Salva Moreno, alias Psicodreamics, is no newcomer in the business. “Eternal Angel” already is his fifth album; his first album, “Eamalas”, dates from 1990. Using ethnic percussion instruments as part of his aural design, Moreno creates music that is inspired by dreams and fantasies. Although “Azhdark Passion”, the successor to “Eternal Angel”, was released some time ago, all the same now a review of the latter album. The title track is a slow, orchestral piece that slightly reminds one of (the early) Jarre (except for the waffling lady with her echoing announcements). In “Descensus Averni” we see a fine build up of the music. It opens with a few spherical sounds, followed by some ethnic percussion sounds, and, after these, a rippling sequence (that sounds like a xylophone) that somewhat weakens the menacing character of the piece. Over thin orchestral tapestries, Moreno’s synthesizers generate many variants of choir sounds, after which the whole becomes a bit more forceful right up to the end. After again starting with vehement chords in “A Heaven In Your Eyes”, the cosmic sounds take you entirely into a dream. “Azrael Tear” has a very sweet beginning that is followed by synths that almost sound like singing voices, and which alternate with “brass band” sounds. For me, the heavily distorted voice could have been omitted, but the introduction of the percussion is nice. Sound carpets enhanced with, among other things, panpipe tones and some howling/barking dogs result in distinctive, yet restful and almost “Floydian”, atmospheres that are to some degree retained in “On The Shore Of Hell”. In the last part we hear more menacing sounds before the track fades out in a tenuous beauty. The little voices and the percussion return in “Die Sweet For An Angel”, and, again, the splendid music slightly reminds one of Jarre. In my opinion, Moreno’s narrations in Spanish add little to the pieces. Later on an almost popular medley of “orchestra”, choir and “guitar”, enriched with other sounds, is built up into a climax in “Cherubin Dance”, ultimately to be reduced using the same appealing theme. “Labyrinth Of Seduction” is dominated by slow percussion rhythms that are topped with sound tapestries and variations of sequences. It also contains a sound that is like the tapping on numerous bottles. Accompanied by a light orchestral background, the piano takes the lead part with a beautiful, but not too fierce, melody; it is one of my favorite tracks. The concluding piece, “Eternal Ending”, is very orchestral and, again, the many and various choir sounds remotely remind one of Vangelis. The bonus track, “Lycantrophe 2001”, is suited for the dance floor due to its dance rhythms and the distorted little voices. It is a bit out of character with the quieter pieces in the rest of the album. However, it clearly demonstrates that Moreno is a well-rounded musician. By the way, his well-rounded abilities extend to the design of the sleeves of his albums. I am very curious about his next album, which will be entitled “Theatre des Vampires”.
by Menno von Brucken Fock (E-DITION)
