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Spacemusic Reviews

Tag: Kosmiche Musik

TaboTago: Kymatica

Kymatica

Kymatica

TaboTago: Kymatica
Released: 18 April 2018
www.iapetus-media.com
tabotago.wordpress.com

Bernhard Wöstheinrich, Andreas von Garnier and Leander Reininghaus are the Spacemusic ceremony celebrants TaboTago. These three minds are a fascinating interconnected machinery. Steeped in the brew of the Berlin-School their album Kymatica (52’12”) conjures well that particular era’s vague air of cosmic mystery. Throwing off currents of nervous, wiry energy this music portrays a specific moment of human interaction. The three musicians concentrate intently on the task before them. As their jam sessions deepen, they becoming oblivious to the rest of the world, which enlarges the sense of real contact and cooperation. Kymatica‘s six skillfully navigated tracks should make it obvious that there are real people involved in the realization of this music, and not a one of these pieces is the result of casual interactions with algorithms or automated applications. As sequencer patterns bolt from the starting line, seemingly with a pack of demons at their backs, Mellotron flutes, strings and choirs sweeten the air with their dulcet strains and affecting harmonies. Further in a discourse for electric guitar and synths has an air of self-interrogation – achieving an uncanny directness. It is an anthem for anyone who has raged alone at the night, sending questions into the darkness. But hearts should always mend by morning, and Kymatica quickly moves beyond the sunrise and back into starlit terrain. Minor-key chords are split apart into mechanistic and echoing arpeggio notes, winding out, then sustaining like an engine in its power zone. Lead lines bring focus to the story of the song, while modulated effects scatter in the wake of locomotion. TaboTago is an innocent wild thing, at the mercy of a ruthlessly predatory species – which is to say we the listeners. Kymatica is much more than the result of transforming an electrical current into sound. This work warns us that the future is out there – unstoppable, and on its way… asking what will it bring? and will we be ready?

Chuck van Zyl/STAR’S END2 August 2018

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Gert Emmens & Ruud Heij: Galaxis

Galaxis

Galaxis

Gert Emmens & Ruud Heij: Galaxis
Released: 31 March 2018
www.gertemmens.nl

Our brain is a predictive organ, constantly guessing what will be coming next. And so throughout Galaxis, the triple CD set from Gert Emmens & Ruud Heij, our minds should feel thoroughly exercised. With Galaxis this long-lived duo offers 14 tracks that demonstrate their range as composers, arrangers and musicians. Overtly a Spacemusic collaboration, this epic release also benefits from ample electro beat box and conventional acoustic drum kit – a rhythm feature that permits this music to access the ideals of the musical mainstream (while never forsaking its cosmic roots). As the energy level builds, Emmens & Heij head out on a reckless ride into the unknown. Sequencer patterns run in machine like precision as full-throated lead lines and penetrating synth harmonies fill out the sonic story. Their spacier tracks offer a magnificent directness. As oscillators detune and phase, modulated effects chirp, flitter and glitter, then recede into the distance. With long lines of held notes we search for a path along an undulating arc of reverie. Lulled by an otherworldly calmness, the listener drifts on these vibrating currents – drawn easily above the shifting timbral expanse. Throughout this growing density a slowly building ethereal energy may be felt. Churning, shimmering sounds flow together into a sweeping resonance, then are displaced by a new and equally novel airy form. Cosmically complex yet microscopically intricate these zones meant to spark our imagination exposes the purity and calm of two electronic souls. While Galaxis may be promoted as having something for everyone, how much better to consider this diverse offering as an invitation to embrace and appreciate the many moods and ideas of which this unique genre is capable. Beautiful and strange, quietly profound, then rocking and charged, every piece evokes an inner experience through the artful shaping of sound. In its forward thinking, this kind of music has always been about making the future, an activity that at one time took place outside of science fiction. But, as some truths are better told in sound, the purpose of this music now might lie in its ability to help us just survive the present.

Chuck van Zyl/STAR’S END26 July 2018

Klaus Schulze: Silhouettes

Silhouettes

Silhouettes

Klaus Schulze: Silhouettes
Released: 25 May 2018
www.spv.de
www.klaus-schulze.com

It may seem that when Klaus Schulze releases an album the whole history of contemporary Electronic Music lines up behind it. Yet from the audience’s perspective, the pure experience of listening to his music pushes thoughts towards the future. Silhouettes (75’00”) is for people wanting an intelligent, sophisticated production, not kid stuff. Its urgency and subtly heightened, fiercely focussed energies evoke a feeling of somber introspection. Silhouettes deepens quietly, as a deep dark something happens around the edges of its four tracks. With a tug of dire, inescapable gravity the world seems in absolute suspension – nothing moving, everything centered. In brighter passages exuberant harmonic gestures calms the formless questions gnawing at our souls. Where the music is spacious and uncluttered, sustained notes, sustained chords, and progressions of chords speak an utter truth with sound. It is a dense work expanded by inventive scoring and powerful narrative ideas. Light sequencer patterns arise, hurrying the interior current within, adding dancing tones to our teeming, gleaning minds. This kind of music usually benefits from simplicity, a point Schulze understands well. Silhouettes has a weightless allure built out of droning spaces and populated with cloud melodies that float and hover. While not exactly minimalist, because the layers are too involved and full of forward motion, Schulze’s achievement continues to be an assured, calmingly quiet atmosphere, which allows you to escape reality in a way unique to this venerable musician. However, his most enduring effect may be that he made our world appear to be a better place, by helping us keep the outside world outside – as you listen for the infinitely precious sound of the universe rhyming with one’s own brain.

Chuck van Zyl/STAR’S END – 21 June 2018

Cosmic Ground: Cosmic Ground IV

Cosmic Ground IV

Cosmic Ground IV

Cosmic Ground: Cosmic Ground IV
Released: 21 May 2018
www.cosmicground.de

It may be argued that we are drawn to whatever in music that is boldly marked with personality. The brawny, brooding, primal realm of electronic sound realized by Dirk Jan Müller, in his highly personal effort as Cosmic Ground, does offer a distinctive synthetic substance – as well as access to the feelings of the lower plane. The album Cosmic Ground IV (78’26”) wanders to bizarre, distant and involved coloristic regions. If a synthesizer is a tool to make sound, then electricity is the raw material – which works its will within us across this CD’s seven tracks. Utilizing the darker portion of the audible spectrum the composer subjects the listener to a range of daring and captivating mental experiences. Phantasmal sonic events seem to confront underworld demons, as we move away from any concluding serenity. Along with all its foreboding, Cosmic Ground IV does give the impression that Müller takes some pleasure in the rhythmical arrangement of sound. Large-scale discharges lead to episodes of stormy grandeur, yet a swollen waltz of dancing arpeggio notes soon lights our shaky steps. However, in spite of a cerebral climax of overpowering sequencer sonority, we may still feel this music becoming darker by degrees. In ominous oscillations between Mellotron black and the comforting chords of a soft electric organ, this music is trying to say something for which words have not yet been invented. Many albums of Spacemusic simply provide pleasurable feelings to the listener. This one goes further… transmuting vague sentiments into the human sense of wonderment. Following the course of thought, Cosmic Ground IV provides a contact between two minds: that of the author and of you – who benefit from being open to the refreshment, the strengthening, and the stimulation of this work.

Chuck van Zyl/STAR’S END24 May 2018

EFSS: Tidal Shift

Tidal Shift

Tidal Shift

EFSS: Tidal Shift
Released: 9 April 2018
efss.bandcamp.com

If you are seeking an easy way to shift your mind set, then just cue up Tidal Shift (54’23”) – the collective collaboration between Jörg Erren, Bert Fleissig, Jochen Schöttler and Christian Steffen. This album selectively activates neurochemical systems and brain structures associated with positive mood – as its music travels from the brain space of the creators directly into ours. Each of the seven tracks vibrates inside us, one by one conjuring a different color and atmosphere. The tempo may prowl then race outward with machine-like focus. A sense of serenity mutates into unease, setting us down amidst oxidized tones and an eerie beauty. Metallic drones, churning within collapsing worlds, are soon joined by ethereal strings and ticking percussion – with fat synthesized blobs marking time beneath flights of echoing sequencer runs. A rhythmic grid locates itself in space, and is promptly foregrounded by glittering modulated effects and raw energized sparks. Ghostly assemblages of drifting electronics become absorbed by a restless surge of synchronized patterns, only to plunge us back into the stillness of a close and holy darkness. All this and more makes Tidal Shift an exhilarating document. EFSS spends only a few days a year working together urgently on this music, and here reaches a new plateau. This release reasserts their originality as musicians – operating in the luxury of an underground haven where ideas can be explored freely with no worry of how they will land. This secluded existence is built around the contemplative pursuit of making music. By purchasing this CD, playing their work, and listening, we are granted permission to go with them on an intimate journey of creativity.

Chuck van Zyl/STAR’S END10 May 2018

[‘ramp]: no sleep ’til wilmersdorf

no sleep 'til wilmersdorf

no sleep ’til wilmersdorf

[‘ramp]: no sleep ’til wilmersdorf
Released: 3 April 2018
www.parsick.com

In the digital-world, it is possible to achieve perfection – and Stephen Parsick is quite grateful that he is not at all part of this endeavor. The common musician must cede the realm he explores as [‘ramp] and his decades long reckless ride into the unknown. His album no sleep ’til wilmersdorf (75’57”) excites the highest imagination. A thing of beauty, with darkness at its center, this work opens a wide sonic space, invites you in, but remains indifferent. In eight instrumental space fables, conjuring beasts as easily as they do flowers, the music matches its creator’s ambitions quite well. Just because this genre is referred to as Spacemusic, we need not contemplate the meaning of the cosmos to enjoy it. Once you are in step with the spiraling sequencer patterns, ratcheting accents and echoing syncopation of electronic tones, the search for meaning slips away – as we find consolation in all sonic imaginings flowing from out of our speakers. Carrying an undercurrent of doom, uncertain welcomes and wayward spirits, no sleep ’til wilmersdorf is a reflection of our deep disquiet about the world we are building. Human and muscular, mesmerizing patterns and furious colors emerge from a realm of their own – defying comfortable categorization. Everything shimmers in starlight, as ghostly assemblages of drifting electronics, as if fighting gravity, move through sections of stillness. In tempestuous upheavals of sound, then with painterly restraint, prowling bass notes beneath the restless surge of tumbling upper register notes forward march in a study of formal relationships at their most primal. While our attention may leap from synthesizer, to Mellotron, to electric piano, to field recording, the music always showcases Parsick’s masterful understanding of arrangement and navigation. An interconnected mess of components, his music machinery heats up (and maybe even vibrates slightly), producing ethereal tones, full-bodied lead lines, and an entrancing futurism like something out of a dream. It takes a certain kind of individual to appreciate this experience, one of being the only person in this musical space – and liking it… the feeling of solitude, the absence of noise, the possibility of encountering something elemental, or something bigger outside of ourselves. It is the feel of an extraordinary enchantment, as magical as you would expect. So works by [‘ramp] (and other things like it) patiently wait – for our senses to grow sharper. This music has always been thought of as forward thinking – a premonition of the future. But somewhere our world stopped caring about what will come, about the potential of humanity, and more about chasing easy contentment. Although Parsick acknowledges the pitiful sight of a people with a past, but no present, he would not have released no sleep ’til wilmersdorf were it not for a galactic sized optimism. In works of intriguing musings on the intersection of technology and art – Stephen Parsick gives life to the breadth and width of his imagination.

Chuck van Zyl/STAR’S END – 26 April 2018

Chuck van Zyl: Recitals 2

Recitals 2

Recitals 2

Chuck van Zyl: Recitals 2
Released: 31 March 2018
chuckvanzyl.weebly.com

Chuck van Zyl has been a man finding his moment, in any live space that will hold him. The double CD Recitals 2 presents music recorded at two late 2017 performances. His shows for The 6th Floor and DIGITAL DREAMS were documented with an ordinary two-track recording device. After months of review, two 60+ minute sonic journeys were produced, and released as Recitals 2.

The possibilities of Electronic Music make it the perfect tool for exploring spontaneous composition. Recitals 2 is an example of two such events – both without a predetermined outcome – where the gathered and the musician experienced the music together. A receptive audience brings out van Zyl’s strengths, while the hushed space receives his work. The heat of this struggle melds into the music and spirit, softening and melting, then hardening and tempering the player. Each of this album’s two concerts moves powerfully and naturally, unsettling the world into which they intercede. A musician of the imagination van Zyl’s seeks the pure delight of providing an epic intimacy in the digital age. Determined to conjure kinetic joy an animating force tickles your mind and tugs on your heart – as agile sequencer antics thrill and the vulnerability of improvisation connects. In ever strengthening whirlpools of thought, rows of echoing tone patterns are deployed. Amidst the lines of echoing, dancing arpeggio notes a racing heart turns, runs and trills in melodic invention. Heroic keyboard leads and Mellotron harmonies peak over a pumping, commanding bassline – only later to be drawn down into shifting shadows of sustaining synthesized textures and a quiet sense of mystery. While cliff-high chords stall the dramatic momentum, an infinity of volumes provides a feeling of elation and abandon – only to descend to a skeletal negative space and a bewitching haze of free form randomness.

Recitals 2 takes each member of its audience on their own personal journey. With its deep space gateways and brilliant, skull crushing sequencer breakdowns, from the heights of its combustible, cut loose, superb heedlessness, on down to its quietly ominous consuming dark fields, this music invites wonder. Beginning with simple electronic devices and ending with the multi-dimensional world known only to the imaginative, Chuck van Zyl harnesses the machinery of night. Unblinking, completely in control, he performs in a cool constraint. It is remarkable that, after so many years, the creative flame still burns bright. His concerts are a probe of the calm facade, of the internal mystery – and reach towards the unseen depths within us all. Recitals 2 tells a powerful story of an exhilarated mind – a mind roaming well beyond the concert stage.

From the Press Release – 8 March 2018