1. Stormchaser [12:29] MP3 soundclip of Stormchaser [1:00]
  2. Sunset Cafe [13:23]
  3. Sunrise [11:53] MP3 soundclip of Sunrise [1:00]
  4. Madrigal [5:26]
  5. Old Kids On The Stick [6:36]
  6. Babylon Road [13:50]
  7. Skinner's Run [7:56]
After more than 15 years and a lot of amazing live recordings Broekhuis, Keller & Schönwälder release the first real studio album. In colloboration with Raughi Ebert (guitars) and Thomas Kagermann (violin and voice) and with the Höseler Madrigal Chor as special guests on track 4, we have recorded seven tracks in October 2009 at Detlef´s place. Todavía pulula por ahí la idea de que la música electrónica clásica (léase en este caso Escuela de Berlín) es fría. Claro está, para los pocos que la conocen, por que para la inmensa mayoría no existe. Pues aquí tenéis una reciente prueba que niega vuestras creencias: en Repelen 3 junto a los “electronics” podéis escuchar el cálido y sudoroso violín de Thomas Kagermann (también su voz; haber quién se atreve a decir que la voz no es cálida) donde sus notas se aparean y rebozan con las melódicas estructuras de los sintetizadores. Sí, habéis leído bien: electrónica melódica. Lo que tanto a querido conseguir Klaus Schulze y no a conseguido lo desarrollan a la perfección Broekhuis, Keller y Schönwälder con tanta facilidad que no podemos que menos quitarnos el sombrero.
Y si a todo esto le añadimos la nerviosa y calculadora guitarra eléctrica (a veces también utiliza la acústica) de Raughi Ebert este disco se convierte en una almohada rellena de suaves plumas donde reposar los oídos.

2010. Manuel Lemos Muradás / Ultima Fronteira This release from 2010 offers 72 minutes of highly engaging electronic music. Bas Broekhuis, Detlef Keller and Mario Schönwälder play electronics. They are joined by Raughi Ebert (on guitar) and Thomas Kagermann (on violin). One track features the Höseler Madrigalchor, conducted by Kerstin Gennet.

A host of electronics flourish here, generating lavish moods with expansive sweeps. Sparkling keyboards delineate riffs that are spry and engaging. While loops are established and left running, other riffs are instigated and coaxed into diligent diversions. Piano passages lend a stately disposition. Percussion is integral, providing relaxing locomotion throughout the music. There's a tasty versatility in the timbre of the percussion, snappy and sharp in one instance, muffled yet determined in another case, bouncy bongo beats elsewhere. The violin introduces a dreamy majesty to the flow, tempering things with a gentle buzz that evokes a celestial essence. The notes are elongated and gentle rather than frenzied sawing. The guitar often adopts an acoustic sound that bestows a romantic flavor to some songs. When the guitar goes electric, it delivers softly searing threads of the type designed to enthrall and uplift.

A marked difference in these compositions lies in their short length, from 5 to 14 minutes, unlike the ultra-long pieces usually produced by the band. As a result, the songs lack any slow-build progression and dive right into their sonic gist. Another novel aspect is that these songs were recorded in a studio instead of in live concerts. The consequences display the band's interest in growth as they explore new territories. A few of the tracks are so energized that they actually exhibit pop influences.

Matt Howarth / Sonic Curiosity