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Electro Progressive Music of Zinkl

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Anton Zinkl-Singer is a major talent deserving of your undivided attention. His brand of progrock-influenced electronic music bristles with appeal and demonstrative emotions. A sense of epic grandeur dominates his compositions. His melodies are captivating and mesmerizing.

His releases are all noteworthy and guaranteed to satisfy.

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ZINKL: Circus Maximus (CD on Prudence Records)

This release from 1999 features 52 minutes of exotic tuneage.

For this release, Zinkl conjures a variety of circus oddities unlike anything seen by man. Then he delivers an assortment of tunes that explore these mysteries. The music seeks to tickle the mind rather than spell out any specific explanations for his assembled curiosities.

Keyboards pummel and sway as they describe enigmatic chords of monumental charm. Vast diversity can be found in those keys. One passage cavorts with high jubilation, evoking hyperactive harpsichords that stir the awed child lurking in our hearts. While another tune delivers densely compressed darkness that stimulates inherent wariness about the unknown. There's even a taste of introspective piano. Yet always the music's allure seduces the audience to lean closer and gawk with intense fascination.

Versatile percussion abounds. Rhythms of colossal scale surround the listener, propelling the melodies to heights of vivid bliss. Bells tinkle with crystalline charisma, while deep bass tones rumble as they open vast chasms of cryptic depth.

Navigating these diverse sounds and novel effects is a compelling mastery of composition. The tunes are exciting and gregarious.

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ZINKL: Plexus Andromeda (CD on Prudence Records)

This release from 1997 features 56 minutes of cosmic tuneage.

Fanciful keyboards are tempered by dire e-perc. An overwhelming sense of drama permeates the entire recording, lending the music the air of an epic of sociological proportion. Alien noises conspire with conventional melodics to paint a tale of alien desperation.

This instrumental music tells the story of David Miles who is abducted by aliens who transport him to the stellar constellation of Andromeda, where he is examined and ultimately transformed into an Andromedan. Centuries pass, and humanity starts exploring and colonizing the galaxy. The Andromedans respond to this threat by splitting the former Earthling into several entities and dispatching these back to Earth as a lethal weapon.

Divorced from this tantalizing tale, the music is gripping and enthralling on its own. Zinkl has a way of escalating even the slightest passage into an epic of emotional scope. The keyboards are lively and diverse, mixing festive strains with chords that tremble with ominous portend. Pastoral pieces flow into compositions of novel intrigue that ooze with tension while cavorting with zesty pep. This fusion of melodrama and celebration is something Zinkl excels at. These tunes exemplify that unpredictable quirkiness.

Applying fundamental progrock sensibilities to momentous electronics results in thoroughly dazzling music that is guaranteed to satisfy and thrill.

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ZINKL: Dance Music for Insects (CD on Prudence Records)

This release from 2002 features 52 minutes of, well--no lie--superb entomological dance music.

Joining Zinkl on this CD are: Mr Harant on killer guitar and Ozoneplayer Otso Pakarinen on additional synths.

This time Zinkl applies his ingenious creativity to creating tuneage that forges a fusion of man and insect. The music mimics insect qualities, in definition, in rhythm, in overall charm, and applies these aspects to human sensibilities.

Electronic textures growl and burr, while reedy keyboards and bass-lined punctuations sway and frolic to melodies that burrow deep into your psyche and linger long after the CD is done playing. Nimble riffs are generated with a seemingly inexhaustible resolve, constantly offering fresh allure and gratifying tuneage. Xylophonic passages lend a carnival air to some pieces, while other tracks flourish with a ponderous darkness that evokes massive proportion instead of anything ominous.

Percussions are lavish yet delicate, embellished by wobbly noises that are often impossible to define. The result is a pronounced insectoid flair, but this touch has auxiliary appeal too, tickling an undercurrent of mirth that is equally celebratory.

There's a subtle cerebral mood in this music, but the dominant disposition is one of joy and festivity. Zinkl is having fun, and his humor is unavoidably infectious.

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