Analog Overdose 2

by Fanger & Schönwälder

supported by
/
1.
2.
11:41
3.
4.
5.
6.

about

2nd release of the Analog Overdose series.

Customer feedback:
"Dear Mario,
I've just received your 'Analog Overdose' and I must say - this music is amazing and extremely beautiful. This is the electronic music I like the most!
Thank you for the music!
Best regards,
Tomasz Kirmuc"

"hallo mario
tja gestern noch nachgefragt und heute schon im postkasten ;-))) das ich aber auch immer so ungeduldig bin . aber dafür muß ich dir sagen die cds sind der totale überflug
einfach genial !!!!. auch das cover . einfach aber gut . überhaupt kommt es ja hauptsächlich auf die musik an oder??. also rund um eine gelungende überdosis . habt dank dafür.
gruß aus waf norbert"

"Hallo Mario !
Alles reingezogen in der Kürze der Zeit.
Mein Urteil: insgesamt ein sehr gutes Werk.
Meine persönliche spontane Bewertung (max. 5 + ):
CD 1
Titel 1 + + + + +
Titel 2 + + +
Titel 3 + + + + +
CD 2
Titel 1 + + +
Titel 2 + + + + +
Titel 3 + + +
Kann man hieraus erkennen, was mir von Euch besser liegt?
Außerdem Gratulation zur 75. "Charge" von Manikin. Charge, ein Begriff aus unserem Stahlwerk in Riesa. Die bedruckten Seiten der beiden CD`s erinnerten mich an meine früheren ORWO-Tonbänder mit gleichem Durchmesser. Darauf über Mittelwelle vom Deutschlandfunk aufgenommene Titel. Anders ging es in Sachsen damals nicht. Ja, so vergeht die Zeit, die ich mir momentan mit Fanger & Schönwälder versüße.
Alles Gute für neue Werke!
Matthias Fiebiger aus Stauchitz"

Reviews:
This duo never hide their admiration for the classic Berlin school of electronic music. The title they use is self explanatory but somehow "Analog Overdose 2" is even more classic in style than their first recording which was more rhythmic in style. What we have here is long tracks, ambient soundscapes and sequences (which provide the dynamics and rhythm to the music). The sounds employed by Fanger & Schonwalder are obviously retro : you hear mellotron choirs and flute like sounds that pay homage to the classic years of Mr. Schulze and Froese & co.
An album for fans of the genre feeling nostalgic, for newcomers is also recommendable maybe they can have an idea with records like this one, what classic electronica sounds like.
Manuel Brum / Portugal, (c) www.groove.nl

>>>
These CDs from 2003 feature 157 minutes of Berlin School excellence by Thomas Fanger and Mario Schönwälder. Delicate keyboards trickle like crystalline waterfalls cascading over humming amplifiers, establishing a pastoral mood for the electronic loops to come. Sounds surge into prominence: majestic tones punctuated with lilting atmospherics and gurgling machine noises. A melodic presence emerges from this ambient soundscape, as notes organize themselves into harmonic sequences, cycling to generate an ascendant demeanor. Heavenly keyboards swarm overhead as riffs coalesce, forming an enticing fog around the listener's shoulders. Accreting strength with each loop, the music pursues this slow-build fashion to immense altitudes, creating a fervor that is both gentle and vibrant. Flutish keys flavor the mix, as the melodic backbone adopts more demonstrative expression. The music grows more powerful, unfurling its undulating sequences like a regal serpent with a multitude of grinning faces. Keyboard strokes become more forceful, providing a subtle rhythmic quality for the encircling chords. Stratospheric tonalities frequently surface, turning the sonic traveler's attention away from any earthly origins as the audience is lifted to heavenly perspectives. Less conventional sounds enter the mix, injecting otherworldliness to the now-dense melody. And this is just the first track--33 of the entire 157 minutes featured on these splendid disks.
This analog plethora is an overdose of congenial effect, delivering hypnotic tuneage that does more than sedate, invigorating the mind with unexpected promise and exciting internal discoveries. The second disk's music was recorded live at Liquidrom in Berlin, and the Futureworld Festival (with guitar by Ed Kurtz). Presumably both concerts were from 2002.
(Sonic Curiosity)

After the enormous success of Analog Overdose, the new EM duet, Fanger and Schonwalder, proposes a following, Analog Overdose II. This time, it’s double album, which presents the sequence and ambient side of Thomas Fanger and Mario Schonwalder. Recorded in studio, the CD1 offers to us a long title with sequences rhythms in The Art of Sequencing. Part I opens with small tinkling which fly in nothingness striated of fluty passages. A delicate opening, on a cosmic land where a scintillating line is withdrawing in a fluty universe. For this long musical epic, the German duet goes to the borders of Berlin School sonorities to modulate 2 superb parts with the attractions of will mellotrons of long ago, as well as heavy and long synthetic pads which are moulded within movements, such of the scintillating suction cups. The delicate crystalline line moults in rounder sequence, on beautiful modulations synthesized which float in a secondary harmony, in parallel with the sequential movement. Minimalist, the sequence becomes more animated, on an undulating movement, indeed cascades. Always wrapped moulding layers, the tempo accelerates using the help pulsatory bass and flying layers which float on top of the celestial choirs. Flutes or solos, sonorities of synth intersect in a harmonious slowness, whereas the sequence falls on one 2 delicate times, the bass having taken the guides instantaneously, on spectral solos. A short confusion, since rhythm becomes again more corrosive with the cascades effect accentuated sequencer. But the whole in a sound jungle where flutes, choirs and pads always fly, searching a modulation to hang. This swirl of indecision describes the flourishing pasture of the ways to be taken. Fanger and Schonwalder go there for the rhythm hatched by a sequencer to the magnetic reverberations with a tempo accentuated by the funky effect of the chords sequences in cascades. Zwischenton begins on gurgling from whales coming straight from twilight zone. A linear movement with the multiple sound effects, mixing cosmos/terrestrial on superb synthetic modulations, twinned with a nostalgic piano. A title at the same time magic and resting. A prelude to the big magnetic and corrosive droning opens The Art of Sequencing Part 1I. Who howls do not bite, this droning dies out in the breaths of a piano to hesitant keys which lay down its harmony on a bed with multiple balls rattling. And there I seek where our German duet is located. In this virtual jungle where a cable is a liana, the pulsations thunder and become a rotary spindle with symmetrical pulsations. From which leaves a fluid sequence, with the sequence undulating and fast mobility, accompanied by a fluty mellotron. Minimalist, this procession runs with fine modulations, bringing weak breaks in the tempo, in a sound decoration enchanter; sound effects, voice with the multiple intonations, solos with the unimaginable forms and we all know that Fanger & Schonwalder overflow of imagination, flutes, mellotron, anvils modulations, xylophonic percussions with doubled sequences, voice of sirens trailing and bewitching. Any form of synthetic sonorities passes there, misleading even hearing, to decorate this 2nd part of a melodious and hypnotic high level structure. In my opinion, it acts of the best title on this double album.
The 2nd CD is a superb contrast with CD 1. First, it’s a unique rendezvous for fans of gliding and floating music. Especially for the portion of the famous spectacle in Liquidrom of Berlin, Liquidrom Tape is a long atonic movement with multiple vocal and sound effects of deep seas. Fine modular loops infiltrate this 1st part, where dark choirs are moulded with fragmented and acute solos. A diving where each sector is covered by a guard musical. After the visit of the chimes, we planes deeply in a dense territory where more celestial tinkling and voices attract us, like underwater sirens, on a hesitant violin veil. Quite as beautiful and nebulous, thanks to a superb Magic Flute, the 2nd part is a mixture of distressing beauty. The heavy pads with dark sonorities, which drone constantly, bring an obscure colour. Whereas beyond strike anvils, see them celestial bring silky lines which cross the fluids turbulence. Within has Real Dream brings a movement more sequence. The intro is superb with its long pads that are melting in an obscure decoration, while moulding a slow rhythm. Around the 8th minute, a sequence rolls at high speed, surrounded of beautiful a fluty mellotron. Heavy, the sequence undulates with force on pads and choirs with heavy undulations. An intense movement which points out the impromptu madness of Tangerine Dream, especially the sequence and the flute, of the 70’s. But the more the track advances, the more they look like RMI with the sharp guitar of ED Kurtz and the hopping sequences which give an echotic illusion. A heavy title which rolls on a superb sequence encircled by wave solos and fragmented choirs. Another excellent title signed Fanger Schonwalder. Analog Overdose II is more than 3 hours of pure electronic music which travels between sequences and atmospheres. Sometimes violent (Within a Real Dream), sometimes melodious, even nostalgic (Zwischenton), the German duet amaze by the depth of its imagination, as well as the growing complicity which unites 2 wonderful musicians, for our truly pleasure.

Après l’énorme succès de Analog Overdose, le nouveau duo de la MÉ, Fanger et Schonwalder, nous propose une suite, Analog Overdose II. Cette fois-ci, il s’agit d’un album double, qui nous présente le côté séquencé et le côté ambiant de Thomas Fanger et Mario Schonwalder. Enregistré en studio, le CD1 nous offre un long titre aux rythmes séquencés en The Art of Sequencing. La partie I ouvre avec des petits tintements qui voltigent dans un néant strié de passages flûtés. Une ouverture délicate, sur un fond cosmique où une ligne scintillante se démarque dans un univers flûté. Pour cette longue épopée musicale, le duo Allemand va aux confins des sonorités de la Berlin School pour moduler 2 superbes parties avec les attraits des mellotrons d’antan, ainsi que de lourdes et longues nappes synthétiques qui se moulent aux mouvements, telles des ventouses scintillantes. La délicate ligne cristalline mue en séquence plus ronde, sur de belles modulations synthétisées qui flottent dans une harmonie secondaire, en parallèle avec le mouvement séquentiel. Minimaliste, la séquence devient plus animée, sur un mouvement ondulant, en effet cascade. Toujours enveloppé de strates moulantes, le tempo accélère à l’aide d’une basse pulsative et de strates volantes qui flottent au dessus des chœurs célestes. Flûtes ou solos, les sonorités du synthé s’entrecroisent dans une lenteur harmonieuse, alors que la séquence tombe sur un 2 temps délicat, la basse ayant pris les guides instantanément, sur les solos spectraux. Un court embrouillement, puisque le rythme redevient plus mordant avec l’effet cascade accentué du séquenceur. Mais le tout dans une jungle sonore où flûtes, chœurs et nappes voltigent toujours à la recherche d’une modulation à accrocher. Ce tourbillon d’indécision décrit le pâturage florissant des chemins à prendre. Fanger et Schonwalder y vont pour le rythme hachuré par un séquenceur aux réverbérations magnétiques avec une cadence accentuée par l’effet funky des accords séquencés en cascades. Zwischenton débute sur des gargouillis de baleines venant au-delà du réel. Un mouvement linéaire aux multiples effets sonores, mélangeant cosmos/terrestre sur de superbes modulations synthétiques, jumelées à un piano nostalgique. Un titre à la fois magique et reposant. Un prélude aux gros grondements magnétiques et corrosifs qui ouvrent The Art of Sequencing Part 1I. Qui hurle ne mords, ce grondement s’éteint dans les souffles d’un piano aux notes hésitantes qui couche son harmonie sur un lit au multiple cliquetis de billes. Et là je cherche où se situe notre duo Allemand. Dans cette jungle virtuelle où un câble est une liane, les pulsations grondent et deviennent un fuseau rotatif à pulsations symétriques. Il en sort une séquence fluide, à la mouvance ondulante et rapide, accompagnée d’un mellotron flûté. Minimaliste, cette procession séquencée coule avec de fines modulations, amenant de faibles cassures dans le tempo, dans un décor sonore enchanteur; effets sonores, voix aux multiples intonations, solos aux formes inimaginables et on sait tous que Fanger & Schonwalder débordent d’imagination, flûtes, mellotron, modulations enclumées, percussions xylophoniques aux séquences doublées, voix de sirènes traînantes et envoûtantes. Toute forme de sonorités synthétiques y passe, trompant même l’ouïe, pour orner cette 2ième partie d’une structure mélodieuse et hypnotique de haut niveau. Selon moi, il s’agit du meilleur titre sur ce double album. Le 2ième cd est un superbe rendez-vous pour les amateurs de musique planante, de musique flottante, surtout pour la portion du fameux spectacle au Liquidrom de Berlin, Liquidrom Tape I est un long mouvement atonique aux multiples effets vocaux et sonores des fonds marins. De fines boucles modulaires infiltrent cette 1ière partie, où des chœurs ténébreux se moulent à des solos fragmentés et aigus. Une plongée où chaque secteur est couvert par un garde musical. Après la visite des carillons, on plane profondément dans un territoire dense où tintements et voix plus célestes nous attirent, comme des sirènes sous-marines, sur un voile violoné hésitant. Tout aussi belle et nébuleuse, grâce à une superbe flûte enchantée, la 2ième partie est un mélange de beauté angoissante. Les lourdes nappes aux sonorités sombres, qui bourdonnent constamment, apportent une teinte obscure. Alors qu’au-delà des frappes enclumées, les vois célestes apportent de soyeuses raies qui croisent une turbulence des fluides. Within a Real Dream apporte un mouvement plus séquencé. L’intro est superbe avec ses longues nappes qui se fondent dans un décor obscure, tout en moulant un rythme lent. Vers la 8ième minute, une séquence roule à fond de train, entouré d’un beau mellotron flûté. Lourde, la séquence ondule avec force sur des nappes et chœurs aux lourdes ondulations. Un mouvement intense qui rappelle les folies improvisées du Dream, surtout la séquence et la flûte, des années 70. Mais plus le morceau avance, plus ça ressemble à du RMI avec la guitare tranchante de Ed Kurtz et les séquences sautillantes qui donnent une illusion échotique. Un titre lourd qui roule sur une superbe vague séquencée, encerclée de solos et de chœurs fragmentés. Un autre excellent album, signé Fanger Schonwalder. Analog Overdose II, c’est plus de 3 heures de musique électronique pure, qui voyage entre les séquences et les atmosphères. Tantôt violent (Within a Real Dream), tantôt mélodieux, voire même nostalgique (Zwischenton), le duo Allemand étonne par l’étoffe de son imagination et la complicité grandissante qui unit 2 excellents musiciens, pour notre plus grand plaisir.
Sylvain Lupari for Guts Of Darkness the Home of Dark & Experimental Music

The first Analog Overdose sometimes sounded like an Ashra release, which was not surprising given Lutz Ulbrich's guest appearance on several tracks. The emphasis was often on electronics with danceable beats. This time around, we are treated to over 2 ½ hours of the most pleasurable chill-out music imaginable. Disc one includes the two-part "The Art Of Sequencing," each part clocking in at 33 ½ minutes. Yes, as the name implies the sounds are Berlin school, but with an extremely relaxed mood and pace. Lead lines are deftly handled, non-intrusive, and not flashy at all. Sequences are gentle and hypnotic. In both parts, a main sequence forms the backbone and changes very little. In neither case does this become tiresome, as the slow build-up of layered sounds is excellent throughout. "Part 1" is particularly mellow. "Part 2" is a bit more lively. The sequencing is pure vintage Tangerine Dream, think "Love On A Real Train" from the Risky Business soundtrack. Sandwiched between is the unexpectedly haunting "Zwischenton." This is as dark as I've ever heard Mario Schönwälder, with chilling male choirs and creepy effects, a great contrast juxtaposed against the other two tracks. Disc two is just as good if not better. Like disc one, a two-part piece forms the beginning and end, "Liquidrom Tape 1" and "Liquidrom Tape 2." The middle is the 30-minute epic "Within A Real Dream…." This is the first time I've compared Mario Schönwälder to Radio Massacre International, but the parallel is unmistakable. Dark ambient textures and lovely Mellotron flutes float about for eight minutes, then another strong sequence emerges. Strong lead lines carry the sequencing through to its climax, with an RMI-like trademark of cutting back the throttle and fading out into the darkness for the denouement. The "Liquidrom" tracks form over 47 minutes of the mellowest tones, indeed on the liquid side. Delicate xylophones, more tron flutes and choirs, deep gurgling abstract spacy sounds, but - get this - no sequencing to be found. And yet, I find these two pieces to be the most entrancing of them all. Fanger and Schönwälder make a brilliant team. Bring on Analog Overdose 3!
© 2003 Phil Derby / Electroambient Space

The first part of this series was a huge seller for SMD and I expect this volume will do even better. The double CD format (taking the running time this offers to the limit) gives the musicians plenty of time to really get into a track forming sequences that go on long enough to invade your whole body and atmospheric sections that can take your mind on the most wondrous and impossible cosmic trips. Of the six tracks spread over the two discs all but one are over twenty minutes and three are over thirty! Hopefully that has wetted your appetite enough for me to go into greater details.
A delicate and rather melodic tinkling sequence gets the opener 'The Art Of Sequencing Part 1' underway. As it gradually seeps deep into your consciousness subtle but effective touches of sound come and go. We are only a few minutes into this wonderful track when the mellotron comes in. Close on its heals another couple of Berlin School sequences develop forming a gentle sea of pulsations rather than shaking the foundations. In the ninth minutes there are some lovely choir effects that contrast nicely with the beefed up sequences. Lovely mid to late seventies style lead lines add interest rather than dominate, never outstaying their welcome. The sequences shift up yet another gear five minutes later. A further sequence is added in the nineteenth minute. Shortly after the first of two excellent Schulzian style lead lines comes in entertaining us until the end. 'Zwischenton' is by far the shortest track here at just eleven minutes. Deep growling atmospherics mix with soft pads and metallic effects. It's very much a floater taking you to worlds only possible in the imagination.
There is some lovely piano detail near the end which brings us back to reality in time for 'The Art of Sequencing Part 2'. More deep drones rumble from the speakers, the piano returns creating a tranquil mood. The backing is similar to mid seventies Tangerine Dream. A sequence which emerges in the third minute is also a dead ringer for TD of the same period- quite fast, deep and of course very analogue sounding. This is fantastic stuff- retro heaven! Another 'splashing' sequence is brought into position alongside the first. The beautiful lead lines are higher in the mix than on the first track but basically every element has greater oomph. I couldn't keep my body still to it. About a third of the way in some vocal samples (used very sparingly from time to time) can be heard very low in the mix but can't quite be made out. The sequences seem to be intensifying all the time and don't let up until near the end of the track.
'Liquidrom Tape 1' has a bubbling atmospheric beginning. Gentle drones then metallic windy effects take over providing a rather eerie feeling. Ethereal pads sparingly used create a softer edge. In the third minute things become somewhat sparser tough the feeling is still rather dark and melancholy. Things are fairly uncluttered each sound being heard to full effect. It is hard to type actually as the mind keeps drifting off, taken this way and that by the subtle atmospherics. The only real structure is provided by a sequence with just two minutes to go. 'Within A Real Dream' starts with cosmic effects; all hisses bleeps and scraping sounds. The pads are rather dark and deep but there are also some mellotron touches. Another very Tangerine Dream type four note sequence starts up in the seventh minute bringing me back down to Earth. The track gains power five minutes later with the introduction of a rhythm which compliments the sequence perfectly. Yet another sequence is added as is lead detail and what I assume is virtual guitar low in the mix- exciting stuff! As with the first part 'Liquidrom Tape 2' has a rather dark beginning, cosmic drones mixing with the tron. Melodic detail is added from time to time but for the most part the music provides a very relaxing state of float. (Dave Law /Synth Music Direct)

Het eerste gedeelte van deze reeks was een echte voltreffer voor SMD en ik verwacht dat dit deel het nog beter zal doen. De dubbel-cd (met een maximun tijdgebruik) geeft de muzikanten ruim de tijd om de tracks en sequences op te bouwen om je lichaam helemaal in beslag te nemen, alsook om atmosferische gedeeltes op te bouwen die dan weer je geest naar het hoogste peil doen zweven met wonderlijke mogelijke en onmogelijke kosmische trips. Van de zes nummers zijn er drie van meer dan twintig minuten en twee van meer dan dertig minuten! Hopelijk heeft dit je honger al aangewakkerd en is het tijd om nu in de details te gaan."The Art of Sequencing part 1" begint met gevoelige en twinkelende sequences. Geleidelijk aan begint zich dit in je onderbewuste te nestelen. Na enkele minuten beginnen de Mellotronklanken met direct daarop een reeks 'Berlijnse School'-sequences, deze later weer bijgestaan door kooreffecten. Sololijnen uit de 70-er jaren komen hier ook nog bij zonder zich echt op te dringen. Dan beginnen de sequences te muteren en komen er nog meer bij rond de negentiende minuut. Een tweede Schulziaanse solo houdt ons dan nog bezig tot aan het einde van deze track. "Zwischenton" is de kortste track met 'maar' elf minuten. Diepe grommende atmosferen worden gemengd met zachte tapijtjes en metaalachtige effecten. Dit is echt een zwevend nummer dat je meeneemt naar een wereld enkel mogelijk in je verbeelding.Tegen het einde komt er een mooie piano bij die je terug bij de realiteit brengt voor "The Art of Sequencing part 2". Nog meer donkere atmosferen komen uit de luidsprekers, de piano houdt alles wat rustig en de achtergrond is gelijkaardig aan TD uit de jaren zeventig. Zo ook de sequence die in de derde minuut begint, vrij snel, diep en natuurlijk erg analoog klinkend. Dit is geweldig retro materiaal! Een andere pletsende sequence wordt naast de eerste geplaatst. De solo's liggen sterker in de mix dan bij de eerste track, maar in het algemeen heeft dit nummer meer kracht. Mijn lichaam bleef er niet stil bij. Ongeveer op een derde van dit nummer worden er stemmen gehoord (erg spaarzaam soms). De sequences lijken nog steeds in intensiteit te groeien en dit stopt niet voor het einde. "Liquidrom Tape 1" heeft een bubbelend atmosferisch begin. Dit wordt overgenomen door zachte drones en metaalachtige winderige effecten, wat een onheilspellend gevoel geeft. Etherische paden geven dan later een zachter kantje aan het geheel, het gevoel blijft echter donker en triest. Dit alles samen creëert zo'n mooie atmosfeer en het is moeilijk elke klank afzonderlijk te horen. De enige echte structuur wordt geleverd door een sequence tegen het einde van dit nummer."Within a Real Dream" begint met kosmische effecten, bliepjes en schrapende klanken. De omgeving is vrij donker en diep maar er zit ook wat Mellotron in. Een andere typische vier noten sequence à la TD laat me terug op aarde landen. Deze track wint nog aan kracht door de introductie van een ritme dat perfect bij de sequence past. Dan komt er nog een sequence bij en ook iets, wat ik aanneem virtuele elektrische gitaar is – ongelooflijk mooi! Zoals ook met het eerste gedeelte heeft "Liquidrom Tape 2" een vrij donker begin en kosmische klanken gemengd met de Mellotron. Af en toe is er wat beweging, toch blijft dit nummer vrij zwevend. (Dave Law /Synth Music Direct)

credits

released March 1, 2003

Tracks 1-3 recorded in Berlin 2002/2003.
Tracks 4 and 6 recorded live at Liquidrom Berlin 2003
Track 5 recorded at Futureworld Festival.
All tracks written, performed and produced by Fanger & Schönwälder

tags

license

all rights reserved

about

Manikin Records Berlin, Germany

Elektronische Tonsignale aus Berlin.

Manikin Records, founded by Mario Schönwälder 1992 in Berlin, Germany.
Featuring the music from Broekhuis, Keller & Schönwälder, Fanger & Schönwälder, Filter-Kaffee and solo projects.
Our music ranges from "Berlin School" to fresh modern electronic sounds.
We love to produce CDs with outstanding music, fine packings and selected art works.

www.manikin.de
... more

shows

contact / help

Contact Manikin Records

Streaming and
Download help

Shipping and returns

Redeem code