From the vantage of the indie quarter, Lambert Ringlage has been creating noteworthy electronic music for over a decade. His music possesses a vibrancy that is refreshing and tantalizing, setting him apart from the average composer.
Let's examine some of his solo releases spanning the Nineties...
LAMBERT: Inside Out (CD on Spheric Music)
This CD from 1991 features 67 minutes of appealing electronic music.
Sultry textures are embellished by genial chords that exude a celebratory quality, drawing pensive ruminations from psychic depths and coloring them with fanciful tempos and lavish keyboard definition. E-perc injects a tasty pep to these upbeat harmonics, generating a frolicsome mood that violates introspection with subliminal commands to welcome each new dawn with optimistic expectation. Nimble chords cavort for the listener, punctuated by darker growlings that are devoid of any threat or dire portend.
Lambert's compositional skill shows sincere influences from the Berlin School of electronics, but his application of these roots carries his music into more modern realms, where velocity and rhythm play as vital a role as do surfs of atmospheric tones. His tendency to pack an excessive amount into each sparkling moment would be overwhelming if not for his discerning acumen for harnessing the morass into compelling tuneage. The melodies are engaging and entertaining.
For this release, no MIDI sequencing or computers were employed to create the music.
LAMBERT: Mirror of Motions (CD on Spheric Music)
This CD from 1993 features 75 minutes of lively electronics.
Joining Lambert's lush electronics on two tracks is Boris Glitzner on drums.
Energetic keyboards produce lively chords that float with subtle agitation, stirring the listener's soul with their passionate influence. Soft E-perc propels the flow to an increased upbeat disposition. The background is often littered with synthetic effects that chitter and buzz, generating a distant otherworldly impression. Lush textures are overlaid with invigorated cycles, creating a surging spiral to carry the audience aloft. Glittering guitar riffs add a tasty diversion, cavorting amid these aerial excursions and providing a strident counterpart for the multi-layered nest of keyboards.
Ricocheting patterns evoke a frenetic temperament, one that sneakily accelerates the pulse-rate as the mind strives to keep pace with the frolicking melodies. Exhaustion is not a factor, though, for the music imparts its energy to the listener, inciting a physical partnership with the harmonics that reinforces stamina through sonic induction.
Velocity is integral to the music on this release. These swift compositions are vivacious and spur the audience to unconscious toe-tapping. All the while, the tuneage nibbles at the cerebral cortex, contaminating dormant synapses with melodies designed to inspire intellectual rumination.
LAMBERT: Dimensions of Dreams (CD on Spheric Music)
This CD from 1995 features 73 minutes of spry electronic music,
Lambert is joined by Andreas Paeth on guitar on one track.
Strict keyboard strokes generate lively melodies here, embellished by broader textures that held cement the pieces into congenial wholes. Jubilant riffs unfold with heavenly tonalities providing airy contrasts.
At other times, the melodies exhibit grimmer undertones. Meticulous E-perc enhances this solemn disposition with languid rhythms. Inevitably, however, Lambert's optimism overwhelms these grave sentiments, coloring the harmonics with lighter tones and smirking electronic effects that loosen all tension with psychic tickling.
While other tracks utilize these dense, deep-toned beats to more frolicsome purpose, accomplishing rhythms that lift the spirits with their energetic patter. At this point, Paeth's guitar injects a fiery blaze of passion that send the tune soaring to stratospheric altitudes. And when the guitar pauses, Lambert's keyboards perpetuate that lofty sense with vivacious chords that defy the pull of gravity.
This enforced levitation is a dominant aspect in much of the music on this CD. The tendency for upward movement can be considered a signature trait of Lambert's, found in the majority of his compositions.
Dreams are usually quite subjective perceptions, but Lambert has found a way to translate his somnambulant experiences into music that is conducive to objective interpretations.
LAMBERT: Pearls (CD on Spheric Music)
This CD from 2000 features 72 minutes of electronic soundscapes originally released in 1990.
These tracks embody Lambert's explorations into long-form compositions. The mood is often dreamy and designed to unfocus the conscious mind, freeing thought to expansive development. The direction of these sonic journeys is intentionally vague, leaving the dreamer to wander in realms of their own devising.
Shrill tones waver and wobble, while cyclic loops surround the audience with atmospheric conditions of great and open potential. Soft E-perc peppers the harmonic flow, adding unintrusive motion. As the melodies are subjected to elongation, the trance factor increases.
Vistas of emotional response are unlocked as the keyboards adopt a more vigorous velocity, sending the audience's collective mind on a swift voyage through pastiches of energized ether.
In many ways, the CD's title superbly defines these tunes. The music resembles orbs of enticing luster that reflect inner realms not normally glimpsed by the listener. Within these appealing spheres dwell unrealized possibilities, potential given credence by the music and allowed to flourish. As the mind is freed from mortal constraints, Lambert's expanding compositions provide soundtracks that propel ruminations into unexpected directions.
Here, the in door always leads out.
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