W.A. dePHUL Ich Bin ein Berliner (CD on Ricochet Dream )
This CD from 2012 features 54 minutes of strong electronic rock music.
Ralf Wadephul (on synthesizers) is joined by Heiko Gigner (on percussion), Thorsten Wagner (on guitar) and Kal Wiegert (on bass).
An assortment of conventional rock instruments are employed to generate lively electronic music with a kick.
The electronics are sometimes shrill, sometimes whispering, always dreamy. A versatility is present too, giving the fluid riffs a tasty flavoring. Keyboard sweeps create a lush pastoral flair that is given an astral bump by cosmic guitar. More conventional keys inject a rockÕnÕroll animation to some tracks.
Sprightly percussion lends a suitable propulsion to the tunes with strong rhythms tempered just enough to remain immersed in the mix and not bulldozing their way to prominence.
The guitar has many voices, from spacey to romantic to blazing. Each lick bursts forth with a velvety puissance.
The bass provides a sultry undercurrent rumble.
These compositions possess a distinct power, an oomph that is passionately conveyed by the performers. A sense of jubilation mixes with strains of grand design. The songs seethe with a commanding presence, a dynamic that is quite infectious.
The inclusion of a cover version of Tangerine DreamÕs "Sungate" song is not all that out of place, considering that Wadephul was part of the bandÕs touring band for many years. While midway through the encore track, the tune slides into a driven progressive tribute to Van HalenÕs "1984/Jump."
INTERCONNECTED/ZEALOSPHERE Mechanic Environments (vinyl album on Dohkonul Records)
This release from 2013 features 41 minutes of overt electronic music.
This album features one sideÕs worth of tunes by Interconnected (aka Bakis Sirros from Parallel Worlds and Ingo Zobel) and another sideÕs worth by Zealosphere (aka Valentin Vallina Perez).
The Interconnected tracks are mainly abstract compositions devoted to an ilbient style of ambience. Atmospheric textures waft as a backdrop for grinding electronics punctuated by ilbient glitches. Clattery percussive sounds (of synthetic origin) provide extra embellishment. Harmonic structures are generated, then teased into pensive expressions of enduring tension, all the while maintaining a gentle ambient disposition. The embellishments evoke a twitchy flair with their edgy cadence.
The Zealosphere tracks pursue similar moods with harsher electronics. The blooping sounds resound with piercing intensity, not unlike an unleashed current of live electricity. Little in the way of melody (or even harmonic structure) is displayed by these songsÑthey express a pure form of chaotic hostility with their unbridled fervor.
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