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Album der Woche #45-2020- ZEN by Axess-

Axel Stupplich’s 8. Solo CD, neben seiner Arbeit bei Maxxes und Pyramid Peak

Seit 2002 ist Axel Stupplich auch solo unter dem Pseudonym Axess in der EM-Szene tätig und kann dabei auf bisher sechs CD Veröffentlichungen zurückblicken. Auch mit Max Schiefele besteht ein gemeinsames Projekt (Axess & Maxxess) mit bisher zwei CDs (Contact/2004 und Impact/2010). Andreas Morsch hat unter seinem Pseudonym „Project Andrew Rotten“ bisher eine CD veröffentlicht (En Passant/2005).
ZEN is the 8th solo album of Axess and the sequel to Seahsore. It consequently follows the musical route which has started a few years ago. The new CD starts with peaceful pads and warm harmonies which make you relaxed instantly. But don’t trust the peace for too long, already in the 2nd track you will be woken up and suddenly find yourself in a different world of deep basses and hypnotic beats. On the audio CD all 8 tracks of ZEN are combined with each other to form one single piece of musical art. Ideally it should be listened without any interruptions and with headphones it would be even more perfect to let you enter the new musical cosmos of Axess

Zum Download des Albums >>>>HIER LANG<<<<

Album der Woche #44-2020 – “Breathe” by Stefan Erbe

2020 war bis jetzt kein gutes Jahr für Events, Konzerte und generell für Veranstaltungen mit Publikum, das sich mit dem Künstler, dicht gedrängt, im gleichen Raum befindet…
Das wiederum hat sicher auch die eine oder auch andere Idee entstehen lassen und gerade auch in unserer Szene eine Vielzahl von Online-Events entstehen lassen. Auch das Konzert vom 2. Mai, das Stefan Erbe unter dem Motto “Nachtlichter” aus dem Planetarium Bochum gab, wurde live gestreamt und ist immer noch auf YouTube zu sehen.

Heute stellen wir sein aktuelles Album “Breathe” als unser Album der Woche vor. Es ist Stefan mal wieder gelungen ein dutzend musikalischer Perlen zu Tage zu fördern, die seine unverkennbare Handschrift zeigen, aber nicht wie der “X-te musikalische Aufguss von irgendwas” klingen. Überzeugt Euch selber und wenn es Euch gefallen hat, dann folgt ganz einfach diesem LINK und schon habt ihr die Möglichkeit, dieses und andere Alben auf der Homepage von Stefan als Download käuflich zu erwERBEn.

Album der Woche #43-2020 – “Footprints” by Michael Brückner

… und wieder mal was neues von Michael, diesmal allerdings nicht auf seiner Bandcampseite erhältlich, aber bei nahezu allen großen Onlinehändlern als und Streamingportalen.

Download H E R E

In early 2015, Tangerine Dream founder Edgar Froese passed away. Like many, I too was shocked by losing one of the founding fathers and main inspirations of the music we love!
A few weeks later, a friend who hosted a radio show – Christian Fiesel – invited me to contribute a track for an Edgar Froese tribute show that he was putting together. At first I hesitated, for I usually don’t do tribute tracks and felt that this were shoes to big to wear for me. However, he persuaded me to give it a try, and the result was the central track on this album – “Everlasting Footprints” (a title that has the initials EF!).
Another month later, I was asked to contribute to yet another memorial radio show – and for that purpose created several alternative mixes of that track. One of them is included in this album as well (but not the one that was aired). The two versions of “Everlasting Footprints” are quite different, and I guess it’s worth having them both!
At the time, I didn’t want to include these tracks on an album, because it would have felt like capitalizing on Edgar’s passing. But more than five years later, it seems appropriate to finally release this music.
Of course, I didn’t stop recording music since 2015, and in 2018 and 2019, I was yet again invited to contribute to different compilations which were specifically dedicated to Berlin School… more
released September 25, 2020

Michael Brückner used the following hardware and software synthesizers:
Waldorf Blofeld, Korg Z1, Korg 05R/W, ELKA Solist 505, Behringer Model D, NI Absynth, U-HE Zebra, U-HE Diva, Propellerhead Reason

Album der Woche #42-2020 ~~ToXyGeNeDK –RADIATION

TUNE IN 11.10. 15 Uhr German Time

Radiation is an album with 7 electronic tracks.

Radiation is as well as my album “Electronic Language” released in 2020 to celebrate the 10 years anniversary of the release of my first album “Electronica” back in 2010.

All tracks composed from March till July 2020.

Radiation is also available as CD. For more details please send an email to: or watch this video on youtube first:

Instruments used on this album:
Eminent 310 Unique
Access Virus C
Access Virus TI
Roland V-Synth XT 2.0
Moog SUB37
Yamaha MOX8
Roland TR-8

Korg Wavestate
Yamaha MONTAGE 6
Strymon TimeLine
EH 4800 Small… more
released August 7, 2020


Album der Woche #41–2020– Bouvetøya – The Fiction Makers

4.10. 15 Uhr CET

Fast genau ein Jahr nach dem Release des letzten Albums von Bouvetøya stellt Michael Jones sein neues Album “The Fiction Makers” vor:
“The Fiction Makers” war ein Projekt über vier Monate, das zufällig mit dem weltweiten Ereignis zusammenfiel, wo mangelnde Zeit für Kreativität plötzlich kein Thema mehr war. Ich glaube nicht, dass irgendjemand, der die Gelegenheit hatte, mehr Musik in seinen Studios zu machen, sich darüber beschwerte, dass an anderer Stelle der Bewegungsspielraum eingeschränkter war, aber dafür mehr Zeit zu haben, Klanglandschaften zu erforschen und kürzlich erworbene Instrumente und elektronische Klangerzeuger in Gebrauch zu nehmen.
Das neue Album folgt einigen Themen, die im letzten Album Geometrium Gestalt bekamen und beschäftigt sich auch mit ganz neuen Strängen.
Der Kern jeden Tracks beruht auf Liveaufnahmen im Studio mit zusätzlichen Overdubs; die Freude daran ist besonders das spontane Spiel ohne den Hang zur Perfektion, das lässt die Musik organischer und weniger klinisch rein klingen. “In Modular we trust…”
Das neue Album erscheint am 3. Oktober bei SynGate

Das Album gibt es HIER ZUM DOWNLOAD

Album der Woche #40-2020 – “Analog Overdose” by Fanger & Schönwälder

Es muss nicht immer ein neues Album sein, das wir als “Album der Woche” auswählen.
Es kann auch durchaus ein Meilenstein der EM-Musikgeschichte sein, also einfach mal reinhören.
Und das sagen die anderen:

This release from 2006 offers 80 minutes of relentless electronic music. This is the first release in the “Analog Overdose” series, and Thomas Fanger and Mario Schönwälder are joined by Lutz Ulbrich (from Ashra) on guitar on three of the eight tracks. Fanger and Schönwälder excel at creating elaborate recordings that employ slow-burn accretion to achieve languid structures of liquid sound, compositions (often generated via live improvisation) that utilize ambient stretches as routes to epic passages of emotional passion. With this release, the guys have sidestepped those long intros, diving right into the pinnacle meat. Lively patterns are swiftly established, then embellished into sparkling EM gems replete with vigorous pulsations and softly thumping beats. A delightful array of keyboard riffs constitute the majority of these cycles, twinkling chords that chug alongside dreamily vibrant tonalities. Sweeping textures dip out of the sky, peppered with energetic loops of luxurious disposition. The trio of pieces featuring Ulbrich display even more animation as his space guitar slides into the mix with exhilarating results. While the electronics set up a ricochet chorus, the slippery guitar provides a mercurial counterpoint which undulates with creative abandon, producing ecstatic consequences. Sonic satisfaction runs high in these tracks. While a few of the pieces employ slow-building preambles, the pay off is diligent and rewarding as the steadfast structures merge and combine into lavish edifices of heavenly scope. The last track on the CD is a 24 minute piece recorded live in Berlin at Petrus Church on March 30, 2001. Here, the prologue delivers the audience into a panorama of thrilling pulsations seasoned with urgent resonance and pittering electronic rhythms. Auxiliary riffs effortlessly slide into the mix, increasing the density with elaborately fashioned variations of incredible beauty.
Matt Howarth, Sonic Curiosity

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

27.9. 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 Whalen

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