It’s with a lot of emotionalism and passion that Frank Dorittke undertakes Water and Earth, a great album where melodies are charmingly moulded by superb sequential movements. Multiple sequences which crisscross under synth layers at once caustic and oniric, as well as a guitar with riffs always so heavy but with solos sometimes violent and sometimes melancholic. "Under Water" opens with oblong and sinuous waves of a synth to hybrid tones which intertwine, whereas fine crystalline arpeggios hop and dance in a light zigzagging movement. These chords of glasses form a nice sequential movement which undulates of an approach slightly jerky, supported by a bass line by fine throbbing pulsations. This very good sequential spiral increases the tempo with the arrival of percussions that Frank Dorittke manipulates with strength, hammering a hypnotic tempo which follows the ascending arc of its sequences. The rhythm permutes slightly when the electric six-string wakes up to release sulphurous and languishing cosmic solo which chase away sinuous metallic waves and transport "Under Water" towards a warm cosmic rock which dances at the beat of its sequences. "Norway - My Heart is with You" is a real small jewel. Its intro dances with keyboard keys which jump, undulate and intertwine in brief and suave solos of a guitar which dreams beyond a fine quixotic fall. Everything is magical in "Norway - My Heart is with You". The fall metamorphoses into a cosmic wind where discreet celestial voices blow among scattered keyboard keys. The sadness and solitude can be felt with slow guitar solos which cross over the sweetness of an undulatory movement, swept by cosmic winds of a vaporous ambiance where a mellotronné veil encircles of a restrained passion and repressed on the borders of melancholy. Piercing, FD’s guitar floats as shouts of tearing under a synth line which sweeps the horizon of its dark and threatening tone. And the intensity of "Norway - My Heart is with You" reaches its peak with the arrival of percussions which shapes a lascivious sensual structure and draws the lines of a curious bolero where guitar solos abound with passion and acuteness among riffs which become heavier, shaping a sensual electronic rock shaken by powerful drum rolls. With "Sunday Afternoon" FD offers us a jazz/blues fusion on a sensual structure where twinkling arpeggios and dusts of stars shine around slow and sinuous solos of a guitar sometimes sober and sometimes shrill. A nice track à la Software, "Earth" offers a delicious spatial ballet with shimmering sequences of glasses which dance of a hypnotic tempo on a beautiful oscillatory sequential movement. Sober percussions, a bass line and strange pulsations with duck tones accompany this delicate oniric dance which lulls its sequential movement in a nice mellotron mist and increases a bit its tempo under beautiful synth solos. "Sonar" is another brilliant track where FD demonstrates its dexterity to handle as much sequences as guitars. Tones of sonar emerge from the depths and forge an ascending sequential movement, of which the strikes sound as knocks of anvil, under a sky stuffed by resounding winds of a dark synth. Another sequential line is forming. Its chords are more delicate and are answering to the echo of the sonar resonances. Twisted synth solos encircle this static circle where heterogeneous pulsations dance on a sequential movement which grows rich of another line, whereas synth solos cross with indiscipline an arrhythmic movement which turns indefatigably in the whirlwind of its sequences. The percussions plunge "Sonar" in an infernal spherical movement with heterogeneous pulsations and powerful solos of a guitar which drops heavy riffs on a structure swirling ceaselessly. More fluid, "Nightwalk" flies of a beautiful oscillatory sequential movement. Sequences juxtapose on a melodious structure where cosmic winds are very musical and go alongside beautiful guitar solos on a beautiful rhythmic permutation. "Evolution" is a nice electronic ballad composed by John Dyson. A fluty synth sings among stars drawn by synth chords. A melodious synth which releases delicate solos, in accordance with the fine sequenced approach. But FD has fun with the drum and hammers a wildly undisciplined rhythm where furious guitar solos stow to bedazzled beatings while the structure of "Evolution" returns to the musicality of its point of origin. "Live Studio Recording for Satzvey Castle Concert 2011" is a bonus track written for this festival, but played and recorded in FD’s studio. It completes this 11th opus of FD Project with the same musical approach that we find almost everywhere on Water and Earth; a progressive movement encircle by reverberating and twisted waves which coo in a dark sky while sequences dance on a circular movement. Fine sinuous solos float over this movement which will have a descent into vaporous ambiances before being reborn of a more lively and curt tempo with chords to hybrid tints which slam a delicious movement as musical as hypnotic. We can view the integrity of this track, which lasts about 35 minutes, on YouTube. Between his influences for Mike Oldfield and Tangerine Dream, Frank Dorittke continues to forge a name by aligning robust albums. To me, Water and Earth is his best album to date. We feel in it a FD more mature and surer of its means. A FD which undoubtedly learnt of its sessions with Ron Boots, because he likes surrounding his compositions of complex and evolutionary rhythms where melodies and atmospheres are besieged by sequences and synth lines to multiple musicality. The whole thing is always surrounded with a mordant and incisive guitar which sings as much as it cries, in the shade of its hypnotic structures. Sylvain Lupari (2011)