1. LHC (Large Hedron Collider) [12:44]
  2. ALICE (A Large Ion Collider Experiment) [9:16]
  3. ISOLDE (Isotope On-Line Detector) [11:27]
  4. AD (Antiproton Decelerator) [11:27]
  5. SPS (Super Proton Synchrotron) [9:32]
  6. ATLAS (A Toroidal LHC Apparatus) [11:37]

    Bonus track:
  7. WUNDERWERK (Trancer Spacey Remix) [9:25] MP3 soundclip of wunderwerk [3:00]
Bonus Track feat. Stefan Erbe This CD from 2009 offers 75 minutes of intellectually stimulating electronic music. The focus of these compositions is CERN (the European Organization for Nuclear Research) and their work with particle accelerators. Using crystalline electronics in conjunction with snappy e-perc, Seifert has done a superb job capturing the soul of these scientific apparatus. The tunes (each one dealing with different machines) evoke sophisticated equipment in tandem with mankind's thirst for quantum knowledge.

The electronics are smooth and slick. Dreamy texturals establish lush backdrops that serve as platforms for electronics that glisten with chromium luster. Clever mechanical traces exist as auxiliary expressions amid an undulating bevy of very accessible melodies. While retaining a celestial quality, the main electronics exemplify a tasty balance of deep technology and sincere humanity--meaning they will appeal to technocrats while not suffering a lack of emotion.
The gist of these melodies are generated using keyboards in a pleasant manner, producing riffs that flow with gentle energy. Diverse sonic threads are established and coaxed to blend as the tunes progress, resulting in appealing tapestries. The percussion is sultry and pursues serpentine tempos which provide the music with cerebral locomotion. Remaining submerged in the mix, these rhythms are never too obtrusive that they overwhelm the songs.
This music's pace is generally relaxed and devoid of harsh elements. Central themes are achieved swiftly, then toyed with via variations, keeping the tunes fresh and engaging.

The album includes a song by Stefan Erbe which has been reconstructed and remixed by Seifert. With spry beats and nimble keys, this piece tends to exhibit bouncier tendencies than the rest of the album's material.

Matt Howarth / Sonic Curiosity This Erik Seifert's new opus listens to as a strange spatial journey. Mixing the soft melodious approaches of Vangelis to Jarrian rhythms, while visiting heterogeneous sound atmospheres of outer space flights, Core evolves as a long track segmented in 7 parts in a sonic flora to sci-fi smells, as if we were aboard a space shuttle which floats slowly among the astral cloudiness, the planets and the stars. A beautiful album filled with electronic rhythms which progress melodiously in Jean Michel Jarre's soils.

An electric current sparkles on the opening of LHC, freeing a swarm of sound ions which floats in a cosmic mist, a little as the inside of an awakening spaceship. Everything is under the hold of gravity; melancholic chords of a misled piano to metallic strata of a sleepy synth, we are in weightlessness, in an intersidereal emptiness. A soft twinkling sequence appears from this astral void. She spins with the grace of a ballerina in a serene atmosphere, where the piano’s forlorn keys accompany her shyly before a latent tempo turns up on the horizon. Around the 7th minute it bursts on slightly banging percussions and beautiful line of wave-like bass which spits pulsations to hybrid heaviness’s in a musical context where the tempered rhythm crosses the ambient, but delicately musical, atmospheres on a synth to Arabic and waltzing layers. A beautiful track bursting of a spatial melancholy and which is melts to the noises of a space station gear.
According to the introductory protocol of LHC, ALICE releases itself from the mechanical influence with a suave tempo which waves delicately on a subtly stroboscopic structure. Hyper delicious and extremely melodious, the synth kicks away beautiful languishing strata to melodies of people from the sands. In the middle point, the rhythm becomes more caustic and jerks on a delicately anvil approach, pursuing his melodious destiny on more hammered percussions, which injects a heavier tempo.
The journey continues with ISOLDE and its slow atmospheric evolution which depicts skillfully the movements and the everyday life of cosmonauts moved away from their homeland. A very cosmic musical piece where the synth spreads its analog tones, among solos and synthesized melodies that shape a slow temporal waltz.
AD continues the exploitation of ISOLDE's galactic atmospheres. With the difference that the atmosphere is heavier, with its threatening synthesized streaks which scan the environment, such a laser eye among choirs condemned to perpetual space. Around the 4th minute, the synth harmonizes solos which get lost under pulsating bass and well feed percussions, drawing a languishing rhythm in a sound universe rich in heterogeneous striking which encircle an insistent sequence coming out of nowhere, of which synth solos embellish themselves pretty well out of the eye to scanning resonances. Another track very well structured.
SPS and ATLAS are 2 tracks in the purest Jarre tradition, Calypso and Chronology areas. Tracks with amphibian consonance which move on nervous rhythms, great awaken percussions and a hatched girdle sequence which mislays, from time to time, towards more atmospheric passages. A hoochy koochy track, no doubt about it!
The dragonfly sequence of Wunderwerk is a pure hearing delight. Arpeggios to charming jolts which cross slamming percussions of which resonances throw to Moon Machine mood, exit Jean Michel Jarre. Another great track, provided with a slightly stroboscopic rhythmic structure where the ambient rhythm embraces lazily a synth to steams of a solitary sax and catchy rhythms in a sci-fi atmosphere, here is the result of Erik Seifert's 5th opus.

An album high in tones and in skin-tight paces, worthy of a dance floor for fans of twiddle dance, where melancholy transcends the rhythmic simplicity. CORE; a cd for fans of Jarre, even Vangelis, Chronology and Direct areas.
The best EM melodious album of 2009.

2010. Sylvain Lupari Das Thema Cern begleitet mich schon sehr lange. Es began im Jahr 1989, als ich für die Fernsehproduktion Steins Fernsehen als Ton- Maz Techniker arbeitete. Damals drehten wir einen Imagefilm über den Elektronenbeschleuniger. Wir waren ca 2 Wochen in der Schweiz und es war überwältigend was es dort unten alles zu sehen gab. Als ich das erste mal 160 m tief aus dem Fahrstuhl ausstieg, hatte ich das Gefühl in einem James Bond Set zu stehen. In einer riesigen Halle waren 3 stöckige Detektoren untergebracht. In alle Richtungen zweigten Gänge ab. Es war atemberaubend!

Schon damals interessierte ich mich für elektronische Musik a la Jean Michel Jarre, Tangerine Dream oder Patrick O'Hearn. Ich stellte mir vor wie Musik die das Thema Cern hat, sich anhören mußte. Über die Jahre reifte eine Idee, die aber mit meinem damaligen Equipment nicht zu realisieren war. Bis zum Jahr 2004, als ich mein Studio komplett auf digital umstellte und mir auch der Computerspeicher keinen Strich mehr durch die Rechnung machte. Ich wußte, daß ich viel mit Sound Effekts arbeiten musste um den technischen Aspektbedienen zu können. Ich wollte die Energie, die Power, und auch die technische Schönheit der Anlage in meiner Musik wieder finden. Des weiteren hatte ich vor dem Projekt aber auch einen Soundtrack ähnlichen Charakter zu geben. Es sollte bombastisch klingen durfte aber unter keinen Umständen den Synthetischen Klang vernachlässigen. Ich arbeitete mit neuen Synths, wie dem Omnisphere, Evolve oder dem Elements Plugin. Ich stellte eigene Drumsounds her und setzte FX Sound als Drums ein. Wie bei keinem anderen Album benutze ich eine Unmenge von Effekt Plugins. Manchmal bis zu 8-9 Plugins in Reihe. Ich benutzte eine Reihe von Soundlibraries wie "Soundstorm, Hollywood Edge Soundlibrary oder Digifects". Ich samplete auch Unmengen von Effekten aus Filmen die ich dann bis zur Unkenntlichkeit bearbeitete. Machmal war ich selbst über mich erstaunt wie akriebisch ich das ganze anging. Wobei ich doch immer wusste wo ich hin wollte. Das ganze komponierte ich in Logic Pro und Ableton Live, je nach dem was mir praktischer erschien. Danach wurde das ganze in Pro Tools gemixed und gemastered.

Auch bei "CORE" benutzte ich die Möglichkeit alle Tracks in einander zu fügen, so dass man die CD in einem Durchgang hören kann ohne das eine Unterbrechung auftritt. Als ich dann Stefan Erbes "Club Genetica" hörte und dort vor allen Dingen den Titel "Wunderwerk", hatte ich die Idee das der Titel sehr gut zu meinem Projekt passte würde. Ich rief Ihn an, unterbreitete Ihm meine Idee, und er war sofort angetan von meiner Vorstellung einen Remix von seinem Titel zu machen. Nach einer Musikabnahme von Stefan in seinem Studio, masterte ich den Track und so kam Wunderwerk als letztes Stück auf die CD.
Insgesamt dauerte die Produktion 3 Jahre.

2009. Erik Seifert