Composed, performed, and produced by Jim Combs
Synthesizers, keyboards, and programmed percussion by Jim Combs with
Tracks 1, 2, 4, 7, 8, & 9 Brian Good on soprano saxophone
Tracks 2, 7, & 9 Paul Vnuk, Jr. on hand percussion, keyboard, and voice
Tracks 2 & 9 Tony Gerber on EWI
Track 2 Christian Birk on synthesizer
Cover painting Spirit of the Lake by Charles Keiger, used by kind permission of the artist http://charleskeiger.blogspot.com
Awards: Qualified for 2013 Zone Music Reporter Best Electronic Album and Best World Album.
Zone Music Reporter Top 100 Radio Airplay – #58 for 2013, #73 in December 2013 , #64 for October 2013, #35 for September 2013, #24 for August 2013, #22 for July 2013, #15 for June 2013, and #17 debut for May 2013.
Airplay
Amerisynthecana
KSBR 88.5FM The Morning Breeze/Late Night Lounge shows in Black Hawk, CO/Mission Viejo, CA played “Contemplation of One’s Self in the World” on September 22, 2024, July 7, 2024, June 30, 2024, June 2, 2024, May 26, 2024, March 17, 2024 and June 12, 2022, “August Rain, Were Those Tears” on August 16, 2020 and August 1, 2020, “Contemplation of One’s Self in the World” on June 7, 2020, “Android Cat Sleeps in the Sun” on June 6, 2020, “Android Cat Sleeps in the Sun” on March 29, 2020, “Contemplating One’s Place in the World” on May 19, 2019, “To Sleep, To Dream” on March 2, 2019, “Contemplation of One’s Place in the World” on February 3, 2019, September 16, 2017, August 12, 2017 and August 5, 2017, “Contemplation of One’s Place in the World” on July 8, 2017, “Contemplation of One’s Place in the World” on April 16, 2017, April 9, 2017, March 12, 2017, February 19, 2017, and February 12, 2017, “Amerisynthecana” on February 5, 2017 and January 28, 2017, “Contemplation of One’s Place in the World” on January 21, 2017, January 7, 2017, December 4, 2016, May 22, 2016, May 15, 2016, April 3, 2016, February 21, 2016, September 27, 2015, September 6, 2015, August 8, 2015, August 2, 2015, March 1, 2015, February 28, 2015, February 15, 2015, January 18, 2015, January 10, 2015, October 26, 2014, October 19, 2014, October 18, 2014, October 5, 2014, September 14, 2014, “To Sleep, To Dream” on August 9, 2014, “Contemplation of One’s Place in the World” on July 6, 2014, Contemplation of One’s Place in the World” on June 28, 2014, June 14, 2014, and June 1, 2014, “Amerisynthecana” on June 1, 2014, “Contemplation of One’s Place in the World” on May 31, 2014, May 24, 2014, “Amerisynthecana” and “Contemplation of One’s Place in the World” on Aprl 6, 2014, “Amerisynthecana” on March 29, 2014, “Contemplation of One’s Place in the World” on March 22, “Contemplation of One’s Place in the World” on March 9, 2014, “Amerisynthecana” and “Contemplation of One’s Place in the World” on March 2, 2014, “Contemplation of One’s Place in the World” and “Amerisynthecana” on February 23, 2014, February 15, 2014, February 8, 2014, February 1, 2014, January 19, 2014, “Americysnthecana” and “Android Cat Sleeps in the Sun” on January 12, 2014, “Contemplation of One’s Place in the World” on January 11, January 4 and January 5, 2014, “To Sleep, To Dream” on December 29, 2013, “Contemplation of One’s Place in the World” on December 29, 2013, December 15, 2013, November 24, 2013, November 3, 2013, October 27, 2013 & October 19, 2013, “Floating” on October 6, 2013, “Amerisynthecana” on August 17, 2013, “Contemplation of One’s Place in the World” on August 4, 2013, “Contemplation of One’s Place in the World” on July 28 & 27, 2013, “Contemplation of One’s Place in the World” on July 21, 2013, “Amerisynthecana” on July 14, 2013, “Warm Flow of the Atomic Fire” and “Contemplation of One’s Place in the World” on July 7, 2013, “Contemplation of One’s Place in the World” on July 6, 2013 and June 30, 2013, “Amerisynthecana” on June 22, 2013, “Contemplation of One’s Place in the World” on June 15, 2013, “To Sleep, To Dream”, “August Rains, Were Those Tears?”, “Floating”, “Amerisynthecana (Extended Version)”, “Android Cat Sleeps in the Sun”, and “(Put Out) The House on Fire” on June 9, 2013, “Amerisynthecana” and “Floating” on May 25, 2013, and “Amerisynthecana” on May 19. 2013. Album listed at #15 for April 2014, #16 for March 2014, #13 for February 2014, #12 for January 2014, #9 for December 2013, #8 for September & August 2013, #6 for July 2013, #3 for June 2013 and #2 for May 2013.
KBRP 96.1 FM The Quantum Soup show in Bisbee, AZ played “August Rains, Were Those Tears?” on September 1, 2024 and August 28, 2024, “Android Cat Sleeps in the Sun” on September 14, 2022, “Amerisynthecana” on November 21, 2021 and November 18, 2021, “(Put Out) The House on Fire” on July 25, 2021 and July 22, 2021. “Contemplation of One’s Place in the World” on May 10, 2021 and May 7, 2021.
KXFM 104.7FM Laguna Lounge show in Laguna Beach, CA played “Contemplation of One’s Self in the World” on January 16, 2022.
WTUL 91.5 FM Cheezmuzik show in New Orleans, LA, played “Amerisynthecana” on May 27, 2018, “Contemplation of One’s Place in the World” on June 11, 2017, “August Rains, Were Those Tears?” on October 25, 2015, and listed the album at #13 for July 2013.
HFM Radio 102.3FM Night Hawke show in Market Harborough, South Leicestershire and North Northamptonshire, UK played “Contemplation Of One’s Place In The World” on September 23, 2017, “August Rains, Were Those Tears?” on April 29, 2017 and January 3, 2015, “Amerisynthecana” on May 25, 2013. #11 on Top 20 for September 2019.
Hypnagogue Podcast played “Floating” on May 21, 2020, “(Put Out) The House On Fire” on June 15, 2017 and “August Rains, Were Those Tears?” on May 30, 2013.
KCBX 90FM Beyond The Fringe in San Luis Obispo | 89.5 Santa Barbara | 91.7 Paso Robles to Salinas 90.9 Santa Ynez, Avila Beach, Cambria | 91.1 Cayucos | and 95.1 Lompoc played “Contemplation of One’s Place in the World” on May 9, 2017, “Neues Jahr, Alles Klar” on December 24, 2013, “To Sleep, To Dream” on September 17, 2013, “(Put Out) The House On Firre” on August 20, 2013, “Amerisynthecana” on August 7, 2013, “Neues Jahr, Alles Klar” on July 23, 2013, “Autumn Rains, Were Those Tears?” on July 9, 2013, “Contemplation of One’s Place in the World” on June 25, 2013, and “Amerisynthecana (Extended Edit)” on May 21, 2013. Album listed at #12 for September 2013, #5 for August 2013, #1 for July 2013, #3 for June 2013 and #2 for May 2013.
KUAC 89.9FM Nightlight show with Andy Blossy in Fairbanks, AK played “Amerisynthecana” on April 17, 2016, “Amerisynthecana” & “Floating” on December 15, 2013, “August Rains, Were Those Tears?” on June 30, 2013, “To Sleep, To Dream” on June 16, 2013, “Android Cat Sleeps in the Sun” and “Floating” on June 9, 2013. Lists the album at#19 for February 2014, #20 for January 2014, #4 for December 2013, #6 for June 2013.
WWUH 91.3FM Ambience show in West Hartford, CT played “Neues Jahr, Alles Klar”, “Android Cat Sleeps in the Sun”, and “To Sleep, To Dream” on April 17, 2016.
WDIY 88.1FM Galactic Travels show in Bethlehem, PA played “Contemplation of One’s Place in the World” on August 14, 2014. “Amerisynthecana (extended version)” on July 18, 2013, “Neues Jahr, Alles Klar” on May 9, 2013. Amerisynthecana is Top 20 for May 2013. Album listed at #18 for July 2013 and May 2013.
Star’s End on 88.5fm WXPN Philadelphia|99.7fmWXPH HarrisburgPA|90.5fmWKHS Worton/BaltimoreMD|88.7fmMiddletown/York/LancasterPA|104.9fmLehighValleyPA played “Neues Jahr, Alles Klar” on July 7, 2014, January 19, 2014 & August 11, 2013, “August Rains, Were Those Tears?” on June 30, 2013, “Amerisynthecana (Extended Version)” on June 15, 2013, “Contemplation of One’s Place in the World” on June 9, 2013, “Neues Jahr, Alles Klar” on May 12, 2013. Amerisynthecana is Top 20 for June and May 2013.
WMSE 91.7FM’s Instrumental Saturdays with Mary Bartlein show in Milwaukee, WI played “Amerisynthecana” on February 15, 2014, “Android Cat Sleeps in the Sun” on September 7, 2013, “Amerisynthecana” on August 3, 2013, “Amerisynthecana (Extended Version) on June 15, 2013, “Contemplation of One’s Place in the World” on June 1, 2013, “(Putting Out) the House on Fire” on May 25, 2013, and “Contemplation of One’s Place in the World” on May 18, 2013. Album listed at #5 for August 2013, #9 for July 2013, #10 for June 2013 and #12 for May 2013.
KCPR Audioscapes lists the album at #7 for September 2013, #4 for August 2013, #1 for July 2013 and #3 for June 2013.
WFIT 89.5FM Future Echoes show in Melbourne, FL played “To Sleep, To Dream” on Febrauary 23, 2014, “Neues Jahr, Alles Klar” on February 9, 2014, “Contemplation of One’s Place in the World” and “August Rains, Were Those Tears?” on February 2, 2014, “Amerisynthecana (extended Edit) on January 26, 2014, “(Put Out) The House On Fire” on January 19, 2014, “Amerisynthecana” on January 12, 2014 and “Floating” on January 5, 2014.
WMUH 91.7 FM Thought Radio show in Allentown, PA played “Contemplation of One’s Place in the World” on January 18, 2014.
YLE Radio 1 Avaruusromua (Space Junk) Finnish Broadcasting Company radio played “Contemplation of One’s Place in the World” on January 5, 2014 and June 9, 2013.
WYSO 91.3FM Alpha Rhythms played “Android Cat Sleeps in the Sun” on December 29, 2013, “August Rains, Were Those Tears?” on June 23, 2013, “(Put Out) The House on Fire” on June 16, 2013, “To Sleep, To Dream” on May 26, 2013, “Android Cat Sleeps In The Sun” on May 19, 2013 and “To Sleep, To Dream”on May 12, 2013.
KTEP 88.5 FM Audiosyncracy show in El Paso, TX played “To Sleep, To Dream” on November 24, 2013, “Contemplation of One’s Place in the World” on July 28, 2013, “Neues Jahr, Alles Klar” on June 23, 2013, “To Sleep, To Dream” on June 2, 2013 and “Amerisynthecana” on May 26, 2013. Album listed at #7 for July 2013, #8 for June 2013 and #5 for May 2013 and #3 for May podcast.
KRSC Spectral Voyages lists album at #7 for September 2013, #16 for August 2013, #17 for June 2013 and #5 for May 2013.
Montana Public Radio lists the album at #20 for September 2013, #18 for August 2013, #16 for July 2013.
KCUR 89.3FM Night Tides show in Kansas City, MO played “Android Cat Sleeps in the Sun” on July 21, 2013, “Floating” and “Amerisynthecana” on July 7, 2013, “August Rains, Were Those Tears?” on June 23, 2013, “Put Out) The House on Fire” on June 16, 2013, “Contemplation of One’s Place in the World” on June 9, 2013, “Amerisynthecana” on June 2, 2013, and “Neues Jahr, Alles Klar” on May 26, 2013. Lists the album at #5 for June 2013.
WWSP 90FM Ambient Aether show in Stevens Point, WI played “August Rains, Were Those Tears?” on July 21, 2013, “Amerisynthecana (Extended Version) on July 14, 2013, “Amerisynthecana” on July 7, 2013, “Contemplation of One’s Place in the World” on June 30, 2013, “Neues Jahr, Alles Klar” on June 16, 2013, “August Rains, Were Those Tears?” on June 9, 2013, “Floating” on May 26, 2013, “(Put Out) The House on Fire” on May 19, 2013, and “Contemplation of One’s Place in the World” on May 12, 2013, and lists album at #8 for September 2013, #6 for August 2013, #4 for July 2013, #1 for June 2013 and #2 for May 2013.
Musica Pagani blog played “Contemplation of One’s Place in the World”, “(Put Out) The House on Fire”, and “Amerisynthecana (Extended Version)” on their July 7, 2013 podcast.
WVUD The Morning Fog lists the album at #20 for June 2013.
Music Beyond Words lists the album at #12 for June 2013.
WVKR 91.3FM Secret Music show in Poughkeepsie, NY played “Amerisynthecana” on June 23, 2013, “Contemplation of One’s Place in the World” on June 9, 2012. Album listed at #10 for June 2013.
WUTC 88.1FM Saturday Morning Sunrise show in Chattanooga, TN played “To Sleep, To Dream” on June 8, 2013, “August Rains, Were Those Tears?” on May 18, 2013, and “To Sleep, To Dream” on May 11, 2013. Album listed at #14 for May 2013.
WMLB, 1690 AM What’s The Frequency, Georgia? show in Atlanta, GA played “To Sleep, To Dream” on June 7, 2013.
KCHO/KFPR 91.7FM The Lighthouse lists album at #16 for May 2013.
WAWL Light In the Night lists album at #6 for May 2013.
CKUW 95.9FM Shades of Classics show in Winnepeg, Manitoba played “Contemplation of One’s Place in the World” and “August Rains, Were Those Tears?” on May 26, 2013. Album listed at #14 for June 2013 and #13 for May 2013.
WPNE 89.3FM/WHND 89.7FM At The Edge show in Green Bay/Sister Bay, WI, played “August Rains, Were Those Tears?” and “Neues Jahr, Alles Klar” on May 20, 2013. Album listed at #17 for May 2013.
WEVL 89.9FM Audio Exotika show in Memphis, TN played “August Rains, Were Those Tears?” on May 19, 2013, and “Contemplation of One’s Self in the World” on May 12, 2013.
Radio Despi 107.1 FM La Otra Orilla show in Barcelona, Spain played “Amerisynthecana (Extended Version)” on May 13, 2013.
WPRB 103.3FM Music With Space show played “Contemplation of One’s Place in the World” on May 11, 2013.
Press
JOHN SHANAHAN, HYPNAGOGUE REVIEWS BLOG, JULY 6, 2013
To my way of thinking, the music of Sensitive Chaos represents a near-perfect crossover zone between sharp, old-school electronic music and world music-infused New Age. Jim Combs has the chemical formula that lets angular, pinpoint-precise synth lines and curvy, sensuous melodies not just coexist in harmony, but thrive and fuse into a truly unique signature sound.
On Amerisynthcana he again teams up with his Seeker After Patterns compatriots, the always-present saxophonist Brian Good, Tony Gerber on electronic wind instrument (EWI), Paul Vunk Jr on percussion, guitars and voice, and Christian Birk on synthesizers. The disc has two solo live performances, along with pieces where Combs edited down versions of solo gig, then presented that template to his cohorts and let them add their own touches. Two pieces are revivals of tracks originally recorded in the 80s. The result is what I feel is the best Sensitive Chaos release so far.
Right out of the gates, Combs hits the listener with a big dose of feel-good. “To Sleep, To Dream” opens with a plucky, harpsichord sound, throw in some carnival-music spirals, and Good finishes off the blend with sweet, smooth-jazz sax. There’s a great shift in tempo toward the end of the track that just ups the happy.
“Contemplation of One’s Place in the Universe” is a full-ensemble, Berlin School piece that keeps the pace going. Combs’ sequencer constructs lead the way, deeply intertwined. Gerber’s breathy EWI coils, curls and floats. On the title track, Vnuk’s percussion work drives us forward as Combs and Good dance around the back. This track builds and builds, eventually blossoming into choral pads as Good takes the front.
On the softer side of things, Combs floats quietly through the dreamy washes of his solo live piece “August Rains, Were Those Tears?” He makes great use of some rich bass sounds to add a little punch in spots, and rain-spatter sounds late in the track add theme and texture.
“Floating,” one of the older pieces, was recorded on an alphaSyntauri synth. This is a classic, deceptively simple ambient piece, gritted up slightly with an electronic hum that rises and falls.
The flow, track to track, is impeccable, with Combs guiding his listeners through energetic passages, then easing them into a quiet space before coming back around. Everything makes sense in its place, and the overall sensation, by disc’s end, is that you just had a really good time. (Even with the oddly growling, almost-out-of-place-but-not-quite, two-minute “Android Cat Sleeps in the Sun.”)
Sensitive Chaos continues to get better with every disc. There’s a good reason Amerisynthecana has already picked up a lot of radio play on some of the major genre outlets. Catch it for yourself.
JEFF CLARK, STOMP AND STAMMER, JUNE 17, 2013
If Kraftwerk and Eno set the standard for sleek, machinelike, atmospheric electronic pop and ambient music in the ‘70s and ‘80s, local synth enthusiast Jim Combs leads his Sensitive Chaos project into comparable vistas but with a welcoming (some might say “new agey”…but I wouldn’t) warmth uncommon in typical instrumental electronic endeavors. Much of the new CD Amerisynthecana was recorded live at Kavarna and Eyedrum, while other tracks date back to the ‘80s. Later embellishments, courtesy of a variety of musical cohorts, include soprano sax, Fender Rhodes and percussion. It’s not for everyone but it shouldn’t lead to jittery anxiety, at least.
CHUCK VAN ZYL, STAR’S END, JUNE 14, 2013
Using synthesizers and electronic percussion Jim Combs, recording under the name Sensitive Chaos, presents his wonderful musical vision on AMERISYNTHECANA (59’53”).
AMERISYNTHECANA features nine tracks, and very nearly nine different approaches to making instrumental music. Much to Combs’ credit this album travels through a number of styles, moods and energy levels – to such an extent that listeners may have trouble keeping up. Where Combs chooses to explore timbre and texture he leaves us suspended within iridescent, quiet sonorities. His minimalistic sequencer patterns run in fascinating mechanical repetitions as the music moves fast and slow simultaneously – resolving, then dissolving into the motion of chilly synth chords.
The hotter tracks on AMERISYNTHECANA are delightfully Prog-Influenced. Combs executes this mode with precision as these tightly arranged, fully-formed works seem quite exotic next to the more sedate mind-slowing sections. Perhaps what helps connect all this music is the agile leads produced by Brian Good on soprano saxophone. On the more upbeat compositions his wonderful playing lends weight to this otherwise ethereal affair, while on the spacey/ambient realizations Good’s processed echoing reed solos contrast Combs’ electro-soundscapes with an arresting acoustic element.
All through the AMERISYNTHECANA landscape Combs and Good interact with each other melodically, as well as with Tony Gerber on EWI and Christian Birk on synthesizer. The result is a diversity of very well executed music.
Let us hope that fans of EM welcome this idea into their listening space – with its tight grooves, long tones and everything in between. And also hope that Combs and his outfit continue to find new wonders in their instruments, and in each other.
SYLVAIN LUPARI, GUTS OF DARKNESS (FRENCH), MAY 31, 2013
J’aime comparer l’approche artistique de Jim Combs à celle de Mike Oldfield. Les deux sont inspirés par leur folklore et aiment forger des structures minimalistes auxquelles se greffent des harmonies et des rythmes parallèles. “Amerisynthecana” est une anagramme des mots synthé et americana et dépeint à merveille l’univers de ce 5ième album de Sensitive Chaos où le folklore américain respire de ses charmes au travers une approche aussi électronique qu’éclectique.
Les premiers accords de “To Sleep, To Dream” nous entraîne dans une envoûtante ambiance de fête médiévale. Nous sommes en plein dans les terroirs de Mannheim Steamroller (projet Fresh Aire) avec des accords aux tonalités de guitare acoustique ancienne et de clavecin qui se courtisent comme dans les vieilles danses en lignes des temps moyenâgeux. Ils unissent leurs symbioses pour se laisser aspirer dans une spirale électronique, du genre berceuse de nuit, qui étend ses poussières de saphir dans une délicate ritournelle qui se parfume avec des arômes du saxophone de Brian Good à mesure que les refrains se succèdent. Tantôt ambiant et tantôt genre bal masqué, “To Sleep, To Dream” épuise ses 5 minutes dans une structure ambivalente avant d’être happé par une finale plus intense. Une finale festive digne des carnavals aux teintes de jazz de la Nouvelle-Orléans.
Étonnement, la procession des accords de “Contemplation of One’s Self in the World” offre une séquence qui est très près du Berlin School. Le mouvement coule sur cette première ligne d’arpèges à laquelle se greffent d’autres arpèges plus limpides dont les palpitations et tonalités entrecroisées forgent un arythmique débit hachuré. Tentant de se soustraire à une tempête de drones et à une nuée de souffles de synthé, de EWI et de saxophones qui nous plonge dans l’univers de Mark Isham, “Contemplation of One’s Self in the World” progresse de son hypnotique démarche minimaliste en emmagasinant les harmonies nécessaires ainsi que les torsades inattendues pour combattre la passivité de son mouvement.
“August Rains, Were Those Tears?” est un titre ambiosphérique riche de sa structure ambiante qui regorge de souffles hybrides. Jim Combs est seul avec son synthé. Il dessine des courbes planantes et des lignes flottantes qui s’entrelacent dans une fascinante ode éthérée où l’obscurité plane sur la tranquillité. C’est un beau moment d’ambiance, tout comme le très contemplatif et ésotérique “Floating” et ses bruits blancs qui grésillent dans de superbes lignes de synthé astrales.
La pièce titre est le joyau de “Amerisynthecana”. Le mouvement débute avec des percussions manuelles qui tambourinent sous les brises d’un maillage de synthé et saxophone. C’est très délicat et étrangement envoûtant. Des arpèges chatoyants scintillent ici et là, tout autour de cette enchanteresse trance cérébrale amérindienne. Ondulant comme un félin cernant sa proie, “Amerisynthecana” affiche une subtile férocité alors que le mouvement croît d’un étonnant, et inattendu, crescendo où tout est amplifié et où s’ajoute une angélique chorale à nous faire dresser les poils sur tout le corps. La peau des tambours nous parle, les souffles du saxophone nous ensorcèlent, les arpèges scintillants dansent pour nos oreilles et les chœurs séraphiques nous enveloppent d’une apaisante aura de contemplativité. C’est magique et ça vaut assurément sa version allongée que l’on retrouve sur le CD. Une version allongée d’une douce intro morphique.
“Neues Jahr, Alles Klar” est un doux mouvement d’ambiance. Une délicate danse de carillons aux tonalités de glockenspiels qui tintent et s’entrechoquent dans une ritournelle de verre soufflée par des lignes de synthé aux chants hybrides.
Commençant tout doucement, “The House on Fire (Put Out)” infiltre nos oreilles avec des multicouches de drones qui bourdonnent telles des lamentations chamaniques. Un chapelet d’arpèges spasmodiques s’extirpent de ces souffles vocalisés qui tempêtent parmi des vents torsadés alors que le rythme s’éveille dans une structure saccadée. Un rythme désarticulé qui se cambre devant la pluie d’arpèges gigotant dont les ruades indisciplinées virevoltent en de douces spirales saccadées, alors que le saxophone recouvre et apaise tranquillement “The House on Fire (Put Out)” d’un parfum de doux jazz blues solitaire. Ténébreuse avec ses cerceaux de verre échoïque qui se butent à des clochettes temporelles, la finale se fond aux ronronnements mécaniques de “Android Cat Sleeps in the Sun” dont l’approche patibulaire détonne dans ce délicat bouquet musical qu’est “Amerisynthecana”.
La musique de Sensitive Chaos me fait penser à un sac à surprises. On reconnait l’emballage, le nom. Si on ne sait jamais ce qu’il y a à vraiment l’intérieur, on a une vague idée et on sait surtout que ça va être bon. Et “Amerisynthecana” est très bon. Un très bel album qui s’apprivoise tellement facilement que l’on cherche à comprendre comment on a déjà atteint sa fin. Délicieux et étonnement magique.
SYLVAIN LUPARI, SYNTH&SEQUENCES, MAY 28, 2013
I like comparing the artistic approach of Jim Combs to that of Mike Oldfield. Both are inspired by their folklore and like to forge minimalist structures to which are grafted harmonies and parallel rhythms. “Amerisynthecana” is an anagram of the words synth and Americana and depicts marvellously the universe of this 5th album of Sensitive Chaos where the American folklore inhales of its charms through approaches as well electronic as eclectic.
The first chords of “To Sleep, To Dream” lead us into a mesmerizing atmosphere of medieval party. We are right in the middle of Mannheim Steamroller (Fresh Aire project) soils with chords in tones of old acoustic guitar and harpsichord which woo like the old dances in lines from the medieval era. They unite their symbioses to let themselves suck up in an electronic spiral, a kind of night lullaby, which spreads its dusts of sapphire in a delicate ritornello which is perfumed with the aromas of Brian Good’s saxophone as the tunes follow one another. Sometimes ambient and sometimes kind of masked ball music, “To Sleep, To Dream” empties its 5 minutes in an ambivalent structure before being snatched by a more intense finale. A festive finale worthy of carnivals in the tints of New Orleans jazz.
Surprise, the procession of “Contemplation of One’s Self in the World”s chords offers a sequence that is very near the Berlin School style. The movement flows on this first line of arpeggios to which are grafted other more crystal clear arpeggios among which the palpitations and the crisscrossed tones forge a jerked arrhythmic pace. Trying to escape from a storm of drones and a thick cloud of synth breaths, EWI breezes and tears from saxophone which plunges us into the universe of Mark Isham, the minimalist approach of “Contemplation of One’s Self in the World” progresses of its hypnotic gait by storing the necessary harmonies, as well as the unexpected twists, to fight the passivity of its movement.
“August Rains, Were Those Tears?” is an ambiospherical track rich of its ambient structure which abounds of hybrid breaths. Jim Combs is alone with his synth. He draws slither curves and floating lines which interlace in a fascinating ethereal ode where the darkness glides over tranquillity. It’s a beautiful moment of ambience, quite as the very contemplative and esoteric “Floating” and its white noises which sizzle in superb astral synth lines.
The title track of “Amerisynthecana” is a pure jewel of tenderness and emotivity. The movement begins with manual percussions which drum under the breezes of a meshing of synth and saxophone. It’s very delicate and strangely bewitching. Gleaming arpeggios sparkle here and there, all around this enchantress spiritual Amerindian trance. Waving like a feline encircling his prey, “Amerisynthecana” shows a subtle ferocity while the movement increases of a surprising, and unexpected, crescendo where everything is amplified and where is added an angelic choral to make the hairs breathing for air all over the body. The skin of drums speaks to us, the breaths of the saxophone bewitch us, the twinkling arpeggios dance for our ears and the seraphic choruses wrap us of a soothing aura of contemplativity. This is pure magic and it’s undoubtedly worths its extended version which we find on the CD. A version lengthened by a soft morphic intro.
“Neues Jahr, Alles Klar” is a soft movement of ambience. A delicate dance of carillons in tones of glockenspiels which ring and collide in a ritornello of glass blown by lines of synth to hybrid singings.
Beginning quite slowly, “The House on Fire (Put Out)” infiltrates our ears with multilayer of drones which buzz such as some shaman lamentations. A string of spasmodic arpeggios extricate themselves from these vocal breaths which rage among twisted winds while that the rhythm wakes up in a jerky structure. A dislocated rhythm which arches itself in front of the rain of shuddering arpeggios of which the undisciplined kicks are twisting into some soft jerky spirals, while that the saxophone covers and calms quietly “The House on Fire (Put Out)” of a fragrance of soft solitary blues jazz. Dark with its echoing glass hoops which stumble on temporal bells, the finale is melted in the mechanical hummings of “Android Cat Sleeps in the Sun” of which the sinister approach is clashing in this delicate musical bouquet which is “Amerisynthecana”.
The music of Sensitive Chaos reminds me a bag with surprises. We re-know the packaging, the name. If we never can tell what there is inside, we have a vague idea and we know especially that it’s going to be good. And “Amerisynthecana” is very good. A very beautiful album in which one becomes accustomed so easily that we try to understand how we already have reached its ending. Delicious and magical.