All tracks are composed and performed by Bas Broekhuis, Detlef Keller & Mario Schönwälder.
Recorded @ Detlef´s place in Oktober 2011 by Frank Rothe.
Audio mastering by Gerd Wienekamp.
Cover photos from Mario Schönwälder & Stephan Knull.
Graphic design by BK&S and Stephan Knull.
"Die Musik spricht für sich allein. Vorausgesetzt, wir geben ihr eine Chance."
(Yehudi Menuhin)
Videos:
www.youtube.com/watch?v=GKi9lAvHWFw
Deutsche Rezensionen:
www.musikzirkus-magazin.de/dateien/Pages/CD_Kritiken/elektronik/broekuis_keller_schoenwaelder_red.htm
www.musikreviews.de/reviews/2012/Broekhuis-Keller--Schoenwaelder-/Red/
www.liveprog.com/index.php/em-review/228-broekhuis-keller-schoenwaelder-red
(Video review by Marcel J. Haster)
Reviews:
Mit „Red“ erscheint nach „Orange“ und „Blue“ der dritte Teil der „Farbenlehre“ des umtriebigen Elektronik-Trios BROEKHUIS, KELLER & SCHÖNWÄLDER. Während das maritime „Blue“ (2009) tatsächlich eher einer sanften Wassermusik mit gelegentlichem Wellengang entsprach, ruhig fließend, aber nicht langweilig (10 satte Punkte auf unserer Skala), geht es auf „Red“ wesentlich rhythmischer zur Sache. Der Opener „Red One“, mit 32-Minuten das Herzzentrum des Albums ist ein eruptiver Tranceparcours auf dem Weg von der Tanzfläche in die Chillout-Zone. Hier wird einmal mehr deutlich, warum elektronische Musik wie sie KLAUS SCHULZE, MANUEL GÖTTSCHING, TANGERINE DREAM und eben auch B, K & S spielen, als vorzügliche Blaupause für kreativere Techno-Formen dienen kann.„Red Two“ ist um die Hälfte kürzer, überzeugt als warmer, sphärischer Sonnentanz, von Bas Broekhuis rhythmisch prägnant begleitet. Während „Red One“ im Zeichen sich sacht verändernder Sequenzer-Rhythmen stand, dürfen hier elektronische Drums Akzente setzen. Leichte Erinnerungen an TANGERINE DREAM in der Phase zwischen den stilprägenden „Logos“ und „Tangram“ werden wach, ohne dass die Einflussnahme Überhand gewinnt.Im letzten Stück „Red To Green“ kommt, wie schon auf den zweifarbigen Abschlusstracks der Vorgänger, das Klavier zu seinem einprägsamen Auftritt. Die (Sequenzer)-Rhythmik wurde etwas reduziert, warme Keyboardflächen und eher kalt perlende Synthesizer sorgen für den passenden Hintergrund.
Eine bündige Überleitung zum „grünen Album“.FAZIT: Auch beim dritten Album bleibt die kleine Farbenlehre der Herren BROEKHUIS, KELLER & SCHÖNWÄLDER ein Genuss ohne Reue. Rhythmisch akzentuierter als der Vorgänger, ist „Red“ ein fast tanzbares Album. Zumindest für Schamanen im Schatten eines großen Baumes vor dem untergehenden Feuerball namens Sonne. Der perfekte Soundtrack zu meinem ersten heißgeliebten Poster.
Jochen König
Kaum eine EM-Band schafft es ihre Fans so bei Laune zu halten wie BKS. Die neue CD der drei Macher: Bas Broekhuis, Detlef Keller sowie Mario Schönwälder besticht wieder einmal in der Konsequenz etwas bewährtes weiterzuführen und der klassischen Berliner Schule eine Produktion zu geben, die seine Wirkung nicht verfehlt hat. Es mag nicht nur an der aktuellen Farbgebung der dritten "Colourisierung" liegen, sondern vielmehr an den gelungenen Spannungsbögen, die BKS diesmal sehr bunt angestrichen haben. Dabei sollte man aber genau hinhören, denn das Album verlangt nach ungeteilter Aufmerksamkeit. Zu schade wäre es doch, wenn man die Variationen nur beliebig und nebenbei hören würde. Diese CD liegt ganz in der Tradition ursprünglicher Hörgewohnheiten und bietet einen Roten Faden, der auch Grün, Gelb oder Blau hätte sein können. Gott sei Dank gibt es noch genügend Farben, die für weitere Vertonungen zur Verfügung stehen.
Stefan Erbe
This CD from 2012 features 67 minutes of spry electronic music.Bas Broekhuis, Detlef Keller and Mario Schönwälder play Schrittmacher sequencers, Memotron (from Manikin Electronic), and Virus Synthesizer (from Access Music). Audio mastering was done by Gerd Wienekamp (from Rainbow Serpent).This release marks a more rhythmic outing for these musicians, lacing their evolving electronic cycles with pronounced percussion.Despite the more upbeat nature of this music, its style and structure is quite similar to past efforts by the musicians. Sequences are generated and set to run, gradually evolving into more complex patterns. Auxiliary riffs enter the mix, bringing about more drastic changes in the flow, building the sonic tapestry into a grandiose composition of lavish scope. The rhythms enhance this escalation, injecting tempos which provide delightful locomotion. Besides contributing tasty tempos in the mix, there are instances in which the beats command the music with an array of inventive sounds, blending bass beats with patters akin to handclaps. Dramatic piano passages lend a distinct majesty to the music, made especially haunting by the textural backdrops provided by additional electronics of a gentle character. This music brims with a certain vitality, a spry verve not just accountable to the presence of percussives, but also established by the animated electronics. The bouncy nature of the music is remarkably alluring, drawing in the listener through its artful presentation of dreamy electronics laced with more demonstrative riffs. With only three tracks on this CD, each song is afforded ample time to evolve and achieve shimmering crescendos.
Matt Howarth /
www.soniccuriosity.com
Oh does it feel good to hear some new stuff from Broekhuis, Keller and Schonwalder! Not that the Repelen odyssey wasn’t good. Far from it! But I was quite in eager to hear the suite of Orange and, especially, Blue. And the wait was worth it. I'm not mistaken by writing that Red is the best work of the trio since moons. More melodious and sharply more poetic than Blue, Red presents 3 long minimalist structures where the Berlin trio honours its reputation of masters architects of evolutionary musical structures with interchangeable rhythms which are exchanging some permutatives melodies as lively as oniric.
Percussions fall with crash. Their curt and loud knocks awake a latent iridescent synth wave which makes dance circular chords to introduce this long minimalist river that is "Red One". From then on settles down a bed of sequences which teems under different rings and tones on a delicate movement with fine permutatives nuances. We have the feeling that the rhythm is starting to galloping, yet it hardly moves. Pecked by the knocks of beaks of sequences which chirp and buzz finely, the rhythm skips slightly under warm and morphic synth layers. Layers which crisscross and skim over this ambivalent rhythm which fidgets without knocking down its structure and which quivers without disturbing its melodic path. A rhythm divided between its oniric sweetness and its chaotic jumps, linked to this sequences/percussions union,
which deviates subtly from its bewitching hypnotic axis towards the 15th minute with a more ethereal passage. A short passage where the percussions always hammer the insistence but where sequences get out of breath, pulling "Red One" towards a bi sequential rhythmic structure with a pulsatory line and another more harmonious one, drawing a melodic rhythm wrapped of an electronic mist, of resonant cymbals and swallowed by great synth solos. We easily let ourselves lulled by this passage as much rhythmic as morphic, but the cymbals which ring far off announce more unbridled percussions which accumulate more and more, falling very hard on a finale which resists this assault of the electronic skins before taking back its hypnotic rhythmic course.
More aggressive, "Red Two" falls for a caustic intro where Tabla percussions and alternate strikings sequences emerge to weave a surprising clanic rhythm which pulses of a frenzied pace under the howling layers of black metal. Only vestige of this corrosive intro, a line of bass makes buzz its heavy notes, while the tempo of "Red Two" becomes milder with synth layers more dreamlike which wrap a rhythm always very active and captive of its tribal percussions. And it’s the charm of "Red Two". On a mixture of electronic percussions, drawing tribal rhythms, and a line of bass to buzzing notes, the rhythm of "Red Two" bursts under a scarlet sky where solos and harmonious breezes of synth are bickering the tranquillity of spaces and melancholic mists in some rustlings of creased metal which roar parsimoniously, displaying all the splendour of the melodic paradoxes from minimalist structures. "From Red to Green" comes to put the final touch to this superb album of Broekhuis, Keller and Schonwalder, which is solid from start to end, with an ethereal intro where floating choirs roam in astral decors. A beautiful strummed melody appears from it. Letting go its nostalgic and harmonious notes in the eye of a prismatic and metallic whirlwind, the piano hears some keys skip with verve to mold a nervous sequential line. A fine melody follows, to nest in the hollow of a spasmodic movement. A movement which accentuates its rhythmic crescendo, with sequenced riffs and more insistent percussions, that some suave twisted solos embrace of their spectral twists making forget the piano notes which got lost in an amplified rhythmic structure. This curt and bouncy rhythm, pushed by splendid howling solos, gets back in touch with the harmonious ashes of its nostalgic piano notes which reappear out of the iridescent mists of an intro that we had forgotten on the dreams of this heady minimalist procession.
Can the minimalist art become annoying? The question pops out each time that our ears are confronted with minimalist structures which flow as long quiet rivers, shaken by some harmonious torrents. Well not! To say the least, not the music of Broekhuis, Keller and Schonwalder which is all in nuance and of which the fusion of sequences/percussions brings an unsuspected rhythmic depth to a decaphonic work. Red is a wonderful opus of a surprising sweetness where the rhythms, and this no matter their forms, are of use as cradles to melodies as enchantresses as morphics. Rhythms and melodies flew over and flogged by twisted and corrosive synth solos. Synths imprinted by mists and chthonian choruses. In brief, all the melodic universe of real good minimalist Berlin School! I adore!
Sylvain Lupari /
gutsofdarkness.com & synth&sequences.com
