1. Audioframe [5:09]
2. Mindmachine [11:22]
3. Radiotrip [7:21]
4. Winterlandschaft [7:33]
5. N-Tropical [3:50]
6. Edge of Reality [6:49]
7. Third Ear [5:00]
8. Planet Audio [9:19]
9. Retropolis [5:23]
10. Pibgorn [5:09]
11. See - Not Have [7:33]
12. Noosphere [4:16]

All music composed, played and recorded by Rainbow Serpent, 2005

Christoph Rinke - guitar on track 7 At last, a new Rainbow Serpent album! And what a triumphant return it is. Even though there are twelve tracks listed they all form one wonderful continuous piece of music.

'Audioframe' is certainly an impressive start. Very deep bass rumbles give way to an exquisite rhythm with just a hint of Eastern promise in the backing. Near the end we descend to lush deep pads over which dreamy sonic swirls move like the wind blowing a light mist.
Seamlessly drifting into 'Mindmachine' the pace quickens again as rhythm, melodic motif and chugging sequence all combine together to provide an excellent foot tapping, body moving number which gets even more insistent as the track progresses. This would have been an awesome track if it hadn't been spoilt slightly by some irritating vocal effects that come in just before the sixth minute and return for another short reprise in the last minute (for me the only negative comment I can make about the album). Thankfully each time they only last for a few seconds.
'Radiotrip' is another highly syncopated number. Subtle little melodies nestle into the middle of the mix attracting the attention first one way and then another. There are some radio commentary type samples but they work well amongst the music and are not overdone. All pulsations depart as we enter 'Winterlandschaft'. Initially it had the feel of some of the more atmospheric moments from Johannes Schmoelling's 'White Out' but then takes on a chilled, gently rhythmic blissed out feel. Melodies are used sparingly but this makes them even more effective like light shinning off ice-coated mountains. As the track progresses it even becomes quite Schulzian.
'N-Tropical', appropriately, does have warmer tones to it. Again it makes use of subtle melodies but this time they are quite uplifting, even happy. Then in complete contrast we get the very moody and atmospheric 'Edge of Reality' full of cold sounding cosmic winds and metallic percussion. The mood does soften somewhat a minute in as things become even spicier but then we keep returning to quite ominous, even spooky passages.Strange rhythms start up as if aliens were emerging from beneath the planet surface taking uncertain steps which gradually become more confident as the rhythm itself gains added momentum. It's a track which develops wonderfully throughout its duration, rapidly moving between one sub section and the next. The sequences really begin to roll again as we enter 'Third Ear'.
A strident melody makes an entrance as further rhythm is added. Another lead line, this time on acoustic guitar (courtesy of Christoph Rinke) is a welcome introduction and sounded like a cross between Robert Schroeder and Daley & Lorien. What a superb melodic track this is.
'Planet Audio' like the earlier 'Edge of Reality' has a brooding atmospheric beginning. More radio style samples, this time on a cosmic theme and a steady rhythm become the main focuses of the track. 'Retropolis' increases the pace, its energy erupting from the speakers. 'Pibgorn' is also rhythmic but a lot subtler with breezy flute layered over the top. The pace is, oh so slowly, increased as we progress creating that hint of tension.
'See- Not Have' is a gentle track with soft pads and touches of piano. In the second minute some 'squelchy' rhythms start to form which are then joined by more strident ones, developing into quite a groove with nice contrasted acoustic guitar melodies. This groove becomes even more insistent and foot tapping after the half way mark. It is really quite an optimistic track. This sense of optimism doesn't last however as we end with 'Noosphere' which turns out to be quite a dark atmospheric number.

To sum up I would say that, amazingly, Rainbow Serpent have managed to use modern production techniques to give the overall sound a contemporary touch but still maintain an organic feel so evident on many of their previous albums.

DL After a gap of four years since the fantastic Voices of the First Day the duo Gerd Wienekamp and Frank Specht -- better known as Rainbow Serpent -- returned with The 8th Nerve. It was worth the wait though. Across twelve continuous tracks, and about as much music that can be fitted onto a CD, they're on top form with their own brand of melodic sequencing long form electronic music.
What marks Rainbow Serpent as different from most electronic music artists is that melody is an integral part of their sequencing passages, and the arrangements have a unique style and lushness. What is not unique is their use of found or concocted spoken word passages.
Though the tracks segue to make continuous listening across the album, each one is distinct.

The longest track "Mindmachine" starts off with the duo's trademark super lush chords and distinctive use of reverential amorphous chorales drifting hither and thither. It then bursts into a busy rhythmic passage featuring lots of electronics and vocoder style voice overs.
The track "Planet Audio" breaks the mould a bit. Ethereal chorales and ghostly electronic washes and whistles lead up to a rhythmic section where percussion flits across the soundscape while shimmying drum effects come and go. All manner of sounds pass by, from ripping effects to otherworldly pads, and at times a Russian voice speaks about some kind of space mission.
At the heart of the duo's style appears to be the influence of 1980s Tangerine Dream.
This is particularly evident on "Retropolis" where it's back to the classic Rainbow Serpent elements of up tempo percussive rhythm and sequencing shrouded in a silvery sea of pads and melodic sonic adornments.

The 8th Nerve is Rainbow Serpent's most polished and cohesive album to date, and consolidates their reputation, as far as I'm concerned, as the leaders of Tangerine Dream derived sequence driven music.
Not every track is great but it all fits together well, and sonically it's fantastic.

Dene Bebbington This is now the eighth studio album from the German duo Frank Specht and Gerd Wienekamp (who is also responsible for production and artwork). It comes four years after their album "Voice Of The First Day".

Old times are revived as we listen to this ample 78 minute long disc: the twelve tracks contain musical reminders of Klaus Schulze (for example "Dig It"); influences from the ‘sequencer period’ of Tangerine Dream; and also of Kraftwerk ("Radiotrip"). There are also lots of spacey sounds, or catchy rhythms and above all, admirable sequencer work.
A drawback, perhaps, is the ‘recognisability factor’, and that at times, the accompanying disco-beat style rhythm such as that in "Planet Audio" didn’t make me want to linger too long (I ended up skimming the parts with superfluous metallic voices). All tracks – with the exception of the last one – move fluidly into each other, presenting a coherent whole. It’s like an absorbing journey through space: wholly in the style of earlier releases by these two amateur astronomers.
A nice example of that style is the attractively structured track "See – Not Have" which begins with spacious layered sound, which gives way to fine rhythm, followed by beautiful, tranquil melodies, supported by a stronger foundation of rhythm and sequencer.
The last track "Noosphere" sinks away into no-man’s-land with its vague and threatening ‘soundscapes’.

The album is too varied to be fairly described as boring, and is nevertheless an absolute must for enthusiasts of the more rhythmic Schulze.

Menno von Brucken Fock / SonicImmersion.org