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Rudolf Heimann - Tiefenrausch (NEU)

15.01.2018
global
(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...


Rudolf Heimann - Tiefenrausch (NEU)

15.01.2018
global
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...


moonbooter - Cosmosonic (NEU)

15.01.2018
global
Bernd -Moonbooter-Scholl scheint auch zu den Musikern zu gehören, die keinen Stillstand mögen und ihre Arbeit, das ist in diesem Falle die Musik, ständig verbessern möchten.
Und gleich nach den ersten Minuten bestätigt sich diese Aussage, wo klar ist, die sechste Ausgabe seiner "Cosmo-Reihe", wird wieder ein Volltreffer!
Von daher kann sich eigentlich alle EM-Freunde auf 74 Minuten frische Musik freuen, bei der man so richtig schön mitgehen kann :-)
Fantastische Arbeit, lieber Bernd ! Uwe Sasse 1/2018 http://www.sequenzerwelten.de/moonbooter_main.html...


moonbooter - Cosmosonic (NEU)

15.01.2018
global
FR: Voilà ce qui arrive lorsque l'on prend le temps de déguster un album! On s'accroche à des structures où le mystère et la mélodie fusionnent avec élégance. Et tout ce qui nous semblait moyen au début, prend une toute autre proportion avec le positionnement des titres et les écoutes. Entre ses styles d'IDM, de rock électronique et de musique cosmique, Bernd Scholl réussit toujours à charmer un auditoire qui s'identifie à un de ces styles surtout grâce à sa forte présence mélodique. Et si un album arrivait à harmoniser tous ces genres? “Cosmosonic” y parvient! Sur près de 75 minutes d'une musique dont le lien commun est la forte présence de synthés et de solos de synthés, ce dernier album de Moonbooter atteint un nirvana inespéré où l'amateur de rock électronique fini par aimer son fougueux style de Dance Music et vice-versa. Un tour de force qui fait de cet album le plus beau et le plus complet de Moonbooter.
Une onde sonore venant du néant enveloppe une belle séquence vive qui sautille en solitaire. Une pulsation assourdie et forgée sur un effet de langue que l'on claque dans le palais se greffe à cette structure simple et motorique, battant à contre-sens et pas du tout sur la même cadence. D'autres éléments de percussions convergent vers l'introduction de "LIFO", donnant deux sens à une musique qui se dirige vers une bonne phase d'EDM. Des effets de voix grugées par de la radioactivité donnent alors un léger aspect de psy dance-music, alors que définitivement "LIFO" décolle en mode Dance avec une approche croisée dans un bon rock électronique. Lourd de ses gros accords juteux et animé par un joyau d'effets de percussions de tous acabits, le rythme est aussi entraînant que mélodieux avec un genre de techno pour zombies marinées dans du THC. Dès lors, "LIFO" donne le ton à un superbe album de MÉ mélodieuse fort bien conçue. Avec ses riffs de danse des années 70, "Caught by Melancholy" est un hymne à la danse très fidèle à la signature de Moonbooter. Des éléments très harmonieux de la MÉ des années Jive de Tangerine Dream respirent ici, ainsi que sur d'autres titres dont le trop fougueux "33 years Later", le genre de truc qui va vous rendre à bout de souffle. Comme à chaque album de la série Cosmos, Moonbooter réussit à pondre de belles perles en liant la MÉ de style Berliner à des hymnes de danse un peu moins décapant. Comme le splendide "I remembered Tomorrow" et son rythme lourd et lent qui est matraqué par de belles nappes d'un synthé oublié dans les studios de Le Parc. Le genre de truc qui vous amène à un autre niveau! Et ce n'est pas le seul ici. "Within Time Machine" est une superbe ballade qui s'échappe des entrailles d'une ouverture imbibée d'ambiances vaporeuses dont les tonalités et la structure contemporaines n'ont rien à envier aux années vintages. Le rythme est lourd et plus lent que dans "I remembered Tomorrow" qui est plus du style down-tempo, avec une dense brume bleutée qui encercle une belle procession mélodique et de très bons effets percussifs qui secondent des percussions lourdes, lentes et assommantes. Ce sont deux très bons mouvements de lascivité cérébral avant que "33 years Later" et sa musique très Dance, qui survit par des pulsations saccadées et surtout des cliquetis de percussions, soit trop rapide pour mes pieds. Bernd Scholl lance des tuiles d'harmonies qui transcendent les martèlements maladifs des rythmes de plomb qui plombent la surface de “Cosmosonic”.
Sauf que ce dernier opus de Moonbooter est plus qu'un simple album de danse. Le musicien Allemand donne beaucoup d'espace ici à des ambiances très cosmiques, comme dans l'ouverture de "I remembered Tomorrow" et "Cosmic Thunder". Cet autre superbe titre est tout simplement addictif. Notre esprit est chatouillé par sa lente procession qui est majestueusement nourrie par de splendides solos de synthé et d'orgue qui rappelle les plus beaux jours de Klaus Schulze…et même plus. Si le rythme semble imparfait, les ambiances qui l'entourent corrigent cette situation jusqu'à murissement complet autour de la 6ième minute. Trop tard, on est déjà accro à cause de ces solos et des effets, comme ces coups de tonnerres et ces nappes d'orgue, qui nous pétrifient sur place dès les premières secondes de ce que je qualifie comme étant le plus beau titre du répertoire de Moonbooter. Point! "Now and Then" est aussi animé et vivant que "Caught by Melancholy" alors que "Inside Space" est un titre d'ambiances poussé par des effets de réverbérations sur un nid de tranquilles ondes flottantes. Des arpèges sonnant comme un concerto pour harpe alimentent un peu une structure qui cherche à s'éveiller et dont la finale est broyée par un gros respire radioactif. Cet élément d'intensité propulse "Outside Space" vers un mélange de rock électronique et de Dance Music. Un des titres, avec "Caught by Melancholy" et le fougueux "Anatal" et sa spirale d'arpèges résonnants qui assomme les sens, que j'ai aimé après quelques écoutes. La voix ici fait très TD, pé...


moonbooter - Cosmosonic (NEU)

15.01.2018
global
EN: That's what happens when we take the time to savor an album! We hang on to structures where the mystery and the melody are merging with elegance. And all that seemed to us average at the beginning, takes another proportion with the order of the tracks and some other listening. Between his IDM, his E-rock and his cosmic music styles, Bernd Scholl always manages to charm an audience which identifies with one of these styles especially because of his strong melodic presence. And if an album could harmonize all these kinds? “Cosmosonic” is the one! On about 75 minutes of a music of which the common link is the strong presence of synths and of synth solos, this last album of Moonbooter reaches an unhoped-for nirvana where the fan of E-rock eventually ended to like his feisty sound of dance style music and vice versa. A tour de force which makes of this most beautiful and the most complete album of Moonbooter.
A sonic wave coming from the nothingness wraps a beautiful lively sequence which skips in solo. A pulsation dimmed and forged like an effect of a tongue that we slam in the palate is grafted to this structure simple and motorik, beating in countersense and not at all on the same pace. Other elements of percussions converge on the introduction of "LIFO", giving two senses to a music which goes for a good phase of EDM. Effects of voices erode by radioactivity give then a light aspect of psy dance-music, while definitively "LIFO" takes off in mode Dance with an approach crossed with a good E-rock. Heavy of its big juicy chords and livened up by a jewel of percussion effects of all tones, the rhythm is as lively as melodious with a kind of techno for zombies marinated in THC. From then on, "LIFO" sets the tone to a stunning melodious and highly worked EM album. With its riffs of the 70's dance music, "Caught by Melancholy" is a hymn to dance very faithful to the signature of Moonbooter. Very harmonious elements of the Jive years from Tangerine Dream breathes here, as well as on other titles among the much fiery "33 years Later", the kind of thing which is going to make you run out of breath. As in each album of the Cosmos series, Moonbooter manages to lay down some beautiful pearls by linking Berliner EM style to hymns of dance a little less deafening. Like the superb "I remembered Tomorrow" and its heavy and slow rhythm which is clubbed by very nice synth pads from a synth forgotten in the studios of Le Parc. This is the kind of thing that brings you to another level. And it's not the only one here. "Within Time Machine" is a wonderful ballad which escapes from the depths of an opening soaked of a nebulous painting among which the contemporary tones and the structure have nothing to envy to the vintage years. The rhythm is heavy and slower than in "I remembered Tomorrow", which is more in a down-tempo style, with a dense bluish mist which surrounds a beautiful melodic procession and some very good percussive effects which assist the heavy, slow and stunning percussions. They are two very good movements of lasciviousness cerebral before that "33 years Later" and its very Dance music style, which survives by jerky pulsations and especially jingles of percussions, gets too fast for my feet. Bernd Scholl throws tiles of harmonies which transcend the insane hammerings of the rhythms of lead which fill the surface of “Cosmosonic”.
Except that this last opus of Moonbooter is more than a simple album of dance. The German musician gives a lot of space here to some very cosmic vibes, like in the opening of "I remembered Tomorrow" and "Cosmic Thunder". This other superb title is simply addicting. Our spirit is tickled by its slow procession which is majestically fed by wonderful solos of synth and of organ which calls back the most beautiful days of Klaus Schulze … and even more. If the rhythm seems imperfect, the ambiences which surround it correct this situation up until the complete ripening around the 6th minute. But it's too late, we are already hooked because of these solos and effects, like these thunderclaps and these layers of organ, which petrify us on the spot from the first seconds of what I qualify as being the most beautiful title of Moonbooter's repertoire. Period! "Now and Then" is as much livened up and catchy as "Caught by Melancholy" while that "Inside Space" is a title of ambiences pushed by effects of reverberations on a nest of quiet floating waves. Arpeggios ringing like a concerto for harp feed a little a structure which tries to wake up and whose finale is crushed by a big radioactive breath. This element of intensity propels "Outside Space" towards a mixture of e-rock and dance music. One of the titles, with "Caught by Melancholy" and the fiery "Anatal" and its spiral of resonant arpeggios which knocks out the senses, that I liked after more than one or two listening. The female voice here sounds very TD, period Atomic Seasons. "Perfect Stranger" is another very catchy and wonderful ballad...


moonbooter - Cosmosonic (NEU)

02.01.2018
global
Seit über drei Jahren hat mich kein Moonbooter-Album so überzeugt wie die neue „Cosmosonic“. Endlich gibt es wieder den Moonbooter, der Pioniergeist und Retro perfekt miteinander verbindet. Schon der zweite Track „Caught by Melancholy“ flasht ungeheuerlich. Ein warmer, fulminanter Instrumentaltrack mit Gitarrenklang und fettem Arrangement … einfach zum Niederknien! Wie lange habe ich auf so ein Glanzstück von ihm gewartet? Doch damit nicht genug, es geht volle Kraft voraus: Das unwiderstehliche „I Remembered Tomorrow“ bohrt sich gnadenlos in die Gehörgänge ein. Früh kristallisiert sich: Die Drum-Programmings im gesamten Album sind ein starkes Fundament. Wer Moonbooter kennt, weiß auch, dass es oft und gerne rhythmusbetont zur Sache geht.

Es ist schon eine Crux, wenn man sich in seinem Sessel auf einen vermeintlich relaxten Musikgenuss einstellt und plötzlich der Wind um die Ohren braust – und Finger und Füße nicht stillhalten können. Wenn dann noch die hübsche Dame im Astronautenlook zum Trip in die Zeitmaschine einlädt ist der Drops gelutscht. „Cosmosonic“ ist ein geiles Album! Klingt an den richtigen Stellen sanft und gleichzeitig sehr kraftvoll. Die meisten Titel starten sphärisch, sodass man abdriften möchte und kaum ist man mitten drin, stehst du auch schon auf der Tanzfläche! Da das Album in der unkomprimierten, originalen Studioauflösung von 48kHz und 24 Bit erhältlich ist, überzeugt auch der massive Sound. Allerdings fällt bei mir persönlich ausgerechnet der längste Track „Cosmic Thunder“ durch. Er soll eine Hommage an die Zeiten des Krautrocks sein, womit ich leider nichts anfangen kann. Egal, das Album ist wohl eher eine Reise durch die Zeit als zu den Sternen, doch die zwei atmosphärischen Songs „Inside Space“ und „Outside Space“ halten was sie im Titel versprechen – genial. Im letzten Track „Follow Me“ erschallt der verklärte Gesang von Bernd Scholl himself aus dem Off, um sich später mit wummernden Beats und starken Sequenzen zu vereinen. Die neue „Cosmosonic“ knüpft nahtlos an die erfolgreiche Zeit der „Cosmologica“-Ära an. Macht echt Spaß! ___ Will Lücken, 31.12.2017 https://www.will.alpendeich.de/moonbooter-cosmosonic-2018/...