All titles are composed, arranged and performed by Bernd Kistenmacher.
- Ouverture [9:04]
- Tsunami [16:01]
- Clayoquot Sound [6:22]
- Lost City [14:13]
- In the black smokers bar [5:32]
- Who will save the world? [9:39]
On closer examination of the deep sea and the oceans, one is especially clear: we actually know very little about what is going on under the surface. Sure, we know how global mechanisms are working (do we really?). We know a (small) part of the species and slowly we begin to understand that the deep-sea habitats, how alien they may seem to us, are important for our own lifes.
However, this unlit and unfamiliar world is widely unexplored. In fact we know more about the stars that surround us, than about the world from which we all seem to originate. Sure, this does not prevent human beings from exploiting existing resources merciless. This does not only concern the overfishing of the oceans or the never-ending thirst for oil. We begin to exploit the seabed of our oceans without mercy. Even the worst environmental disasters do not hinder us to identify new and profitable sources - obviously ignoring any sustainability. A sea floor, for example the manganese nodules have been "combed" remains only scrap value afterwards. Only a second glance shows that there also, in many thousands of meters of the water, life is existing. At least before this "harvest" actions. Where the continental plates are pushed apart by magma flows, therefore, to the ocean ridges, there are so-called "black smokers". Hydrothermal vents, that spit a 400 degrees hot primordial soup. Since a few years, we know, that life is even here! Whole habitats of worms, snails and archaea.
"Beyond The Deep" is a musical fiction. A plea for the conservation of this unique and fragile world. Sometimes threatening. Sometimes phenomenal. And sometimes relaxing.
Who knows what kind of parties will be held at the "black smokers" or in "lost city"? To find out, we should not destroy and exploit. We should do research and take a closer look to understand. The seas and their inhabitants will be greatful...
2010. Press Information
"Talent from God". Wonderful album again. Romantic, deeply, emotional, come from heart. Congratulations.
2010. Can Atilla
After many albums dedicated to or inspire by outer space, "Beyond The Deep" takes a dive into the inner space world and wonders of sea life. The album and its music were premiered at Planetarium Bochum on June 12.
So what does this fictional musical exploration of the deep sea and the oceans, which were inspired by Frank Schštzingís science fiction thriller "The Swarm", bring us next to its ecological message?
Well, Bernd certainly hasn't forgotten his Berliner School roots beside his orchestral style and his distinct fingerprint, setting a gentle and grand mood with the opener "Overture".
The 16-minute "Tsunami" has quite some searching sounds at the start, before moving into a gentle piano section followed by spacious string and choir pads. Things are set in motion with a nice interplay of sequencers and rhythms, and I'm especially happy any solo voice is left out in this vibrant, classic-oriented piece. Well done!
The acoustic guitar sounds on "Clayoquot Sound" take things in laid back spheres and new age territory with romantic flavors. Itís too simplistic and lightweight to my ears, although the second part of this track offers Berndís well-known orchestral sound.
I like "Lost City" much better. At first thereís a mellow atmosphere and some twinkling sounds, but soon things shift into higher gear with orchestral and symphonic synth pads, bass rhythm and only a few solo sounds. Berndís well-known, more pronounced trumpet sounds show up briefly in the second half of the imaginary track, leaving enough room for the grand symphonic design before the tracks gently fades out with acoustic guitar sounds.
On we go with the moody, warm soundings of the relaxed "In the black smokers bar", which features some lush piano.
Bernd brings things to a nice ending with melodic and smooth "Who will save the world?", another personal highlight. which contains a nice interplay of synths, strings, and flute, all executed in a neo-classical manner, culminating in a symphonic finale with a nice vibrating solo (although I donít understand the clapping and chaotic voices at the tail).
Nevertheless, Bernd has done a very nice job with the well-executed "Beyond the Deep", which sees him explore emotional and new musical pathways. Hatís off!
Bert Strolenberg / Sonic Immersion
Beyond the Deep is a worldwide call on behalf of Bernd Kistenmacher so that the man stops ignoring this vast world under our feet and respecting it, because if the nature should take revenge, it would come probably from there. Dramatic? Disturbing? Hmm Ö Yes, quite as the musical structures of Beyond the Deep, 17th opus of German synthesizer who goes of superb orchestral surges to renew our forgotten passion for Vangelis works.
Moreover it is what jumps to ears on Ouvertureís opening; big aquatic waves which roll beneath the skiff of a hydraulic galleon and gulls cackles that are dying in the singing of abyssal depths. A strange sea and world contrast where synth strikes remind dramatic approaches of the Spanish conquering galleys that eyed New World coasts. Deeply moving, the synth is magnificent and spits symphonic breaths which bend on percussions, such these old sailboats leaning on the strength of slaves rowers pushed by drums striking. The resemblance is stunning, but superbly musicale with a so sensitive dexterity that we imagine ourselves on these shuttles of the despair, escaping to scurvy and arrows of those future converts. The world and the sea! Two indestructible links that Kistenmacher displays and fills out with all the complexity of its electronic equipments, shaping thus a work as unique as the message carrier. A splendid refrain escapes from this stream strength, giving a second breath to Ouverture which becomes suddenly as harmonious as he could be dramatic. A synth which frees its melodious bits among rolling percussions such a conquering procession through seas. Seas to fine twinkling arpeggios which float around a splendid Mellotron aura, showing all the sensitivity of a Kistenmacher which weaves its orchestral arrangements with so much knowledge and panache as Vangelis or John Williams.
Shouts of terns above a rough sea, Tsunamiís intro rumbles with power and worry pouring under the dark side of waves and voices of sirens trapped in strange plasma to suspended chords. A soft Mellotron appears from it, flirting with a piano to chords as much hesitant as nostalgic and soaking in a halieutic romance. There where the melody gets lost in the infinity, in the gust of notes which float around a suave Mellotron, while embracing a chaotic structure which takes its surge with a heavy piano galloping on a choppy sea. A crazy race where the rhythm can't be explain, but lives with doggedness by notes of a wild piano which dance feverishly in the mists of a heavy Mellotron, as the shaping of an immense wave of Tsunami which will crash with roar. The music of Kistenmacher lives and tells magnificently well on this oceanic ode where the progress of the sound structures binds itself with the imagination of its author.
After the storm, it is the calm with melodious Clayoquot Sound where acoustic guitar and fluty Mellotron sing the serenity on a structure very near the roots of the progressive folk music. In progression, Kistenmacher adds to it beautiful strata of a very symphonic synth which wraps arpeggios to twinkling radiance and this wonderful melancholic Mellotron.
Lost City is another superb title where the duality of rhythms and harmonies is in constant ebullience on very beautiful orchestral arrangements. The intro flows as a river of Vietnamese cantons with a Mellotron to Pan Flute which espouses arpeggios weaved in the silk. A soft harmonious trickle which flows in a hybrid cosmos where planet Earth is catching up to the stars. At around the 3rd minute chords wriggle beneath strikes of jerky Mellotron string bows and drum rolls, reflecting Geoff Downes' complex orchestral universes. Lost City will constantly be torn pulled between the melodious sweetness and dramatic approaches dense orchestrations, under a discreet synth among of which spasmodic chords and symphonic strata invade little by little this universe where the rhythm gets win with bows strikes and anarchic percussions before sinking into the quietude of a which meets up its introduction. A great track that worth Beyond the Deep purchase.
A little as his title indicates it In the Black Smokers Bar offers a jazzy structure. A structure of night club with a beautiful and languishing line of bass and a synth to aphrodisiac breaths that is out of tune from Beyond the Deepís ambiance and which recalls Jarre cosmic rumbas on his first works.
Who will Save the World? takes again the Mellotron orchestrations with tender violins which tear a soft intimate atmosphere where a beautiful flute floats in a hazy mystic. Magnetic, singing exercises to weakened tremolos go with this symphonic walk that adds to its nobility with harpsichord notes which furrow a cosmic synth. Another great music piece, with a not less beautiful refrain, that hooks the ear with its beautiful orchestrations.
Beyond the Deep is a wonderful musical jewel. Far from create conventional EM, Bernd Kistenmacher rather chose a very symphonic approach with its last opus, relegating the sequential movements, the cosmic approaches and ethereal ambiances in background, putting all its emotions in a great classical-electronic work worthy of the best Vangelis attempts. And there I would establish a link with 1492 and Alexander that I still am far from the final product. No! Kistenmacher goes further in the exploration of its equipment by redrawing their potentials with creativity that equals the one of great composers. I know that I will shock many eyes, and ears, but Kistenmacher indeed exceeded its mentor (Klaus Schulze) by signing his last works of a musical audacity that even Vangelis refused to penetrate.
A very beautiful work! Very beautiful music which has nothing to do with EM such as Berlin School so much accustomed us.
2010. Sylvain Lupari / Guts Of Darkness
Vrij snel na Kistenmacher's rentree in de elektronische muziekscene komt hij al met een opvolger van het uitstekende Celestial Movements (2009). Ditmaal geen excursies in de ruimte, maar duiken we onder het wateroppervlak van de diepste oceanen. Duistere terreinen waarvan wij als aardbewoners amper weten wat er allemaal leeft en gebeurt. In het boekje roept Bernd op uiterst voorzichtig te zijn met het milieu in de wereldzeeŽn.
Beyond The Deep is een tamelijk donkere plaat geworden waarin Kistenmacher experimenteert aan de grenzen van zijn vertrouwde Berliner Schule-sound.
Overture start met waterige bubbelgeluiden voordat een kalm marsritme instart. De track heeft een zekere grandeur en qua melodie lijkt het of Vangelis over de schouder meekijkt. Met een titel als Tsunami verwacht je overrompelende sequencergolven van Kistenmacher. Niets van dat al; kalme piano-partijen paden de weg voordat halverwege eindelijk de ritmes binnenschuiven. Het wordt echter nergens te gek. De twee relatief korte melodieuze nummers van rond de zes minuten op het album hebben niet al te veel zeggingskracht. Lost City is het scharnierpunt van de CD waarin Kistenmacher vrijelijk tracht met iets verrassends te komen. Het begin is Oosters getint, welhaast in Kitaro-stijl. Later duikelen de sequencers over elkaar, maar blijft er iets van stuurloosheid achter in de track.
Het afsluitende Who Will Save The World? haalt nog de nodige symfonische klanken uit de kast, maar als geheel is Beyond The Deep toch veel minder van kwaliteit dan Celestial Movements.
2010. Robbert Schuller / iO Pages magazine