Музыка и песни Sankt Otten / Sankt Otten на CD

There is harmony, geometry, metaphysics everywhere and, in a way, morale as well"" Gottfried Wilhelm Leibniz // Everyone knows these moments, hours or days, where one is feeling cornered, it is like running in circles or one is just trying to see something from a different angle. The new album by Sankt Otten - ""Lieder für geometrische Stunden"" (""Songs for geometrical hours"") - offers tracks for these kind of scenes. It's the soundtrack of the ups and downs of life and everyone's entirely personal geometrical hours.A very gentle and meditativ sequence introduces us to this new creation. Is it a synthesizer or a guitar? Whatever! A floating pad passes and returns, layers and shapes are rising. At the end the interaction of man and technology merges into perfect harmony. We are heading monumentally towards a futuristic world, which is frigid and surreal with a monotonous, sometimes gloomy and dark mood. Also beautiful. ""Du hast dem Schicksal die Show gestohlen"" (""You upstaged fate"") by contrast comes along with a minimalistic attitude. To some extent, sounding like rock music without being rock music. It's the perfect intersection of Minimoog sequences, acoustic drum sounds, ebow guitars and synthetic strings. Conny Plank would approve. ""Wer trifft schon immer den Ton"" (""Who always hits the mark""): A rhythm of nested patterns, a subtle arrangement, gentle choirs, pauses, compaction and thinning. Is this already jazz? Greetings from the echo chamber. The machines are trying hard. They deform the beat into geometrical forms, the bass jumps in circles, covering the tracks with ghostly choirs, creating an illusive, cuddly dreamworld. By the way, it's a long time ago, that rototoms have been heard in electronic music. Great! ""Dann doch lieber weisse Wände"" (""I'd rather have white walls""), the secret hit on the album? ""Die Blumen darfst Du behalten"" (""You can keep the flowers""): The pause is breathing, constantly wrapped in the elapsing tone of the night. A guitar in a slow-motion dialog with a synthesizer. Finally both burned up within the interstellar space. That shoud be a title for the next Blade Runner movie.This exactly 45 minute-long album fits on a C90 cassette side and thus closes properly with warm, analog 80's electronica. Man and machine are going hand in hand, infused by a hypnotic, motor function 808 beat, encouraging everyone to head-nodding by being almost danceable. Again, the central theme of this release is definitely the minimal, repetitiv drum play of Stephan Otten, whereas Oliver Klemm's ebow guitar drones hovers the tracks through this album. Sankt Otten do not disappoint. Founded in 1999, the duo from Osnabrück releases since 2009 on Denovali. With their 11th release, they give us a gem of timeless instrumental music. The holy trinity of krautrock, ambient and contemporary electronica, but always sophisticated and unique Sankt Otten. The mastering of the album was made by New York-based Rafael Anton Irisarri. Also the cover layout shows their great taste once again. This outstanding punch artwork was created by graphic designer Daniel Castrejón. Sankt Otten: Stephan Otten: Drums, Programming, Synthesizers / Oliver Klemm: Guitars, Synthesizers, Bass

The Heavenly Music Collaboration! The German instrumental duo SANKT OTTEN already teamed up in 1999 and joined the Denovali Records roster in 2009. With as much as six full length albums under their belt, their upcoming seventh longplayer MESSIAS MASCHINE (Eng.: 'Messiah machine') is something particularly special as it features collaborations with various pioneers and great exponents of electronic and avantgarde music. Last summer on one of their live shows Sankt Otten met HARALD GROSSKOPF, drummer of ASHRA (as well as appearing on albums of KLAUS SCHULZE). This day wasn't only the starting point for the collaboration with Grosskopf, but furthermore motivated Sankt Otten to invite other musicians to contribute to their 2013 release. All but the eponymous track "Messias Maschine" feature remarkable guest musicians from different generations and musical backgrounds. Participating musicians are JAKI LIEBEZEIT (CAN), ULRICH SCHNAUSS, COLEY DUANE DENNIS (Maserati) and CHRISTOPH CLÖSER (BOHREN & DER CLUB OF GORE) among others. By mixing the unique melancholy of Sankt Otten with ingredients of contemporary synth-music and the heritage of German pioneers of progressive electronic music, the band is moving KRAUTROCK into 2013. Sankt Otten are extremely proud having convinced legendary CAN-drummer JAKI LIEBEZEIT to collaborate. Jaki, this 75-year old "Human Drum Machine" joined with his mantric and experimental beats on three tracks. The recording sessions reconfirmed what Jaki's fellow band member HOLGER CZUKAY once said: "Jaki plays like a machine. Just better." Another album highlight is the appearance of ULRICH SCHNAUSS, who added some of his distinctive synth layers and percussion to the title 'Im Himmel angekommen'. Furthermore, theremin maestro MILES BROWN of THE NIGHT TERRORS from Australia joined the cooperation and played a haunting melody on a 7/8 beat of Stephan Otten's unique electronic drumming. COLEY DUANE DENNIS, head of US-postrock legend MASERATI recorded a tremendous echo-guitar for 'Da kann selbst Gott nur staunen' - vesting the track with a sound that easily could have arisen from a session of KRAFTWERK playing with PINK FLOYD Style: Kraut Rock

The German instrumental duo SANKT OTTEN, founded in 1999, consists of Stephan Otten (drums, programming, synthesizer) and Oliver Klemm (guitar, synthesizer, piano), and has been releasing on Denovali Records since 2009. Their eighth album ENGTANZ DEPRESSION (engl.: CLOSE DANCE DEPRESSION) expresses a significant progression of their material on the preceding album trilogy (Gottes Synthesizer, Sequencer Liebe, Messias Maschine). New drum sounds and acoustic instruments such as harmonium and piano may be found, and some pieces emerged from free improvisations, which is a completely new approach taken by this band. The album starts with "Urlaub Unter Psalmen" which builds up slowly, piles up further, just to completely disintegrate in the end. Klemm's typical E-bow guitar parts and the dubby baseline make this track a catchy tune. Next is "Beten, Tanzen, Küssen" which is the first Sankt Otten track ever where a harmonium appears. In combination with the minimal beat one could even think that this track is suitable for a club context, but the two musicians always manage to stay away just enough from the ordinary and remain slightly disturbing as ever. "Im Lichtorgelparadies" switches on the lights in paradise with a hypnotic synthesizer melody and the KRAFTWERK-like beat gives the track a floating ease. One of the album highlights is the 12-minute monster "Sing die Apokalypse", which is dominated by Otten's powerful, but always minimalistic drumming. After about 10 minutes the listener might think that the apocalypse has aleady arrived, but Sankt Otten move on and manage to even increase this feeling. The track ends unexpectedly and with a winking bow to the influential American electronic protopunks SUICIDE. However, Sankt Otten also demonstrate that they can still master the meditative sounds. Tracks like "Der Himmel ist voll" or "Die tragische Nummer" are quite far apart from average electronica. The titles of the tracks appearing on the album are as always a unique mixture of aphorisms, sarcasm and puns. In spite of the new directions explored on this album, SANKT OTTEN maintain their characteristic Holy Trinity of krautrock, ambient, and 80ies electronica. Floating, meditative, dazing and catchy at times. Recommended if you like ZOMBI, BOARDS OF CANADA, ROBERT FRIPP, KRAFTWERK Record Label: Denovali Style: Kraut

The german instrumental duo SANT OTTEN already teamed up for building the first walls of sound in 1999. Since then they released 4 albums and several eps together. In 2009 they joined Denovali Records to realize their 4th length Morgen Wieder Lustig follo Style: Ambient

Style: Indie Rock

Style: Indie Rock

Style: Ambient