Author Archives: Der_Brammi

Album der Woche # 14 – 2019 “Aufbruch” by Baaden & Cremer

Ende Dezember 2008 erhielt Andreas über das heute fast schon wieder vergessene MySpace eine merkwürdige Mail. Absender war ein gewisser Level π auf der Suche nach Leuten mit ähnlichem Musikgeschmack. Andreas entschied sich, die Nachricht nicht in den Papierkorb zu ziehen, und schrieb zurück. So lernten sich die Musiker Uwe Cremer aus Köln und Andreas Baaden aus Aegidienberg kennen.

Bald stellte sich heraus, dass sie sich nicht nur über Musik austauschen, sondern auch gemeinsam Musik schaffen wollten. Beide waren damals schon in diversen Musikprojekten unterwegs. Andreas befand sich mit seiner Rockband Basement Two gerade in der Gründungsphase, Uwe steckte mitten in der Produktion eines neuen Soloalbums. Ihnen war jedoch sofort klar: Diese Rheinland-Kooperation wird ein ganz eigenes Projekt!

Seit mehr als zehn Jahren treffen sich baaden/cremer nun schon zum Jammen – entweder in Uwes Studio in Köln oder in Andreasʼ „Antares-Studio“ in Aegidienberg. Bereits die ersten Sessions ergaben Material, das sehr eigenständig ist: klassischer Progrock gepaart mit elektronischer Musik der Berliner Schule. Mal waren es rein elektronische Jams, dann wurde wieder gerockt. Schließlich wurde auf einer Session im Dezember 2017 die Idee geboren, einen Teil der Stücke klanglich zu überarbeiten und zu veröffentlichen. Das Album ›aufbruch‹ war geboren.
Das ganze Album gibt es hier

Album der Woche # 11 – 2019 “Paradigma” by Son of Ohm

Fifth album by Son of Ohm. The album contains a new sonic journey, 4 main tracks connected by three short electronic improvisations. There are no pauses between songs, the album flows with music from start to finish, giving it a sense of timelessness.
High resolution 24 bit/ 88,2 kHz download provided!!
(Note that wav files perform gappless transitions between songs, mp3 adds a tiny pause at the beginning. Nothing to do about that).

Instruments used: synths (Analog & digital), organs, electric & bass guitar, cymbals, sequencers and drum machine.

Son of Ohm is organic electronic retro futuristic music, exploring the inner and outer space.
You will find many traces of seventies electronic music and a general playful & experimental approach with a slight psychedelic twist. Spaced and dreamy with lots of strange colour-sounds! Melodic kraut with trippy analog synth weirdness and trancendent soundscapes. Instruments of choice are analog & digital synths, transistor organs, magical electric guitar, sequencers, drum machine and effect devices.
get the whole album here

Album der Woche # 10 – 2019 “Digital Dreams” by NORD

Sylvain Lupari vom Webzine “Synth&Sequences” hat sich am 24.02.2019 über das neue Werk von Sztakics Istvan Attila, bka NORD. wie folgt geäußert:
“Digital Dreams” is a nice album where Nord still manages to enhance the value of his compositions with outcomes that defy any auditory wandering of the listener.
Nord hat a very good year in 2018 with two of his albums (Black Tears in 11th place and The Tree of Life in 18th place) which were nominated for the album of the year as part of the prestigious Schallwelle Award; the Oscars of Electronic Music. He starts 2019 on the right foot with an album which makes the share between his first love for big progressive rock and his late favorite heart-struck for EM. In doing so, “Digital Dreams” is quite consistent with his latest opuses. The music is influenced between dreams and slices of life that are real daydreams. The 6 structures proposed are evolutive and comfortably crisscross its two poles of music on compositions which don’t suffer from its always prolific writing. The rhythms are forged by a good vision of the sequencer and good drum acts, giving at times quite exciting structures, sometimes even wild, which are in continuous movements. The synths, still very piercing and strangely singular, are again very creative, both at the level of solos and effects, which often have a slight Vangelis side, as well as for the arrangements and melodies which have a little sibylline vision. In short, a nice album with very few dead moments and which starts pretty well 2019 for this likeable Romanian musician.
It’s with a wave of resonance and distortion that begins “Sirens Part 1”. Shimmering effects and flickering layers are joining to an introduction rich of its effects which clings to a zigzagging movement of the sequencer. This framework of the ambiences and the rhythm a bit organic reminds me a little of “A” 200 from Deep Purple that we found in the Burn album. The layers intersect their destinies in a movement of astral waltz, while the organic effects of the sequencer nourish a fluttering rhythm which always hesitates to start up. The synth is great with lamentations, or solos, of such a sharp intonation that it looks like a metal bow rubbing on the edge of a razor. These layers and piercing solos are very addictive and drive “Sirens Part 1” to timpani drums whose rolling bring the music into a phase of quite exciting electronic rock. The transition of ambient EM, still kept alive by vibrating organic sequences, towards a heavy electronic rock, hammered by drums and bitten by sharp riffs, is true to Nord’s signature even if a little more aggressive. The synth layers gradually extend their footprints to become hazy orchestrations with charms that gradually envelop the fury of “Sirens Part 1”. We are not far from the Scandinavian Progressive Hard Rock. These 11 minutes are a good indicator of “Digital Dreams” next 50 other ones to come, even if “Sirens Part 2” is more ambient with its symphony of laments that fill our ears to the top. Some have airs of Vangelis and others are bursting of intensity with a slow and moving flow. This avalanche of circular layers makes us forget the movement of the sequencer which drives a discrete and pulsating rhythm. The drum gets activate at around the 4th minute, giving more vitamins to this traveling movement which remains very attractive with those multilayers of iridescent tones and others flowing like magma of mist.
An evolving title, “Sirens Part 3” begins with a movement of the sequencer which spreads a range of oscillating tones sliding pleasantly in stereo mode between the ears. These intersecting sequencer flights weave a stationary structure in constant boiling. The sequencer regurgitates its organic tones after 5 minutes, expiring now some more limpid sequences and with a more classical Berlin School identity. This phase initiates an indecision between rock and an EM torpedoed by its hesitations between rhythm and ambient phases in a final without outlet. Inspired by a slice of life, a night walk with his boy, “The Stream Behind the Door” is a title that also sails between ambient vibes, which depict the enchanting surroundings of a river, and a heavy rock phase dynamited by aggressive percussions. But the ambiences dominate, in accordance with the tranquility which adorns the seraphic vision of a river flowing its quiet journey within a city. A bouquet of piano notes and a cloud of iridescent layers inspire a discreet pulsating rhythm which try to get out “Contemplations” from its cocoon of ambient elements. Nebulous synth pads spread an aura of mysticism over a structure in full rout. Effects and foggy pads feed an intensity which increases with the confident presence of the sequencer whose pulsations structure a motionless rhythm. The synth is displaying its charms with piercing layers and lines haunting a piano which disintegrates its notes in a contemplative vision more sibylline than dreamlike. “The Crows and the Boy” is a rather intriguing title. Inspired by an outing to the park with his son, the introduction is fed of crows’ cawing that are quietly swallowed by a very mathematical pulsating rhythm and by synth pads whose chloroformic approach is nuanced by crystalline doses which are flying out in long enigmatic laments. The croaking resist to form the heart of the elements of ambiances while the synth swaps its enigmatic laments into orchestral thin lines. Bass layers and sequencer rolling keys in form of direct current add a slight touch of intensity to this ambio-rhythmic structure which wobbles like the stationary movements of the EM where we can hear the little Nord ask his dad; Where are the crows? Gradually, the symphony of crows takes on the appearance of tension music that would go pretty well in a suspense movie. The synth solos are crucial with laments which become the accomplices of very cinematic orchestrations in a finale which embraces this vision of Nord electronic progressive rock.
In conclusion! “Digital Dreams” is a nice album where Nord still manages to enhance the value of his compositions with outcomes which defy any auditory wandering of the listener. Whether through changes in rhythm structures, synth solos which are as dominant as they are captivating, and arrangements; there is always something that sticks to the tympanums in this opus and which will certainly please Nord’s fan base as well as fans of Scandinavian Progressive Hard Rock in search of a different option, although it’s rather a shy entry but still an entry.
Sylvain Lupari (February 24th, 2019)

Das ganze Album gibt es hier.

Album der Woche # 09 – 2019 “Fractal” by Harald Nies

Von mathematischen Strukturen war und ist Harald Nies immer begeistert. So diente dieses Leitthema bereits auf “Torodial Sequences” oder “Axial” als Ideengeber für seine Konzeptalben. Nun folgt mit “Fractal” sein drittes Werk in dem es um außergewöhnliche aber berechenbare geometrische Strukturen geht. Musikalisch wurde das Thema sehr raffiniert umgesetzt. Sequenzen und Melodien wiederholen sich, ohne dabei monoton zu wirken. Organische Klänge vermischen sich gekonnt mit den starren Rastern der Elektronik. Die E-Gitarre tritt nur selten, aber wenn dann gewaltig in Aktion. Das Album ist sehr abwechslungsreich und zeigt dabei auf sehr angenehme Weise die vielfältigen Seiten des Musikers. Harald Nies spielt gerne mit den Klischees der EM. Fast spielerisch entwickelt er dabei immer neue Varianten, die seine immer ganz eigene Handschrift tragen. Und genau das ist es, was einen echten Musiker ausmachen.
Das ganze Album gibt es hier

Album der Woche # 07 – 2019 “Shani” by Palancar

Das Album dieser Woche stammt von Darrell Burgan aka “Palancar“. Er ist musikalisch im Ambient Bereich zu Hause und gleichzeitig Gründer des Netlabels “Earth Mantra” welches er auch bis 2012 betreut hat. Lange Zeit war es recht ruhig um das Label, bis sich 2014 einige Freunde des Labels zu einem Neuanfang entschlossen und auf der Bandcamp Plattform den Geist dieses legendären Labels neu belebten.
Darrell selber blieb der Musik dennoch treu und mit dieser Veröffentlichung aus dem Jahr 2015 möchten wir ihn mal wieder ins musikalische Gedächtnis zurückholen.
Das ganze Album findet Ihr übrigens hier.

Album der Woche # 04- 2019 – “Rétrospectif” by Smooth Genestar

The fourth album by Smooth Genestar has become the most personal and emotional work so far.

“Rétrospectif” offers a smooth and wide blend of Lounge, Downbeat, Chillout and NuJazz, influenced by the mood of classical music. So its no suprise, that classical instruments like Violins and Cello are playing an important role on the tracks.

Besides that, deep and jazzy chords on the Rhodes, melancholic chords on the Grand Piano and moving Pads will complete a sound full of longings.

Written at night to be enjoyed at night.

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Ladies & Gentlemen, thanks for listening and support!
released January 4, 2019

Album der Woche # 03 – 2019 – “Autumn” by MTA-Lab

MTA Lab ist ein Projekt aus dem Freundeskreis von Thomas Meier, der als TM Solver bekannt ist. Das Trio spielt die Grundstrukturen live ein, bevor die Nachbearbeitung und das Mastering im Studio von TM Solver erfolgt.

M für Marcel Margis

T für Thomas Meier (TM Solver)

A für Andre Danker

Das Album “Autumn” ist das dritte Album dieses Trios.

Marcel Margis – Synthesizer; Sequenzer; Drumcomputer

Thomas Meier – Synthesizer; Sequenzer; Drumcomputer; live Programming.

Andre Danker – Synthesizer, Guitar

Mastering und Arrangement: Thomas Meier

Coverlayout by CabGuy* (*Kilian Schloemp)

Marketed by CabGuy* Music Production

“Autumn” at Bandcamp (als 24 Bit 48kHz sowie als 96kHz HiRes-Download erhältlich)
Zu diesem Album existiert eine zusätzliche EP mit dem Titel “Autmnal”, dessen 45 MInuten lange One-Track-Aufnahme live im Studio im Vorfeld zu dem Album Autumn entstanden ist.
Das ganze Album findet Du hier.

Album der Woche # 02 – 2019 “Ruined Perspectives” by Grauglanz

Bei seinem mittlerweile 12. Album erzählt Grauglanz 5 musikalische Kurzgeschichten um sie dann zu einem musikalischen Buch zu vereinen.Jede für sich interessant, spannend und gut erzählt.
Für den soundtechnischen Feinschliff konnte wieder Marius ‘Kikai’ Hammerich gewonnen werden.
Wenn Ihr das Album immer wieder hören wollt, hier bekommt ihr es.