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1.
Green One 25:01
2.
Green Two 18:16
3.
Green Three 10:38
4.
Green Four 16:37
5.

about

The three electronic musicans dive again in their own world of sounds and rhythms and abduct the listeners in long-forgotten musical times: Sequences performed with analog synthesizer - steamed up by revival of analog instruments - beamed from the early seventies and seasoned with modern grooves into the year 2015. The hallmark of BK&S. Fascinating!
With "Green Three" and the guest musicans Raughi Ebert (guitar, Tierra
Negra) and Thomas Kagermann (violin, collaborations with Klaus Schulze, Andreas Vollenweider and many other) BK&S pushed ahead in the galaxies named Pink Floyd and Schiller. Entry into the log book: The "Berlin School" is still alive!

Videos:
www.youtube.com/watch?v=OYpG9FSxUps

Reviews:
In English:

“Green” sees a further continuation of the band’s “color-series”, featuring music played live in concert at their Repelen-venue and during rehearsals in 2015.

The 73-minute release merges classic Berlin School infused music and contemporary electronics into a melodic-oriented excursions where influences of trance, minimalist and atmospheric ambient shine through as well. Each of the five tracks feels alive in their own distinct manner, spiced with versatile combos of rhythm, sequences and solos in what the EM-community by now knows as the “BK&S-way of Electronic Music”.

If you’d like to get a proper taste of these dynamics, simply dig the 25-minute “Green One” and 18-minute “Green Two” kicking off the album, which also make the best and tastiest parts for me.
This contrary to “Green Three”, where the electronics combined with flute, violin and guitars don’t match enough, at least to my ears and taste. Good to find out there’s “Green Four”, which all good things are put back on track again, offering pleasant bits of venom, grooviness and dynamics elements all along the ride to make the 16-minute piece really shine.
Sonic Immersion © 2022
Following on from last year's teaser EP Direction Green, Broekhuis, Keller & Schönwälder release their fourth colour-related album, and if you've heard Direction Green, some of the ideas that swirled about and were fed through the musical wave are focused and sharpened up on Green proper.

As probably the key proponents of contemporary Krautrock, Broekhuis, Keller & Schönwälder are masters of their game, and having worked together for so long, their compositional abilities and intuitive knowledge as to how each other works creates some of the most intense, emotional and uplifting electronic music I have heard for some time.

Green One, whilst not as long as last year's Direction Green. is the longest piece on this album and revisits some of the electronic motifs from the EP before busting into life with some amazing analogue synth sounds and powerful percussion bringing to mind the work of Vangelis or Jean Michel Jarre, but all neatly within the musical universe that BK&S have honed and created over their 21-year career.

Moving to a more organic sound on Green Two with an elegiac almost Tangerine Dream-esque opener, the piece builds and builds, slowly, sinuously, until the powerfully-precise percussion of Broekhuis starts to drive the piece, really pushing in at around the five-minute mark, as the synths start to sound like a choral cavalcade. The beat drives on, as wave after wave of synth power ebbs and flows through the hypnotic beat-driven track, Broekhuis as intelligent and powerful as any drummer, and the way that Keller and Schönwälder weave their sound together is a fine thing to hear.

Joined by regular contributors Raughi Ebert (acoustic and electric guitar) and Thomas Kagerman (flute and violin) on Green Three, the addition of the two extra musicians and their more traditional instruments gives the track a different sound, and the way the guitars and violins weave in and out throughout the track, and the use of pianos within, give it an almost late-night laid-back jazz feel, all blended and weaved into the BK&S sound.

Green Four is another well-made and beautifully performed piece of haunting contemporary Krautrock, as the way the trio blend their skills and weave their sound into a organic whole is a joy to listen to. Each track seamlessly flows into the other, until what you have is different pieces of the same musical jigsaw, which when put together the right way are really enjoyable - a contemporary electronic symphony.

The final track, and by far the shortest on the album, Yellow is not Green, with its heartbeat percussion, its simmering synths with a mournful sax sound, sounds similar but different to what has come before, and is maybe dropping hints about what lies round the corner for BK&S.

Whatever way you look at it Green is a triumph of electronic music, the contemporary electronic symphony that redefines the sound of Krautrock, and exposes the human soul that sits at the heart of the very best electronic music.

A masterpiece.

Conclusion:
James R Turner: 9 out of 10 (DPRP.net)

In Deutsch:
Vielleicht inspiriert von ihrem einstigen Berliner Kollegen Conrad Schnitzler (der zwar in Düsseldorf geboren wurde, aber die meiste Zeit seines Lebens wohl in Berlin verbracht hat) haben Broekhuis, Keller & Schönwälder (gut, auch Bas Broekhuis und Detlef Keller stammen nicht aus Berlin, aber nehmen wir es mal nicht so genau) in der zweiten Hälfte des ersten Jahrzehnts des neuen Jahrtausends einen Farbenzyklus begonnen. Das 2007 erschienene "Orange" war das erste Album der Reihe, dem inzwischen die Alben "Blue" (2009) und "Red" (2012) gefolgt sind. Dazu kam im Jahre 2014 die Live-EP "Direction Green". Logischerweise konnte darauf nur das Album "Green" folgen, welches im Frühsommer 2015 veröffentlicht wurde und im Zentrum dieser Rezension steht.

Wie bei den anderen Alben des Zyklus wurde auch das auf "Green" zu hörende Material aus Liveaufnahmen, Probenmitschnitten und Studioaufnahmen zusammen gebastelt. In diesem Falle handelt es sich vornehmlich um Rehersals und zwei Konzertaufnahmen aus der Dorfkirche Repelen (offenbar der bevorzugte Auftrittsort des Trios) vom März 2015.

Natürlich sind die auf "Green" zu hörenden Klänge - wie die meisten Aufnahmen aus dem Hause Manikin - in der Berliner Elektronikschule der mittleren 70er Jahre des letzten Jahrhunderts verwurzelt. Ausladende elektronische Tongemenge bestimmen die Musik, schwebende Klangbögen, auf- und absteigende Tonwellen, mächtige Soundwogen und sonore Bassflächen, die immer wieder durch dahin tackernde Sequenzermuster voran getrieben werden und mit weiterem elektronischem Zirpen, Zischen und Flüstern, düsterem Dröhnen, kosmischem Hallen, spacigem Schweben, schrägen Tongemengen und allerlei Melltronartigem angereichert und mit diversen melodieführenden Linien verziert wurden. Dazu bedient Bas Broekhuis einiges an Perkussion. Erzeugnisse "echter" Trommeln und auch dezente elektronische Rhythmusmuster durchziehen daher immer mal wieder die Stücke, oft gepaart mit entsprechenden Sequenzerlinien. Stumpfsinnige Ums-Ums-Muster werden dabei aber vermieden.

Diese rhythmische Komponente trägt dazu bei die Musik in die Moderne zu transportieren, wozu auch einige eher freiformatige Klanggemälde und fast ambientartige Momente beitragen, und gibt dem Ganzen einen eigenen Charakter. Ansonsten bewegt sich der Farbenzyklus in den von der Berliner Schule abgesteckten typischen Klanggefilden, bereichert dieselben aber sehr dicht, vielschichtig und farbig. Der Rezensent muss jedenfalls konstatieren, dass die in den Projekten um Mario Schönwälder bisher entstandenen Retroelektronikklänge zu den besten rezenten klanglichen Hervorbringungen in der Berliner Tradition gehören - auch in soundtechnischer Hinsicht.

Im Vergleich zu den Vorgängeralben geht es dem Titel entsprechend auf "Green" vielleicht etwas irdischer und naturverbundener zu, sind doch zumindest in "Green Three" ein paar "normale" Instrumente zu hören (Gitarren, Flöte, Violine), wenn auch nicht sehr klangprägend. Dazu kommen auch in den anderen Stücken immer mal wieder hallend-kernige Piano- bzw. E-Pianotöne. Höhepunkt des Albums ist für mich das vierte Stück. "Green Four" gleitet ausgesprochen mächtig, voluminös und angedüstert aus den Boxen, ehe sich sehr vielschichtige, hektische, bisweilen fast aggressive Sequenzergemenge nach Vorne arbeiten, ohne dass die Musik dabei ihren hymnisch-allumfassenden Charakter verliert. Beeindruckend!

Wie immer bei den bisherigen CDs der Reihe wird im letzten Stück der Titel des nächsten Farbenalbums genannt. Jetzt ist also Gelb dran. Ich freu mich drauf!
www.baby-blaue-seiten.de
(Achim Breiling, 12/15 Punkte)

www.musikreviews.de/reviews/2015/Broekhuis-Keller--Schoenwaelder/Green/
Also, wir wissen zwar nicht, was Sie so hören, aber Hildegard von Bingen mag „Green“. Wir auch.
Hoher Standard, solides Werk. BROEKHUIS, KELLER & SCHÖNWÄLDER sind wahre MCs.
(Jochen König, 11/15 Punkten)

www.musikzirkus-magazin.de/dateien/Pages/CD_Kritiken/elektronik/broekhuis_keller_schoenwaelder_green.htm

credits

released June 6, 2015

Tracks 1, 2, 4 and 5 are composed and arranged by Bas Broekhuis, Detlef Keller and Mario Schönwälder 2014/2015. Track 3 is composed and arranged 2015 by Bas Broekhuis, Raughi Ebert, Thomas Kagermann, Detlef Keller and Mario Schönwälder.
All Tracks are recorded in March 2015 during several rehearsels and two concerts at Dorfkirche Repelen.
Mastering by Frank Rothe. Cover photos by BK&S and Angela Rothe.
CD artwork by BK&S and Stephan Knull.

1) Green One, 24:59min
(Bas Broekhuis, Detlef Keller & Mario Schönwälder)
2) Green Two, 18:14 min
(Bas Broekhuis, Detlef Keller & Mario Schönwälder)
3) Green Three, 10:36 min
(Bas Broekhuis, Raughi Ebert, Thomas Kagermann, Detlef Keller
& Mario Schönwälder)
4) Green Four, 16:36 min
(Bas Broekhuis, Detlef Keller & Mario Schönwälder)
5) Yellow is not Green, 4:56 min
(Bas Broekhuis, Detlef Keller & Mario Schönwälder)

Bas Broekhuis: Analog & digital Synthesizer, Sequencer, Drums & Percussions.
Detlef Keller: Analog & virtual analog Synthesizer and Sequencer
Mario Schönwälder: Analog & virtual analog Synthesizer, Computer & Sequencer
Raughi Ebert: Acoustic & electric guitar (on Track 3)
Thomas Kagerman: Flute & violin (on Track 3)

„Once you have realized that you may do everything with music, you start to make your own music.“
(Giorgio Moroder)

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Manikin Records Berlin, Germany

Elektronische Tonsignale aus Berlin.

Manikin Records, founded by Mario Schönwälder 1992.

Featuring the music from Broekhuis, Keller & Schönwälder, Fanger & Schönwälder, Filter-Kaffee, Menzman and Kontroll-Raum.

Our music ranges from "Berlin School" to fresh modern sounds.
We love to produce CDs with outstanding music, artworks and packings.

For license inquiries please contact info@manikin.de
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