TUBULAR BELLS

1. Tubular Bells, Part One and here we go, this captivating tune, yes no more otherwise we will talk about the film first; an instrumental mantranic crescendo that hits your ears and reminds us that before we took the time to listen to music; just like that a grand piano, a honky-tonk, organs galore, Farfisa, Lowrey, Hammond, a glockenspiel, a mandolin, electric guitars, fuzz, Spanish, others sounding like bagpipes and speed, percussions matching the future legendary tubular bells. An aside with the VANGELIS keyboard, grandiloquent and these overloops that bring back the acoustic guitar; 10 minutes and the piano comes back as at the beginning, a haven of peace break, the tune becomes solemn, haughty, progressive, searching, stammering. An extraordinary, avant-garde sound made of detours to hook the listener passing near a Hi-Fi system turned on nearby; bam superposition of heavy guitar riffs, then folk, then jazzy air, everything goes, we are submerged. Ah a bell, ah the bass which takes up this exorcist air, yes easy. The crescendo which settles, takes its time, this bolero with an OLDFIELD sauce in fact, hold on a voice, am I possessed? The final ceremony stating the instruments one by one, the ease and the approximation of this precursor title, of these tubular bells taking the top spot in this finale submerged in choirs to vibrate in unison. Before there was nothing in this genre, just demo tracks made in 1971 with a VANDER next to him who was also recording, in short after there was the Oldfieldian sound.

2. Tubular Bells, Part Two soft acoustic intro guitar and folk flute borrowed from a rural farmer from Leicester, notes that actually tick away. This variation allows you to get back to the previous title, astonishing. 8 minutes of soothing wandering before the arrival of the angelic choir and the high-pitched guitar resumes; the tune has always made me classify Mike in the electronic music drawer alongside VANGELIS and TANGERINE DREAM, who knows why! Virgin surely but not only, these long flights, coming and going, these twirling sounds, surely also; well the drum suddenly calls out, the guttural voice even more, a premise of death groups here in crossover, incredible. A scream, a dog howl, yes it wasn't just PINK FLOYD to tackle it. The riff becomes nervous, catchy, haunting, hypnotic, the jerky, repetitive tune is here a force, a way to amplify Mike's unique musical framework; well this voice takes me back to the future sound of BORKNAGAR, breaking the boundaries of musical genres. The contribution of the solemn Hammond breaks the good-natured atmosphere, the bass guitar, the acoustic then the electric, yes he plays everything at the same time, these guitars seek a climate of peace, serenity, desolation, contemplation; this note taken up on the solemn, captivating FLOYD tune stands out and never ends; the alternative this final festive folk tune that accelerates, ideal for finally getting out of the armchair in which we had barricaded ourselves, fearing to see the little girl burst in! in short OMNI for sure.

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