All tracks are recorded live at Dorfkirche Repelen at 20th January 2008
Tracks 1, 2, 3, 4 and 6 recorded live at Dorfkirche Repelen at 21st January 2007, Track 5 recorded during a rehearsel at Detlef´s Place at 20th January 2006.
This release from 2008 features 146 minutes of gripping electronic music. Disc 1 was recorded live at Dorfkirche Repelen on January 20, 2008. Disc 2 features live and rehearsal tracks from performances at Dorfkirche Repelen in 2006 to 2007. Joining Bas Broekhuis, Detlef Keller and Mario Schönwälder are Raughi Ebert (on guitar) and Thomas Kagermann (on violin). This release adds lively guitar and energized violin to the percussion-enhanced pastiche of layered electronics, resulting in tuneage that is as vigorous as it is dreamy. Twinkling electronics generate a spacey foundation of undulant passages with streaming harmonics of noble character. Adept keyboards provide additional layers, creating tasty chord cycles that achieve a certain majestic presence. Once established, these patterns persist in generous evolution, flowing with liquid propensity into passionate streams that combine puissance with delicate edges. Sinuous percussion invigorate the electronics with engaging rhythms of an unhurried nature. The beats, manifesting as bouncy bongos as well as infectious drumming, emphasize rather than propel the melodies. The tempos exhibit intellectual restraint, never transforming the music into hyperactive techno. Sultry violin strains weave throughout the mix, lending an idyllic air to the music. The mood is more pensive than melancholic, stimulating cerebral activity with tones that are vibrant and haunting. The guitar contributes a balance of reflective embellishment, delivering refinement in the form of luscious movements designed to mesmerize with well-crafted discipline. At other times, the guitar achieves a searing presence with piercing riffs that express euphoric pinnacles of a glorious fashion, fiercely emotional and blazing with expansive authority. There are some instances of vocal effects utilized in a non-lyrical fashion. And one track employs synthesized horns to punctuate the piece with a stately demeanor. While generally dreamy and delightfully divine, these compositions possess a regal disposition that frequently achieves an impressive level of dazzle with masterful intensity. Climaxes are repeatedly accomplished and maintained, carrying the audience to stratospheric heights of rapture with each exhilarated passage. Even the more pensive tracks display a certain strength, conveying illustrious heart in their celestial definition. The bulk of this music attains a state of demonstrative vitality, elevating conventional EM with a constant mien of powerful evocations. This stuff refuses to remain a background soundtrack, flourishing to dominate and stimulate the listeners’ frame of mind with rousing melodies full of enchanting stamina. This release comes with a 16 page booklet featuring color photos of the venue and the performers.
Matt Howarth, www.soniccuriosity.com
Die zweite Veröffentlichung aus den Jahren 2008 (CD 1), 2006 („Return to the Beginning”) und 2007 (Der Rest von CD 2) vervollkommnet dieses Konzept. Warme, flächige, analoge Klänge, repetitive Strukturen, nach vorne drängende Drumloops ergeben eine vollmundige Hommage an KLAUS SCHULZE („Klaus, where are you? “), aber auch die ganz eigene Interpretation des elektronischen Hauptstadtsounds, transportiert auf’s Land (“Deeper Silence“). KAGERMANN und EBERT ergänzen die elektronische Klangreise durch filigrane Akzentuierungen, ohne das Gefüge zu zerstören. Weltmusik, die keine einlullende Anbiederung bei diversen Meditationszirkeln betreibt und sanfter Jazz, der trotzdem nicht in die Wellness-Lounge eines entsprechenden Konzepthotels gehört.
f1 Besonders gelungen ist das Sück aus dem Jahr 2006, „Return To The Beginning“, das sich sachte und dunkel anschleicht, dann druckvoll durchstartet, um vor pulsierendem Rhythmus sowohl EBERT WIE KAGERMANN Gelegenheit gibt zu brillieren. Stellenweise breitet sich geradezu spanisches Flair in Repelens Dorfkirche aus. B,K&S plus Gäste können die Spannung über zwei prall gefüllte CDs hochhalten. Kein verstiegenes Hängenbleiben im Ewiggleichen, keine zuckersüßen Streicheleinheiten für gefühlsduselige Feng-Shui-Beraterinnen. Ein sanfter, dunkler Strom mit Schnellen an den richtigen Stellen. Ergibt zwar keine Rafting Tour, aber sinnlich im Kahn den blauen Fluss hinunter geht es jederzeit.
After the successful Live @ Dorfkirche Repelen 2006, Broekhuis, Keller & Schonwalder do it again with a double cd this time, merging concerts gave at the same place, but in 2007 and 2008. The first CD contains the performance of January 20th, 2008, whereas the 2nd includes bits of 2006 and 2007 concerts. Always accompanied by Raughi Ebert on guitars and Thomas Kagermann on violins, the Berliners trio offers a very minimalism electronic music which is enhanced by the prevalence of Kagermann violins. A diversified music where Berlin School is the premise to beautiful melodies which fork in the risks of the improvisation.
The violin of Kagerman is the soul of Lanes of the Lord. The longest title of CD1 begins in a nebulous atmosphere stuffed of synths to eerie breaths which fail among the stammering of the electronic percussions. A suggestive bass line is twisted with the percussions under the consistent breaths of synth pads. A minimalism melody bores these misty pads on a more undulating bass, tabla percussions and a solitary violin. Lanes of the Lord then marries an Eastern structure with a hatched sequential approach, giving a hopping pace to a throbbing title where the violin trails its melody with a poetic heaviness. A fine sequence, à la Robert Schroeder opens Moers Part I, a small jewel of the minimalism art which grows harmoniously under superb orchestral arrangements, floating synths with the penetrating choruses which recall Klaus Schulze. The rhythm bec omes pounding with a beautiful sequential movement and a very lyric violin daydreaming on choruses and mellotrons flutes. A title that gives Kagerman the entire place to exploit his skill. Rock This! depict well its title with hopping sequence girdled of a guitar to expressive solos. A loopy sequence is surrounding a tempo which becomes more scathing. The beat becomes straightforwardly more rock with beautiful guitars solos from Raughi Ebert.Source Of Life is a splendid ode to reverie. Heavy string instruments grind a temporal waltz to which a virtual choral and an acoustic guitar are added, accentuating even more the driven back emotions. A track like a good Oldfield one, but to avoid if the soul is gloomy, cause tears can easily surf on this splendid melody. Moers Part II continues this softly quest with a strange virtual siren which moulds its voice with a grinding mellotron. Guitar chords embrace this quietude, like a minimalism cycle, whereas the tempo overlaps a light crusade before melting on a heavy pulsating percussion and a violin which is soften to fine synth solos. Strongly tinted of Schulzian influence, Shiauliai is hammered of overwhelming percussions on a plaintive violin and composite sonorities. A title close to cacophony, but ingenious with a musical approach influenced by the Middle East, with its tablas and its dragging guitar. esreveR oloS seems to come out of nowhere with its musical structure near Mexican fiesta because of its guitar plays and its trumpets sounds, but also so traditional folk with=2 0its violin sounds.
A soft synth wave and a melancholic piano open Return To The Beginning. A maudlin violin adds a poignant touch whereas the tempo progresses in procession on beautiful orchestral arrangements where guitar, violin, sequences and percussions are melt in an indefinable, but coherent rhythmic context. The movement is dark and heavy, engraving of some guitar chords lost on a tempo which accentuates and pulsates soberly on an electronic march with echotic plungers. Again the piano, violin, flute and guitar orchestrate beautiful melodies on a minimalism and heavy title which draws its rhythmic energy near good cyclic percussions. Deeper Silence is atonal. A dark title, with the multiple synth layers which float in an intriguing nebulosity. A world where silence is black, with lugubrious choruses’ humming under fine arpeggios which ring gently in a universe without hearts and life. Except towards the 10th minute when a heavy sequence whirls, without creating pace, captive of heavy layers which choke its desire of freedom. Klaus, Where Are You? Is another good moment on Live @ Dorfkirche Repelen 2. Galloping sequences animated by cold cymbals and girdled good of synths solos. Great Berlin School finely finicky with a hybrid rhythm, whereas the violin spreads smoking solos on a structure which evolves through good orchestral arrangements. Bows on virtual cellos which hypno tize with a tempo supported on a frantic tempo. True Schulze … candy for BS fans. Initiated by a good guitar play, Another Magic Moment progresses on percussions which hammer a light rhythm. The violin takes the rhythmic direction in a universe with electronic jolts which follows a more nervous tangent with very a good percussions sets and nervous sequences. A title which is connected to Rock This! , guitar in less. Cut & Paste is purely electronic with a sequence which rolls up an improvised structure on a nervous rhythm and heavy riffs, whereas Raughis Song is peace and quiet with a beautiful acoustic guitar and a piano which are wrapped of a serene and melancholic synth layer.
There is lot of music on Live @ Dorfkirche Repelen 2. Beautiful music which reflects the passion of Broekhuis, Keller & Schonwalder for the Berlin School style. If I have a flat it is for the prevalence of Kangermann violins which choke subtleties the synths. On the other hand, the minimalist aspect is superbly melodious and quite detailed. There are jewels on this double opus which we cannot be unaware of. Titles which enchant and hypnotize, as well by their melodious approaches and their progressive complexities. All in all, Live @ Dorfkirche Repelen 2 is a very good album, full of surprises, like the first one.
Sylvain Lupari from Guts Of Darkness, The French Magazine of Dark & Experimental Music
This release by the well-known trio Bas Broekhuis, Detled Keller and Mario Schönwälder is a double live album, which sees the musicians play with Raughi Ebert (electric and acoustic guitar) and Thomas Kagermann (violin) during a concert on January 20th 2008 at the Dorfkirche Repelen. “Lanes of the Lord” starts out with nice, quiet atmospheric music, choir sounds, nicely fitting in the sacred environment. The lyrical violin on the meandering soundungs of “Moers I” takes things to another level, radiating a contemplative feel, while “Rock This!” ventures in more up-tempo territory with prominent (to my taste a bit too loud) e-guitar. A choir joins the band on the sensitive, melancholic “Source of Life”, a highlight for sure on the first disc. On this piece, vibrant acoustic guitar and violin are added to the symphonic synths later on. The light, warm sounding “Moers Part II” continues in a smooth, easy-going manner, the violin making it softly shine even more. “Shiauliai” sounds improvised to my ears, rather dragging on between a static rhythym, violin and harsh e-guitars parts, not forming a coherent whole. Things turn up-tempo on the simple sounding closing 10-minute piece “Esrever oloS”, on which a simple, repeated synth-trumpet tries to make things attractive without effort, followed by soloing violin and synth. Sorry guys, you can do much better than that. The second disc comprises five tracks recorded at concerts at the same location in January 2006 and 2007, plus a recording of a rehearsal of the complete band. “Return to the beginning” ventures out with warm synth pads, gradually evolving into a nice rhythmic outing with exotic flavours, offering a nice interplay of flute, violin and acoustic guitar parts. It’s good example of the evoked joy when musical ideas melt together properly. Engaging soundscapes with vocal samples create a quiet, intimate but great atmosphere which changes around the 10-minute mark with the introduction of nicely shifting sequencer patterns. “Klaus, where are you?”, another highlight on this disc, presents well balanced Berliner School sequencing and Grosskopf-like powerful drums (think of Schulze’s “Live..”), including joyous violin ands synth soloing. “Another Magic Moment” is another rhythmic excursion with bass sequence, synths and poignant e-guitar and violin licks. “Cut & Paste” is exactly what is says: an improvised messy session with no red line. Fortunately, the nicely packed digi-pack, which comes with a 16-page full color photo booklet, ends with a nice, quiet piece for acoustic guitar and synth only: “Raughis Song”.
Bert Strolenberg, www.sonicimmersion.org