Bass, drums, keyboard and guitar are swirling around with fantastic interaction. Where hereby Gnosis solely appears on the compact disc version with Tom using an acoustic bass! Dirk Bittner is leaving the electric guitar aside, solely concentrating on trumpet and additional percussion. The sound is decorated with cheerful electronic elements adapted from Tangerine Dream or Popol Vuh as well as provided with obsessional rhythms in the vein of Can or even Kraftwerk - all you might expect as significant for a contemporary krautrock sound. I don't know but this record and the previous one just don't seem very inspired after listening to Morbus. Not sure if these are from the same era as Platte or not. On flurstück something like a rhythm machine gives a minimalistic beat only accompanied by harmonium and flügel. We love to play in the dark and in open-air at the same time.
Slow to unfold, meandering bass ruminations, droning trumpet wafts and maddening incessant drumming build into a barely restrained storm, Dirk adding a thick layer of brooding electronic washes, ghostly Mellotron choirs and a touch of early Klaus Schulze to his frantically delirious synth soloing. The song titles are weird spoofs on Black Sabbath songs, and whilst there's not much that's specifically doom metal about the album it's heavy enough that it feels like something Sabbath might have produced had they dropped Ozzy and gone Krautrock. Or to return to the main Aural Innovations page. Faint and Residuum yet again are offering a wonderful meandering and spacey execution over the course of nearly 40 minutes. For my surprise it is a good album with nice tunes, it includes the typical German style, combining electronic passages, but in this case, the space rock part is not so present. The bass playing sounds rather different here.
It maintain the minimalism style of some of the bands of krautrock movement, in specific the electronic side. So much the more when playing live. Originally initiated more as an experimental solo project, keyboarder Dirk Jan Müller started in 1992 recording and releasing songs. The guitar and synth play feel at odds--as if they're in different universes--or, at least, different sound studios. . Now, this is Kosmisches Musik! Slow space synth movement is gradual and constant while heavily treated guitars and basses flit in and out of the soundscape. Provided with the option to really tune out for some time.
Josef Ahns guitar, flute then would follow as a steady member for some years, until, while continuing with the highly acclaimed 'Morbus' album in 2007, Tom Rückwald bass decided to enter the crew. More or less a solo piece from Dirk of reverberating drones, wild drumming crashes and ultimately serene humming synth washes in the early Krautrock and Tangerine Dream manner, it's like dry run for the sort of music he offers in his Cosmic Ground side-project these days. The song titles are often provided with funny and thought-provoking puns. In the tenth minute, when things feel like they're starting to stagnate, Dirk Jan turns up the gas, puts on the horn synth, thrashes out a few heavy handed chords. At the end of the eleventh minute guitar and synths start to do some interesting if occasional things but at this point this is really a drummer's show. For those not familiar with Electric Orange, they are a mostly instrumental German kraut-psychedelic rock band.
Additionally two excerpts appear, which are relatively new, recorded in January 2017 precisely defined. Are you familiar with the music of Frank Zappa? Groovy and floating parts are constantly alternating, you won't have any damn clue in which direction this is going to flow. Probably suitable for a film music about camel riding across the Sahara - fantastic! It is one monster of a song, with an awesomely powerful opening from the keyboard master, Dirk Jan Müller. This turns out to be the song's last real surprise or shift as things begin to slowly fade over the course of the next two minutes. Posted Friday, November 17, 2017 Review 1824206 Gosh, how time flies! I am not that familiar with Zappa. Electric Orange are due to have a new full length release out on Sulatron in the summer and look for them at the Berg Herzberg Festival this summer! Posted Tuesday, September 5, 2017 Review 1779484 This is a live performance from the 8. Finally, the closing Mischwesen shows them on jamming paths again, including a mental downfall towards the end.
Once the rest of the band join in and establish their trepidous support, Dirk Jan continues to play around, but gradually his keys become more integrated into the weave, even seem to fade to background a bit--though there are the occasional really cool low end chord staccato hits. Then things quiet down again around 5:20. Cover and booklet include some really colourful images from the concert. Additionally synth, organ respectively mellotron patterns are perfectly complementing. The more I hear this the more I like it. Also, the first part of the album is better musically.
While combining some main ingredients, which are classic space rock, tribal percussions, hypnotic rhythms as well as ambient progressive electronics. While they are using a drum machine, organ and trumpet Drucktango and Samba Ohrleck are from the abovementioned album 'Nein! Any listeners who have witnessed the band grow into the dynamic and mesmerizing Krautrock band that they are today over their last few studio albums will greatly appreciate this comparable and superb live account. This is testament to the open-minded cultural vision of fans on this site. Horn-like sounds are layered and echoed during seventh minute to nice effect. Not a song that I care to hear again.
Since 'Misophonia' at least relatively dark-coloured visuals are dominating, probably aimed at complementing with their somewhat doomy melancholic soundscapes. Posted Friday, October 20, 2017 Review 1814464 It's hard to believe that German band Electric Orange have been around in some form for twenty five years now, founded by Dirk Jan Müller, a multi-instrumentalist who primarily handles keyboards and also recently started a well-received Berlin School-influenced prog-electronic side-project Cosmic Ground. Hereby they are keen on experimenting with all sorts of rare, obscure and vintage instruments. Don't expect anything too deep or challenging here. This time around, the instrumental band offer a heavily- improvised collection of eclectic sounds that moves through everything from ambient, Post-Rock, drone and psychedelic flavours, even some light New-Wave touches all woven to their lengthy Krautrock jams, with the band constantly displaying a masterful control of mood, build and atmosphere throughout.