[Reviewed by: Iaha Crax]
‘Nature is a temple whose animate pillars sometimes speak to us in confusing tongues. Here man walks through forests of symbols that pervade him with familiar stares’… This is a prose rendering of the first stanzas in Baudelaire’s Correspondences, the central poem of ‘Fleurs du Mal’, and a hermeneutical key to cross the passage into the musical Temple of Aeoga. Temple Treye unfolds a deeply personal vision that the two hieratical spirits involved in this entity transmit to the listener. The process is developed into multi-folded aspects that intermingle indistinctly by the use of sounds, spells and sigils, observed on the covers of the disc.
Such an endeavor to verbalize the musical discourse may be pretentious because, perhaps even more than with other Helixes projects, Aeoga has imagined a sort of de-mythical plane where elements are described in nothing but their connotative aspect. It is, as the first title indicates, “A Feast Of Stance”, a moment purely alive in itself bereft of interpretation, a stance here observed under the spectrum of a drone-based atmosphere induced by indifference.
The sounds are so constructed as to follow some invisible vibe coming from the matter around. A pre-thought of concept or structure works only as background output, but has no real importance: Aeoga organizes its material as a reaction to the environment, “Between The Crescent Hooks”, but this does not at all mean that the pieces are solely live improvisations. There is a principle of correspondence masterly acquired that connects the interpreter to the aural environment and that tries to bring the listener too in the same action as an actor/ agent. Apart from the subtle, almost fading chimes and sub-ocular minimal specters of sounds, this song hooks the listener with a trippy, percussive enveloping.
The tracks are built on geological interferences combining residual activities from terrestrial elements. On “Telemorphic Cuts” a droning dirge submerges the spirit into its rough nature and covers in earth the biotic orifices. “Temple Treye” has no particular place of presence, but takes its shape there where the “stars are aligned”. This title track, a “dronemonument”, sweeps across a thick misty firmament of ceremonial frequencies against humming, recited vocals that craft with the power of word a web of hallowed sound diagrams. The tones are mostly flattering and never culminate in distortion, as if the sound were afraid to come too close to its origin. Thus, the whole spectrum is evanescent and transcendental like in “Transparallel Mist”; you lose track of time and gather powers to change the appearance of common space. You seem to become able to cut through the veil though the mist thickens and the sound array tends to a sole linear throbbing frequency. This wandering and spiritual mumbling suffocates, yet at the same time allows for breathing a different kind of air, penetrating the listener with a different life.
It is the trance-medium process which siphons your spirit over and into the elemental existence. As the final track names it, “The Feast Of The Trance”, a joy for the senses of those that have tasted it, is the supper where only few are invited. It may even be the last…