary into eating the matrix-revealing blue pill, because this album gets a little weird and trippy. The choice tracks feature in the second half, but in order to get there, The Alps puts together a collage of twelve-string guitar, piano, groovy bass, effects freak outs, self-referntial samples, and field recordings that, when listened to in the prescribed order, come off as a little sloppy. The sample-crazy, synth effect interludes are extremely busy and too long. They were apparently influenced by GRM's musique concrète archive and the Radiophonic Workshop, but without a film from the 1970's to anchor them, they feel unnecessary in the context of all the other gorgeously played pastoral pieces and spartan, guru grooves.
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