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Rudolf Heimann - Tiefenrausch
[cdr-hm1801]

€12.99
(CD/CDR/DVD)



10.02.2018
global
1 von 5 Sternen1 von 5 Sternen
Rudolf Heimann ist kein Unbekannter in der Elektronikszene. Er spielte bereits Gitarre und Bass in verschiedenen Bands, als er Tasteninstrumente kennenlernte und in sein Heimstudio integrierte. Innerhalb weniger Jahre wurde er zum Synthesizer-Enthusiasten und bereits 1991 erschien sein erstes reguläres Album „Strange Delight“. Die bisherigen Veröffentlichungen von Heimann waren vor allem von sehr Song orientierten Stücken geprägt. Dabei wandelte er zwischen den Welten der Elektronik- und der Rockmusik.






Auf seinem neuesten Longplayer, dem ersten auf dem MellowJet Records-Label nimmt uns Heimann mit in die Tiefe. Der erste Eindruck, dass es sich um die Tiefen des Ozeans handeln könnte war aber falsch, denn er entführt den Hörer in eine Höhlenlandschaft tief unter der Erde. Passend dazu ist der Titel „Tiefenrausch“ gewählt.

Die Musik auf „Tiefenrausch“ zeigt sich von seiner elektronischen Seite mit erfrischenden Einflüssen von Klassik, Dark Ambient, Progressive Rock und EDM. Auf „Tiefenrausch“ vertont Heimann seine Erfahrungen und Erlebnisse seiner zweiten großen Leidenschaft: Als Höhlenforscher hat er nicht nur die zahlreichen Höhlen seiner Heimat erkundet, sondern auch die Reste des Altbergbaus, uralte Stollen und vergessene Tunnel. Höhepunkt war hierbei sicherlich die Entdeckung der „Rodener Spaltenhöhle“ im Jahre 2016.

Mit dem Stück „In die Tiefe“ (das passt wirklich hervorragend als Eingangstitel) beginnt das neue Album, das als CDR Anfang 2018 erscheint. In diesem 7:25minütigen Stück zeigen sich zunächst die Einflüsse von Pink Floyd auf Rudolf’s Musik. Dieses Feeling wird durch den Einsatz der Akustikgitarre, die Anfangs kraftvoll angeschlagen durch den Raum zieht, erzeugt. Dann wird es sehr romantisch, wie bei Andreas Vollenweider’s Musik. Das sorgt schon zu Beginn für eine Gänsehaut. Langsam entwickelt sich das Stück, in dem nach gut zwei Minuten ein Rhythmus hinzukommt und atmosphärisch/rockige E-Gitarren hinzugefügt werden. Rudolf schafft es den Hörer damit schnell in seinen Bann zu ziehen. Im weiteren Verlauf kommen Sequenzerrhythmen auf und die Musik nimmt unter anderem Züge an, die an Tangerine Dream & Co. erinnern. Es fallen mir viele verschiedene Namen ein, doch der von Heimann ist am präsentesten.

Das zweite Stück „Excentriques“ (kommt aus dem französischen und ist eine seltene Sinterbildung. Sie können von allen Seiten in der Höhle wachsen. Sie sind sehr unregelmäßig und oft hakenförmig, verdreht, faden- oder wurmförmig. Die Besonderheit von Excentriques besteht darin, dass sie der Schwerkraft zuwider wachsen können. Quelle: Wikipedia). Dieser Track ist sehr rhythmisch mit einem stampfenden Beat unterlegt.

Der Track „Schwarze Ruhe“ wird seinem Namen gerecht, denn anfangs besteht das Stück nur aus einigen Synthiesounds, die in einen sehr sakralen und Soundtrack artigen Part übergehen. Dabei kann ich mir gut eine große Halle unter der Erde vorstellen.

In dem symphonisch und sehr hymnisch angelegten Track „Schlägel und Eisen“ spricht André „Numen“ Winkhaus einen Text, den man allerdings nicht wirklich verstehen kann, da er mehr geflüstert im Hintergrund liegt und von der Musik übertönt wird. Das Stück hat durch seine Instrumentierung und der hymnischen Art wieder etwas von einem monumentalen Soundtrack. Die E-Gitarre im zweiten Teil des Stückes gibt dem Ganzen noch einmal eine besondere, rockige Note, die dem Track sehr gut zu Gesicht steht.

Einen hohen Spannungsbogen weist dann das 13minütige „Alleingang“ auf, das zunächst sehr ruhig beginnt, aber nach gut einer Minute an Fahrt aufnimmt. Die Violinensounds sorgen wieder für ein Soundtrack artiges Flair, während ab der Hälfte ein unwiderstehlicher Rhythmus aufkommt in den sich Elektronikmusik einwebt, die an frühe Tangerine Dream & Co. erinnert. Weitere Sounds ergänzen die Musik und führen sie in weitere Gefilde. Das ist wirklich klasse gemacht.

Ein tiefer Synthieton leitet dann in den sechsminütigen Titeltrack ein. Dieser schwillt gut drei Minuten unter leichten Veränderungen an, dem dann nur noch ein Sequenzerrhythmus spendiert wird. Den Abschluss bildet dann das leicht rockig/poppige „Tageslicht“, das den Hörer langsam wieder ins Hier und Jetzt transportiert. Hier besticht vor allem die wunderbare Pianomelodie, die um sehr ansprechende Akustikgitarrenakkorde angereichert wird. Im weiteren Verlauf kommen dann noch Keyboardklänge hinzu. Ein passender Ausklang aus dem Album.

„Tiefenrausch“ ist ein sehr schönes Album des aus Iserlohn stammenden Rudolf Heimann geworden. Rock, Pop und Elektronik werden in perfekter Form in den einzelnen Stücken miteinander verbunden. Dabei entstanden teilweise traumhafte Melodien.

Stephan Schelle, Januar 2018



15.01.2018
global
1 von 5 Sternen1 von 5 Sternen
(Very melodic Berliner style with a touch of EDM)
Since Into the Unknown, appeared in 2013 on SynGate, Rudolf Heimann clocks with more regularity at the scene of EM. Lugging around his compositions, where essences of rock and of progressive rock flirt with an EM approach very near of the melodious Berliner style, the German musician is roaming from label to label in order to find the one which is the most suitable to his music. With his last opus, he strikes at the right place by confiding the guides of “Tiefenrausch” to Bernd Moonbooter Scholl who so gives to his music this necessary depth allowing to weave skillfully the links between the various styles which sparkle through this album which in the end is very seducing.
A riff of acoustic guitar, kind of Pink Floyd, opens the matrix of “Tiefenrausch”. The vibes are in suspension with these chords which fall to meet those more melodious of a piano. My ears dive into a familiar universe; that of Innovative Communication. With fragrances of Tee Kay which merge with the melodious piano notes of Peter Seiler, Rudolf Heimann's music becomes soaked with these minimalist structures which live by mixing their essences. But there is more! These fragrances, after some phases of uncertainties, hang on to an electronic hymn of a kind of P'Cock in the rhythmic pattern of House in the Storm, but in a less violent way, another one of those albums which have delighted the ears of several fans of the New Berlin School style of EM. And the rhythm goes in a circular race with sporadic momentums and lines of sequences which skip in stroboscopic strands to merge in a rather contemporary decoration. The guitar expresses itself in this structure with harmonies, as plaintive and like a good solo segmented in many parts which are scattered between the 7 minutes of "In die Tiefe". This first title gives the color of the ambiences and the form of the rhythms of “Tiefenrausch”. On lively structures, excepted for the more ambient phases which are "Schwarze Ruhe" and the title-track, the music of this last Rudolf Heimann's album is soaked with these ascending rhythms parading like a vertical big 8. The guitar and the synths are dividing the kingdom of stars with solos which transport us on lively structures. It's with background noises of an intergalactic cave that the electronic elements of "Excentriques" introduction instigate the awakening of sequences which skip in delicious equestrian kicks. Another pulsating line livens up, arousing up percussions and robotic voices and especially introducing the title to a violent explosion of Dance & Trance faithful to the signature of the German label. The rhythm makes very Moonbooter with a beautiful harmonious section forged by splendid solos which sing and coo as only an electronic nightingale knows how to do it. These solos moreover add a more attractive musical depth than these Boom-Boom of lead which metamorphose more or less the very EDM approach of "Excentriques". We eventually end to like it, it's without appeal! Just a little respite for our ears? It's doubtless the idea behind the vast extent of floating layers coming from the Zenith and of seraphic voices which is "Schwarze Ruhe". Other lines, always so floating, screech in the décor, thus giving a more acid dimension to a good title of ambiences. Strata of violins in a chaos of sounds decorated by a fluty wave, "Schlägel und Eisen" escapes from a double line of these jerky orchestrations to roll towards a good slow e-rock and filled up with good solos of a guitar as much fascinating as a synth. This is a good cosmic slow dance with murmurs which really add nothing special to the title.
"Alleingang" is THE track of this Rudolf Heimann's very nice album. The music evolves with a breakaway of guitar riffs which flees an introduction sewn of silky winds and of azure breezes. These riffs get couple in a majestic ascending spiral, so giving the latitude necessary for the guitar to scatter its notes as well as its floating solos. Orchestrations soften the very New Berlin School vision of the movement, whereas percussions of a tribal kind invite the sequencer to throw a pot of sequences which sparkle on a well-oiled conveyor. Playing marvelously on the latitude of its 13 minutes, "Alleingang" shed its sonic skin smoothly for an ascending structure which swirls like these hypnotic circular structures faithful to the IC domain. Weeping cellos, as well as layers of astral sirens voice, beautify the circular procession of "Alleingang" that the electric six-strings of Rudolf Heimann decorate of short dreamy solos. The title-track is the second of ambiences in this “Tiefenrausch”. Its long lugubrious drones and their poly-sound tints clash in the rather joyful décor of this album. The alternate movement of the sequencer brings to the foreground an amphibian rhythm which remains anchored well in its fetal position. "Tageslicht" concludes this last Rudolf Heimann's album with a surprising appr



15.01.2018
global
1 von 5 Sternen1 von 5 Sternen
EN: Since Into the Unknown, appeared in 2013 on SynGate, Rudolf Heimann clocks with more regularity at the scene of EM. Lugging around his compositions, where essences of rock and of progressive rock flirt with an EM approach very near of the melodious Berliner style, the German musician is roaming from label to label in order to find the one which is the most suitable to his music. With his last opus, he strikes at the right place by confiding the guides of “Tiefenrausch” to Bernd Moonbooter Scholl who so gives to his music this necessary depth allowing to weave skillfully the links between the various styles which sparkle through this album which in the end is very seducing.
A riff of acoustic guitar, kind of Pink Floyd, opens the matrix of “Tiefenrausch”. The vibes are in suspension with these chords which fall to meet those more melodious of a piano. My ears dive into a familiar universe; that of Innovative Communication. With fragrances of Tee Kay which merge with the melodious piano notes of Peter Seiler, Rudolf Heimann's music becomes soaked with these minimalist structures which live by mixing their essences. But there is more! These fragrances, after some phases of uncertainties, hang on to an electronic hymn of a kind of P'Cock in the rhythmic pattern of House in the Storm, but in a less violent way, another one of those albums which have delighted the ears of several fans of the New Berlin School style of EM. And the rhythm goes in a circular race with sporadic momentums and lines of sequences which skip in stroboscopic strands to merge in a rather contemporary decoration. The guitar expresses itself in this structure with harmonies, as plaintive and like a good solo segmented in many parts which are scattered between the 7 minutes of "In die Tiefe". This first title gives the color of the ambiences and the form of the rhythms of “Tiefenrausch”. On lively structures, excepted for the more ambient phases which are "Schwarze Ruhe" and the title-track, the music of this last Rudolf Heimann's album is soaked with these ascending rhythms parading like a vertical big 8. The guitar and the synths are dividing the kingdom of stars with solos which transport us on lively structures. It's with background noises of an intergalactic cave that the electronic elements of "Excentriques" introduction instigate the awakening of sequences which skip in delicious equestrian kicks. Another pulsating line livens up, arousing up percussions and robotic voices and especially introducing the title to a violent explosion of Dance & Trance faithful to the signature of the German label. The rhythm makes very Moonbooter with a beautiful harmonious section forged by splendid solos which sing and coo as only an electronic nightingale knows how to do it. These solos moreover add a more attractive musical depth than these Boom-Boom of lead which metamorphose more or less the very EDM approach of "Excentriques". We eventually end to like it, it's without appeal! Just a little respite for our ears? It's doubtless the idea behind the vast extent of floating layers coming from the Zenith and of seraphic voices which is "Schwarze Ruhe". Other lines, always so floating, screech in the décor, thus giving a more acid dimension to a good title of ambiences. Strata of violins in a chaos of sounds decorated by a fluty wave, "Schlägel und Eisen" escapes from a double line of these jerky orchestrations to roll towards a good slow e-rock and filled up with good solos of a guitar as much fascinating as a synth. This is a good cosmic slow dance with murmurs which really add nothing special to the title.
"Alleingang" is THE track of this Rudolf Heimann's very nice album. The music evolves with a breakaway of guitar riffs which flees an introduction sewn of silky winds and of azure breezes. These riffs get couple in a majestic ascending spiral, so giving the latitude necessary for the guitar to scatter its notes as well as its floating solos. Orchestrations soften the very New Berlin School vision of the movement, whereas percussions of a tribal kind invite the sequencer to throw a pot of sequences which sparkle on a well-oiled conveyor. Playing marvelously on the latitude of its 13 minutes, "Alleingang" shed its sonic skin smoothly for an ascending structure which swirls like these hypnotic circular structures faithful to the IC domain. Weeping cellos, as well as layers of astral sirens voice, beautify the circular procession of "Alleingang" that the electric six-strings of Rudolf Heimann decorate of short dreamy solos. The title-track is the second of ambiences in this “Tiefenrausch”. Its long lugubrious drones and their poly-sound tints clash in the rather joyful décor of this album. The alternate movement of the sequencer brings to the foreground an amphibian rhythm which remains anchored well in its fetal position. "Tageslicht" concludes this last Rudolf Heimann's album with a surprising approach very Mike Oldfield in a combination of his



15.12.2017
global
1 von 5 Sternen1 von 5 Sternen
... Finde ich toll. Sehr schön detailreich und klassisch durch komponiert.... Codo (12/2017)