Album der Woche # 38-2020 – “Next Step” by Johan Tronestam

Next Step is an album inspired by the idea of colonizing planets and moons in the Solar System. The dream of taking a next step into the unknown, experiencing a new frontier land. Actually, this adventure has already begun with the exciting step taken by space travel in the 60s. The big steps are still to come, with our children of today and future generations. There are two future details that feel as if they will be ground breaking. One being stationed on the moon, the other our first trip to Mars. Thereafter, a great adventure continues and will grow as long as we strive forward.

As an album, Next Step is part of my earlier space-influenced albums. The previous album Cosmic Drama is the closest, but this passion for the universe was already started with the album Far Away (2012).

Next step was created in studio TeamQuasar on Åland. Some of the tracks are a bit older and others were created in the fall / winter 2019. The material for the album was originally 135 minutes of music which eventually became 8 selected tracks with almost 80 minutes of music. I hope this album provides a musically positive experience and that my interpretation of a continuing human quest for space shines through.

Johan Tronestam

Get it here

SoundTag special–Manikin Records–BK&S

6.08. 16-19 Uhr

Wer BK&S ist muss man nicht erwähnen. Hervorragende EM seit Jahrzehnten.Berlin School vom feinsten.
Alle Werke gibt es bei unserem Partner Manikin records H I E R BK&S Homepage H I E R


Bas Broekhuis
Born out of a marriage of musical and creative parents in 1963, Bas, the youngest of four children, was the only one who didn’t seem to be interested in music.

Through education and his membership of “The Society for Young Scientists and Inventors”, Bas concentrated on techniques. However, through these techniques, Bas started to build machines that could produce and manipulate sounds in an electronic way. Influenced by Tangerine Dream, Klaus Schulze and Vangelis, he began composing with his own generated sounds. Together with a few friends, Bas played in several electronic music based bands like:”El Sueno” (Spanish for “The Dream”), “The Evolution Project”, “Live Support System” and “the System” and performed on stage and in radio-& television shows. After this period of six years of composing, performing and experimenting with sounds and music, Bas started to make music on a solo base. The result of this was the tape ‘ Face Behind the Mask’, released on the first Dutch electronic music festival (KLEM-day) in 1988. One year later, Bas and Ron Boots performed together on that same festival as “project 2.1” and released the double-tape ‘Hydrhythmix’. In 1991 the first solo CD ‘The Escher Drawings’ was released. In 1992 Bas called Mario Schönwälder with the simple question “Do you need a drummer for your performance at the IGEM-Tag in Berlin”. 1994 was the year that Bas came in contact with Detlef Keller and Detlef had that same question: “Do you need an extra man?”

Detlef Keller
Born in Duisburg in 1959 and bought his First synthesizer, a Crumar DS2 in 1974. His collection of synthesizer’s growled in the following years, influence by the music of Klaus Schulze, Tangerine Dream and Vangelis and the wish to produce “those kinds of sounds”. (Crumar performer, Korg MS10 / SQ10, Roland JX3P / JX8P ect.)

In 1993 he released his cassette “Klanggedanken” in a small circle of friends. November that same year he got acquainted with the Dutch drummer and keyboarder Bas Broekhuis at a gig in Gelsenkirchen and released his first album, “The Story Of The Clouds” on Bas’ record label Audio Works. Through Bas he got in contact wit Mario Schönwälder in the spring of ’94. Detlef visited a summer party concert of both in the Berlin planetarium at the Munsterdamm and Detlef was invited to take a part and to support them in their upcoming concert in September on the spot. His first public appearance ever!

Mario Schönwälder
Born in Berlin in 1960. Started autodidactic experiments in 1984 on a Korg MS20 synthesizer in combination with the Korg SQ10 sequencer. (The analogue touch of a synthesizer or step sequencer still apeals to him). One of his first musical productions “The Ghost of the plateau from Nazca”, that was composed on borrowed instruments. This piece even had some airplay on a local radio station. More compositions saw the day in the periode between 1984 and 1987, sometimes with the aid of a guitarist ore a second keyboard player from the band “the nightworkers”. 1988 was the year that first two products were released on Bernd Kistenmachers Musique Intemporelle label; “Le Mur & Force Down”. (These two releases were also the last ones that were released on vinyl, all releases after that came on CD.) The next two CDs: “The Eye of the Chameleon” (1989) and “Hypnotic Beats” (1991) were also released on the Musique Intemporelle label. In this periode Mario performed on several concerts in Germany and Polen. Mario founded his own label Manikin Records in 1992. Until today his Manikin label released over more then 100 titles of Ashra, Klaus Schulze, Rolf Trostel, Edgar Froese and many more.

Album der Woche #37-2020 – “Scared Spaces” by Michael Whatlan

You can get the album here on amazon

Ten years in the making, “Sacred Spaces” is an epic electronic album by Michael Whalen, an award-winning composer who has released 33 solo and soundtrack albums since his 1984 debut. In addition to his work as a sound designer, Whalen has composed more than 800 TV and film scores as well as thousands of commercials, TV themes and video games. Aside from the stunning sound quality and the beauty of the music, “Sacred Spaces” is very different from 2019’s “Cupid Blindfolded,” Whalen’s first solo piano album in twenty years. Obviously not content to find a groove that works and then stay there, Whalen’s drive to keep venturing into new musical territory is part of what keeps his music so fresh and creative. In short, “Sacred Spaces” is one amazing album that will undoubtedly put Michael Whalen back on the top of the charts and earn him a slew of new awards.

“Sacred Spaces” began as an idea to create an orchestral album about Whalen’s personal search for a higher power. “There was a point where I ran out of gas, maybe because part of me didn’t really want an answer. A couple of years ago, I revisited some themes I’d written and thought that maybe I should do this as an electronic project…. Sacred Spaces is the expression of something that is impossible to say. Music can go to a lot of places words can’t. This is that record.” The creator of countless sounds for TV and films, Whalen was passionate about building Sacred Spaces on a foundation of new sounds, and for four months, he worked exclusively on creating more than 800 of them. Once that was done, the album came together in about six weeks. Every sound on the album is original.

“Sacred Spaces” opens with “A Metaphysical Morning,” a piece that begins with the sound of birds and then a mix of electronic effects before adding a catchy rhythm and ambient music that seems to blend city noises with a more peaceful natural setting. The layers of sound are hypnotic and keep the music constantly evolving. The title track draws you in with a quiet energy and fascinating instrumentation that ranges from obviously electronic to penny whistle to piano to ethnic vocals – very compelling and cinematic. “Ordinary Miracles” was the first track with a video, and that video is amazing – as is the music itself. The visuals really bring the meaning of the piece to life. “1000 Paper Cranes” is a tribute to Hiroshima victim Sadako Sasaki, a very young girl who died of radiation sickness after the blast. Whalen explains: “There’s a Japanese legend that if you create a thousand origami cranes, you’ll be granted a wish. Sadako’s wish was a world without nuclear weapons.” The music is a very effective blend of light, breezy instrumentation, ocean sounds, and a cinematic sweep. “An Ocean of Candlelight” is one of my favorites. Very peaceful and soothing, it has a very magical quality to it. Slow and atmospheric, “The Inbetween” expresses a range of emotions and feelings from peacefully floating to deep sadness. Gentle melodies weave in and out of the piece and some passages are fully ambient – I really like this one, too! (Actually, I love the whole album!) Appropriately, the album closes with “The Afterlife,” one of the most joyful and “fun” portrayals of life after death I’ve heard. Don’t miss “Sacred Spaces”!


Album der Woche #36–Outland 2–by Gerd Emmens

Wiedermal ein fantastischen Album von Gerd Emmens. Erschienen 18.8.2020.
30.8. 15 und 20 Uhr bei eurem Radiosender.

Composed, played and recorded in June 2020 in Studio Gert Emmens, Ede, Netherlands with theexception of track 6 ‘Outlands’ which was composed in August 2014 exclusively for the conceCox.rt on October 18, 2014 at the E-live festival in Oirschot, Netherlands, where the entire Outland album wasperformed.
released August 18, 2020

Mixed and mastered in July 2020 (with the exception of track 6). Outpost part 1 will be released later this year on a free sampler CD from Gert’s record company Groove Unlimited ( Emmens uses custom made JvR sequencers and modulars exclusively ( thanks: Ron Boots, Ruud Heij. Laila Quraishi, John Adams.Many thanks for technical support: Jos van Ras, Mark

Das Album gibt es H I E R

Album der Woche #35–Divided by Two–electrmagnetism

Vom italienisch-belgischen Duo DIVIDED by TWO mit Gabriele Quirici von Perceptual Defence und Danny Budts von Syndromeda gibt es ein neues Ambient Album mit dem Titel “Electromagnetism”
Electromagnetism lädt zur Reise in die Stromkreise ein. Spannungsgeladen, eruptiv, wirkungsvoll auf allen Frequenzen. Ein Ambient-Album zum Eintauchen und mitschwingen. Schön langsam und tieffrequent bis zur Hochspannung elekromagnetischer Entladungen.
Release am 22. August 2020 bei SynGate

zu hören am 23.8. 15+20Uhr

zum download geht es H I E R


Album der Woche # 34-2020 – ” Lieder für geometrische Stunden” by Sankt Otten

“Überall gibt es Harmonie, Geometrie, Metaphysik und sozusagen auch Moral” Gottfried Wilhelm Leibniz

Man kennt sie, diese Momente, Stunden oder Tage, in denen man im Dreieck springen könnte, im Quadrat tanzen, sich nur noch im Kreis dreht, oder etwas einfach mal wieder aus einem anderen Winkel betrachten möchte. Sankt Ottens neues Album bietet Lieder für genau diese Szenen des Daseins. Der Soundtrack für das Auf und Ab des Lebens und die ganz persönlichen geometrischen Stunden.

Behutsam und meditativ führt uns eine Sequenz in das neue Werk ein. Ist das ein Synthesizer oder eine Gitarre? Egal! Eine Fläche schwebt vorbei und kehrt zurück, Schichten und Formen bauen sich auf, zuletzt verschmilzt das Spiel von Mensch und Technik zu perfekter Harmonie. Bombastischer geht es weiter in eine eher futuristischere Welt. Diese gibt sich kühl und surrealistisch, mit einer monotonen, bisweilen düster-dunklen Stimmung. Auch schön! “Du hast dem Schicksal die Show gestohlen” kommt dagegen minimaler daher. Im Ansatz fast schon rockig ohne Rock sein zu wollen. Die perfekte Schnittmenge aus Minimoog-Sequenzen, akustischen Drumsounds, Ebow-Gitarren und synthetischen Streicherklängen. Conny Plank hätte vermutlich sein OK gegeben. “Wer trifft schon immer den Ton”: Eine Rhythmik aus verschachtelten Patterns, spitzfindiges Arrangement, sanfte Chöre, Pausen, Verdichtung und Ausdünnung. Ist das schon Jazz? Viele Grüße aus der Echokammer. Die Maschinen geben alles. Sie verbiegen den Beat in geometrische Formen, lassen den Bass im Kreis spielen, überziehen den Song mit geisterhaften Chören und spucken dabei eine trügerisch anschmiegsame Traumwelt aus. Übrigens, es ist schon eine Weile her, daß Rototoms in Elektronischer Musik zu hören waren. Herrlich! “Dann doch lieber weiße Wände”, der heimliche Hit des Albums? “Die Blumen darfst du behalten”: Die Pause atmet, stetig eingehüllt im Nachhall des vergehenden Tons. Eine Gitarre im Zeitlupendialog mit einem Synthesizer. Letztendlich verglühen beide im interstellarem Raum. Diesen Titel braucht die nächste Blade Runner-Verfilmung. Das auf die Sekunde 45 Minuten lange Album passt auf eine Seite einer C90–Kassette und beschließt entsprechend stilecht mit warmen, analogen 80er Elektronik-Klängen. Mensch und Maschine Hand in Hand, durchzogen von einem hypnotischen Motorik-Beat einer 808, der zum Kopfnicken anregt und fast schon tanzbar sein könnte. Der rote Faden dieser Veröffentlichung ist ganz klar wieder das minimal repetitive Schlagzeug von Stephan Otten, während Oliver Klemms typische Ebow-Gitarren-Drones die Titel zum Schweben bringen. Auf Sankt Otten ist Verlass!

Das 1999 gegründete Osnabrücker Duo Sankt Otten veröffentlicht seit 2009 bei Denovali. Mit dem mittlerweile 11. Album, schenken sie uns wieder eine Perle zeitloser Instrumentalmusik. Die heilige Dreifaltigkeit aus Krautrock, Ambient und zeitgenössischer Elektronik, aber immer stilsicher und unverwechselbar Sankt Otten.

SoundTag Special #34 —Dutch electronic Masters-compiled by Harald Gramberg


Das Album hat Harald Gramberg ins Leben gerufen. Nur mit Dutch electricians !!
Mit dabei u.a. Gerd Emmens, Arjan Schaat, Meesha, Albert Steenbergen , rena vyn der Wouden……and more.

Unterstützt dieses Project und bestellt . H I E R

Schönen SoundTag wünscht das Modul303 Team

HAPPY BIRTHDAY KLAUS SCHULZE (73) Broadcast 4.8. 20-23 Uhr cet

Today it’s the Birthday of Klaus Schulze. One of the masters and pioneers of Classic/Modern Electronic Music.What a big influence he has on many of us :


Heute hat der Pionier der elektronischen Musik Geburtstag. Alles Gute zum 73.
Wolf Red hat für euch 3 Stunden Meisterwerke zusammengestellt. ab 20 Uhr ….also einschalten.

click here for listening

Viel Spass und dicke Ohren,,,,,euer Modul303-Team

Album der Woche # 32-2020 – “Out, the way we came in” by Perge

Dieses 5-Track-Album mit 75 Minuten Laufzeit war dank unserer Follower, die bei uns geblieben sind und weiterhin Interesse an unserer Musik zeigten, eine lange Zeit in der Entwicklung.
Aber, wie heißt es doch immer so schön? “Was lange währt….” und, ja es ist gut geworden
Durch eine Verschiebung zum elektronischen Sound der Mitte der 80er Jahre vorherrschte, kann man durchaus den Eindruck bekommen, dass dieses Album eher einem Music-Score für einen der typischen Actionfilme dieser Zeit ist. Durch den intensiven Einsatz von Wavetable- und FM-Synthese sowie analogen Ebenen und Sequenzen ergibt sich unser traditioneller Layered-Synth-Sound!
Das ganze Album gibt es hier unten: