Kymatica
by TaboTago
Carsten Pieper
Carsten Pieper
Pure nostalgia for Tangerine Dream fans, this one. The trio around iapetus' Bernard Wöstheinrich doesn't try to hide it. On the contrary, they have the TD name name-checked in the album accompanying text here on bandcamp. Indeed these tracks sound like lost TD recordings from the 1972-78 era. Strongly recommended for 70s TD-fans!
The music is quite different, but this project seems to have done to "classic TD" what Robert Reed did to early Oldfield with his Sanctuary albums...
The music is quite different, but this project seems to have done to "classic TD" what Robert Reed did to early Oldfield with his Sanctuary albums...
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T e l T o n
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Javier F. Bárcena 💢🌊⚽🎷
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Michael Hunter/Ombient
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Johannes Korn
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1. |
Blue Tang
06:53
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2. |
Conductivity
11:32
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3. |
Antares
10:16
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4. |
Satyr
10:22
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5. |
Kymatica
08:49
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6. |
Vespertine
04:19
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about
Kymatica is a journey back in time with one foot firmly in the future. To Berlin-based trio TaboTago, the years between Tangerine Dream's monolithic album "Zeit" in 1972 and the controversial fusion experiment "Cyclone" towards the end of the decade still provide plenty of inspiration. Over the course of many sessions and private concerts in a basement on Taborstraße they manage to crack the code which allowed Tangerine Dream to build epic and complex sound worlds while using synthesizers and early electronic equipment. Starting out as a cover band, it wasn't long before the band applied their secret knowledge to the six pieces of original material on debut album "Kymatica".
In the spirit of the originals from the 70s and performed on current digital gear as well as on analoge synthesizers, these up to 11-minute long tracks occasionally sound like undiscovered Froese recordings from the vaults. Partly, this impression can be attributed to the fact that, similar to the techniques used by most krautrock bands at the time, all of the tracks were edited from live studio sessions, using no overdubs and very little post production. The band also regarded it vital to replicate the deep and warm sound of Tangerine Dream's 70s productions. To this end, using specialised software, they created a 'sonic fingerprint' of the classics and then applied this equaliser setting to their own music.
Despite these references to the past, the individual voices of the musicians remain clearly audible. The most striking example is centerpiece "Antares", on which Reininghaus builds a breathtaking melody on a bed of mesmerising harmonics and chord structutes shifting at a glacial pace. The grooving bassline underpinning "Satyr", on the other hand, reveals an interest in modern electronica – before the track suddenly changes direction, turning into a bizarre soundscape in the later stages.
By incorporating these diverse influences into a "Berlin School" production, Kymatica organically beams Tangerine Dream's spirit into the 21st century.
In the spirit of the originals from the 70s and performed on current digital gear as well as on analoge synthesizers, these up to 11-minute long tracks occasionally sound like undiscovered Froese recordings from the vaults. Partly, this impression can be attributed to the fact that, similar to the techniques used by most krautrock bands at the time, all of the tracks were edited from live studio sessions, using no overdubs and very little post production. The band also regarded it vital to replicate the deep and warm sound of Tangerine Dream's 70s productions. To this end, using specialised software, they created a 'sonic fingerprint' of the classics and then applied this equaliser setting to their own music.
Despite these references to the past, the individual voices of the musicians remain clearly audible. The most striking example is centerpiece "Antares", on which Reininghaus builds a breathtaking melody on a bed of mesmerising harmonics and chord structutes shifting at a glacial pace. The grooving bassline underpinning "Satyr", on the other hand, reveals an interest in modern electronica – before the track suddenly changes direction, turning into a bizarre soundscape in the later stages.
By incorporating these diverse influences into a "Berlin School" production, Kymatica organically beams Tangerine Dream's spirit into the 21st century.
credits
released April 18, 2018
Music composed by Bernhard Wöstheinrich, Leander Reininghaus and Andreas von Garnier
Bernhard Wöstheinrich – Synthesizer, Keyboards, Sequencer
Andreas von Garnier – Synthesizer, Keyboards, Sequencer
Leander Reininghaus – Guitar, Electronics, Synthesizer
Mixed and mastered by Markus Reuter using a Moon by Simaudio Neo 230HAD headphone amp/DAC.
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more TaboTago sessions and releases:
tabotago.bandcamp.com
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Text by Tobias Fischer
15questions.net
Special thanks to Wolfgang Krumme; WOK Music
www.wokwave.com
Music composed by Bernhard Wöstheinrich, Leander Reininghaus and Andreas von Garnier
Bernhard Wöstheinrich – Synthesizer, Keyboards, Sequencer
Andreas von Garnier – Synthesizer, Keyboards, Sequencer
Leander Reininghaus – Guitar, Electronics, Synthesizer
Mixed and mastered by Markus Reuter using a Moon by Simaudio Neo 230HAD headphone amp/DAC.
---
more TaboTago sessions and releases:
tabotago.bandcamp.com
---
Text by Tobias Fischer
15questions.net
Special thanks to Wolfgang Krumme; WOK Music
www.wokwave.com
license
all rights reserved
tags
about
Bernhard Wöstheinrich Berlin, Germany
Bernhard Wöstheinrich elicits meaning from abstraction in electronic music and painting. He has studied graphic design and
has created an eclectic body of work in both graphics and music.
Bernhard speaks in his own musical voice; the musical arc of his work often moves from the curiously beautiful to the beautifully curious.
... more
discography
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Bernhard Wöstheinrich recommends:
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Under The Tree, In The Sun #6.2
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Music of our Times
by Gary Husband & Markus ReuterThe ultimate ambient piano album.
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