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about

Composed & performed by Bas Broekhuis, Detlef Keller & Mario Schönwälder.
Recorded by Thorsten Feuerherdt and Markus Horn.
Mastered by Bas Broekhuis at Audio Works.

credits

released September 1, 2002

Reviews:
Eure "Wolfsburg"-CD mausert sich immer mehr zu meiner Lieblingsplatte im Moment. Habe sie sicherlich schon ca. 50 mal (!) gehoert. Im Buero, Auto......Irgendwie geil das Teil!
Rainer Rutka

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Bas Broekhuis, Detlef Keller & Mario Schönwälder est un trio allemand qui réalise de la très belle MÉ du style Berlin School. Drei, leur réalisation antérieure est un des meilleurs cd de MÉ. Encore, ils viennent d'en produire un excellent. Un des meilleurs de cette année. Il s'ouvre avec Come in and chill out, et quelle ouverture. Une douce intro avec des séquenceurs harmonieux. À mesure que la pièce progresse, des rythmes s'ajoutent donnant une belle cadence. Une très belle pièce. There are colours in the darkness a un tempo très Schulzien.
Un beau dosage de percussions qui donne un rythme hypnotique sans tomber exagérer dans la répétition. Encore une fois les séquenceurs sont très beaux. Le tout se termine avec du piano.très beau. Wolfsburg débute avec une intro saisissante, qui captive l'oreille à la première écoute. Un tintamarre de percussions qui débloque sur une symphonie électronique. C'est un pur délice, un vrai style Berlin School.
Courez acheter ce cd, je le recommande fortement.
(c) Sylvain Lupari / Québec,Canada

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Structured very similarly to Detlef Keller's Different Faces album, this consists of three lengthy classic Berlin school tracks. The soft sequencing and flute synth lead are particularly nice on "Come in and Chill out," followed by very Schulze-like synths, familiar territory for these guys but we Teutonic fans know we can't get enough of the stuff, right? The pace is very relaxed and stays that way through the 28 minutes here, all of it so good to just kick back and enjoy. Flute is replaced by oboe later on, again extremely Schulze like, sounding very much like the master's recent efforts, becoming slightly melancholic toward the end. Pounding drums come rolling in and then recede to announce "There are colours in the darkness," along with soft crystalline bell tones. Another delicate sequence appears, fading in slowly as the drums keep booming here and there. The drumming is particularly well placed throughout the disc, never intrusive, always adding the perfect touches to the mood of the moment or building the necessary intensity. Bright piano with a dose of reverb brings this track to a gradual, languishing ending. The 13-minute title track, brief in comparison to the two 28-minute epics, wastes no time as the sequence begins immediately, a really catchy one that puts a nice groove into things right away. Synth strings sing in the background. This track builds layers of electronics and percussion even more effectively than the two strong numbers preceding it. Though a little more energetic than its predecessors, it continues the generally laid-back feel that envelops you as you listen to it all. Wolfsburg doesn't reach out and grab you, but by the end you may not want to let go of the comfortable feeling it evokes.
(C) 2003 Phil Derby / Electroambient Space

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This 2002 CD offers a superb dose of powerful electronic music cut with lavish loyalty in the Berlin School style.
Stately synthesizers generate elegant passages of dreamy substance. The electronics shimmer with chill-out predilection, slowbuilding structures of sound that spiral into dizzying heights as they cast off ingenious riffs and cosmic textures. Each passage leads to a higher level, further ecstatic sonic plateaus that reveal even loftier altitudes ahead. Hints of synthesized cello and violin often overtake the liquid keyboard pastiche, attributing somber flavors to the heavenly ascent.
A solid presence of lively E-perc accompanies these mesmerizing electronic melodies, injecting pep and propulsion to the flowing pulsations. Intricate and complimentary, these rhythms ingratiate themselves with the harmonic physiology. There are occasions where the percussion adopts a commanding control of the composition, plunging everything into a desperate realm of extreme gravity comparable to immense mountains in penultimate collision.
This CD's 71 minutes are divided into three tracks (a pair of 28-minute pieces, and a single one measuring just over 13 minutes), allowing the music to unfold gradually, accreting demonstrative layers that combine with remarkable force to achieve head-spinning crescendos with numerous transcendent peaks along the way.
(www.soniccuriosity.com)

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To me it seems quite some time since the last Keller & Schonwalder album but it is worth the wait. In every department it shows massive doses of Klaus Schulze's influence. I played this one after 'X' for instance and I soon forgot that I wasn't still listening to one of the masters albums. 'Come in and Chill out' has an extremely moody and melancholy beginning , cello and other string sounds mixing beautifully with the electronics. In the second minute a slow sequence starts up then a similarly paced high hat rhythm continues the track's steady development. There is quite a change in the sixth minute as a faster sequence is deployed along with a haunting flutey synth lead line. The pace quickens still further as Bas gets busy in the rhythm department but its still rather restrained compared to some of their other albums. No retro / Berlin school release would be complete without Mellotron sounds and the team oblige with some lovely haunting textures. By the eleventh minute I am just lying back with my eyes closed going with the gorgeous steady hypnotic flow. Lead lines make cameo appearances, enhancing the relaxed pace rather than blasting over the top. In the twenty second minute the sequences depart and we float on the back of moody, thick, dark, cello sounds until the end.
'There are colours in the darkness' continues in similar melancholy mood. Drum flourishes give the atmosphere an uneasy edge though there is a sleepiness to it all as well, as if the music is bewitching you, drawing you in by its spell. Eventually the drum flourishes become more frequent punctuating a steadily developing slow sequence. There is now more movement, the music wrapping round you rather that pushing you forward. The mind becomes at one with the beautiful pads and gentle pulsations. A piano lead adds to the enchantment enticing you deeper within the spell. Another melodic loop replaces the piano, keeping the interest without breaking the state of trance. With nine minutes go a flutey lead is added but the piano returns for a beautiful finish. 'Wolfsburg' rounds things off and we are straight into a steady sequence with high hat accompaniment in classic Schulze style. Lead lines meander in the middle of the mix. Its all about textures and mood rather than melody and very effective it is too. I have mentioned 'mood' quite a few times in this review. This is what the album is about rather than shaking the foundations. Having said that rhythm and sequences still abound so there should be something for everyone. David Law, Synth Music Direct, 2002


Het lijkt mij al vrij lang geleden tot het vorige K & S-album, doch dit maakt het hierbij goed. Op alle gebieden laat het de invloed van Klaus Schulze horen. Ik speelde dit een tijdje na 'X' en al spoedig was ik vergeten dat ik niet meer naar een album van de meester aan het luisteren was. "Come in and Chill out" heeft een heel stemmig en melancholisch begin, cello en andere strings vermengen zich uitstekend met de elektronische klanken. In de tweede minuut start er een trage sequence en een even rustige hihat…..de track evolueert. Rond de zesde minuut is er echt sprake van verandering doordat er een snellere sequence en een huilende fluit/synth solo bijkomen. Als dan Bas er bijkomt met zijn ritmes is de rust helemaal weg, toch blijft het ingehouden in vergelijking met sommige van hun vorige albums. Geen enkele retro/Berliinse school uitgave zou compleet zijn zonder Melotronklanken en deze worden dan ook ingezet. Rond de elfde minuut lig ik op mijn rug met gesloten ogen en geniet van deze geweldige hypnotiserende sessie. Solo's komen en gaan, dit gevoel enkel maar versterkend. Rond de twintigste minuut verdwijnt de sequence en zweven we, met dikke donkere celloklanken, naar het einde. 'There are colours in the darkness" blijft op hetzelfde gevoel verder werken. Drums maken dit nummer wat moeilijker doch de muziek probeert je te beheksen en neemt je mee in haar vervloeking. Soms worden de drums wat frequenter en benadrukken zo een evolutie in de sequence. Er is geen beweging meer, je drijft enkel mee op deze muziek. Je brein wordt één met de mooie tapijtjes en voorzichtige bewegingen. Een pianomelodie verhoogt de opwinding en trekt je dieper de vervloeking in. Een andere melodische loop vervangt de piano en onderhoudt de aandacht zonder ook maar één moment iets aan het trance gevoel af te breken. Met nog negen minuten te gaan komt er een fluitsolo bij, maar de piano keert terug om wondermooi af te sluiten. "Wolfsburg" rond deze CD af en we beginnen direct met een stevige sequence met hihat begeleiding in typische Schulze stijl. Verschillende solo's wisselen elkaar af in de mix. Het gaat hier meer om gevoel dan om melodie en dat kan eigenlijk over de hele CD gezegd worden, doch is het erg doeltref

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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.

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