It is nothing short of a
sensation that Johannes Schmoelling and Jerome Froese teamed up
for the Loom project. Finding such an equal pillar in third part
Robert Waters (Robert Wässer), to maintain Loom's strong position,
was an achievement in itself.
On stage in Eindhoven,
Robert Waters seemed to have a function of a system analysts. Not
much physical display, or compositional input in the set list. On the
EP that was released on the occasion – and now sold out – Robert
Waters contributed two pieces with little strokes of genius. One extraordinarily
melodic and underacted. The other, an eighties hybrid of Vangelis and
Robert Waters is back with
the same calibre on the I've Seen The Invisible EP. It's particularly
well produced, thoroughly detailed, ultra melodic electronic music,
with a twist of melancholy, and appetizing, humane bittersweetness.
The EP, with its 17
minutes, is a quickly accomplished mission. It has four tracks, of
which two of them aren't much longer than two minutes each. However, they
do have several memorable passages in the shape of lovely melodies
and slightly sad states of mind. There might be somewhat of a jingle
slash commercial kind of feel to them, but they transmit, in short
spans of time, a message that can't be misinterpreted. Robert Waters
has build up this skill to do this, among other things, as a composer
to children's television. Here, the unfulfilled potential comes full
circle in the mighty fine tracks ”I've Seen The Invisible” and
”Puzzle Di Sogno”
More time to dwell on the
higher mental strata of air happens in “Memory Hunter”, and
particularly ”Ninety 4 Seconds Left Over”. Sophisticated tones,
synthetic, wordless elegies and longingly cello melts together with
the bass heavy beats in a patchwork of electronic superiority.
This EP should, in its
status as exactly an EP, not sink into oblivion. It has all the
might and power a good album should contain. It has already reached a
prominent position on my list of albums of 2012. I had gladly seen it
include Robert Waters' contributions to the sold out 100 001 EP, or
the two exclusive tracks on his Soundcloud, but that's just a
Completely suprising sonic guitar attack, from a totally unexpected quarter. Tangerine Dream's leadguitarist Bernhard Beibl has accomplished a master stroke with the EP 2012.
There's nothing better, after a well accomplished Tangerine Dream concert, than to lie down, exhausted on the hotel bed, and listen to new EP on the discman, released on occasion of the event, and gently be lulled to sleep. On the newly finished Electric Mandarine Tour, such a pleasure wasn't scheduled. This honour was instead trusted to the leadguitarist, Bernhard Beibl. An equilibrist, whose merits at Tangs concerts has been very well received by the attending audience.
However, the expectations to an EP by Bernhard Beibl was close to non-existant. First of all, he has never been credited for composing a TD track. Secondly, the demos on his former website hasn't been that exciting. Entertaining, but kitschy muzak similar to the kind you hear in amateurish music documentaries, where the rights to the original music hasn't been acquired, and a sexless studiomusician is hired to make lame shades of the real deal. Furthermore, he has set foot on the club scenes in and out of, oh, Vienna... with completely pointless, and cheesy, covers of ZZ Top, and other rubbish, I've luckily forgotten by now.
While the breathless guitar arrangements to Tangerine Dream's "One Night In Space" and "Leviathen" has taken every guitar enthusiast aback, I have always known he had an unresolved potential within the progressive area of instrumental metal. Until 2012 that never happened. But I had goddamnedly never expected he would take revenge with such merciless force, and release the potential with such a professional calibre.
When the first notes of 2012 appeared, I got a new boost of energy, and was ready to stay up a couple of more hours, and let the EP play on repeat. I hadn't seen it come that Bernhard Beibl is such a skilled composer and arranger, on a level that matches John Petrucci (Dream Theater), Marty Friedman (Megadeth) and Steve Vai (Whitesnake), up to their respetive, receding hairlines.
If you enjoy guitar shredding, 2012 is essential. The ligtning speed is jawdropping. The time signatures are played with, in great superiority, in various staccato hotchpotches. And to not have the masculinity tip over, there are more emotional reflective breathing spaces, in the final two tracks. Martin Weninger is behind the drums, and does his outmost not to overshadow the man in the spotlight, with an anonymous, secure and precise performance.
Wow, this is good stuff! And I'm really looking forward to a record company to bite the hook, and release a fullplayer with Bernhard Beibl.
The EP is suitably and confidently named 2012. Once the year reaches closure, this one will definitely be on top of such an annual list. A really competent, potent, explosive cocktail in 24 minutes, completely unexpectedly shaking my foundation. When the EP plays, the sleep phase is delayed and shortened in a rush of adrenalin and euphoria.
Further listening: Megadeth – Rust In Peace Liquid Tension Experiment – both albums. Axess & Maxxess - Contact