A flying carpet – and you are allowed to join its ride. It carries you through “Space and Time” (“Raum und Zeit”) to distant galaxies. You feel the vastness of space and the depth of sound and you also feel the music.
- Raum und Zeit [3:58]
- Weltraum [1:46]
- Die Zeit [4:04]
- Das Tor [4:16]
- Glasufo [5:04]
- Zur zweiten Welt [12:57]
- Traumraum [2:20]
- Tunnellichter [4:37]
- Elektrischer Mann [4:08]
- Arena [6:49]
- Sternenhalle [5:36]
With their fourth album “Raumwerk” ambient musicians ART OF INFINITY once again welcome you to a fantastic musical journey. They ask about the destination of your dreams and why “The Time” (“Die Zeit”) fades away. They move on and take you with them. Slowly you pass through “The Gate” (“Das Tor”) and enter the glittering “Glasufo” (“UFO made of glass”). You fly to the “Second World” (“Zur zweiten Welt”), melodies become blurred, rhythmic loops emerge from atmospheres.
Then you hear the sounds of a huge grand piano, you awake in the “Dream Room” (“Traumraum”) and continue the journey on rails. “Tunnel Lights” (“Tunnellichter”) come and go like one thousands thoughts. On your trip you encounter an “Electric Man” (“Elektrischer Mann”) and you end up in a movie, that is set in a galactic “Arena”. Through gloomy light you glide into the “Hall of Stars” (“Sternenhalle”). It is the end but also the starting point of the trip. The sweet sound of the guitar vanishes, the journey seems to be over. But only some minutes later the CD stops, you hear the hiss, and in your mind you still feel the sound of the music – on and on.
2012. Press Information
De samenwerking tussen de Duitse beoefenaars van elektronische muziek (EM) Thorsten Sudler-Mainz en Thorsten Rentsch leidt tot zeer aardige opnamen. Die conclusie lijkt meer dan gerechtvaardigd na beluistering van dit ruim 55 minuten durende album. Met een prachtige productie en veel aandacht voor detail hebben de heren elf nummers opgenomen. Natuurlijk zijn de invloeden van de pioniers en hun volgelingen herkenbaar. Zo zijn er tracks die ritmischer zijn en met enige vocale toevoegingen in de stijl van Double Fantasy (Dancing Fantasy). Er staan echter ook heel aansprekende, dromerige stukken op in de stijl van Tangerine Dream (TD) eind jaren zeventig, zoals mijn favoriete track Das Tor, die overigens ook sterk herinnert aan het symfonische, instrumentale werk van Eloy. Glasufo is een heerlijk stukje new age met subtiele pianoklanken en Thomas Kagermann op viool, terwijl daarna de muziek in de jaren tachtig stijl van TD verder gaat met Klaus Major Heuser op gitaar. Deze lange track bevat echter ook een knap stukje new age met op jazz georiënteerd pianospel. Het kosmische, dromerige stukje heet toepasselijk Traumraum, dat gevolgd wordt door een meer oosters getint werkje. Elektrischer Mann lijkt opgedragen aan Kraftwerk al zijn ook hierin invloeden van TD hoorbaar. Vinnig gitaarwerk van Franz Holtmannn in een nummer dat op een ‘echte’ symfoplaat had kunnen staan; denk daarbij aan Pink Floyd ten tijde van Wish You Were Here. In diezelfde bijna kosmische stijl, maar dan met Till Kersting op gitaar, eindigt het tweede deel van de laatste track Sternenhalle.
Raumwerk is een prima cd van dit ervaren duo dat mijns inziens tot de betere EM -albums van 2012 behoort.
2013. Menno von Brucken Fock / IO Pages, NL
Synth & Sequences: “Raumwerk is a strong album which merges skillfully a diversity of styles which become entangled with a surprising cohesion in a long finely segmented musical journey.”
To my big surprise, I liked a lot this last opus of Art of Infinity. I'm not such a fan of robot voices ŕ la Kraftwerk. And nevertheless I did like “Raumwerk”. I'm also the kind of guy who learns to distrust the beautiful melodies which surround pink-candies rhythms of synth-pop. And still there, I loved “Raumwerk”. On the other hand, I adore synth-rock, electronic prog and the cataclysmic ambiences of an EM which bubbles within its psychedelicosmic effervescence. And that, there are full on the 55 minutes that last “Raumwerk”. Then, you understood that I adored this last album of Art of Infinity. The duet Thorsten Sudler-Mainz and Thorsten Rentsch still surpasses itself by offering a rich musical production without smudges. “Raumwerk” is a superb opus where Art of Infinity is not afraid of approaching musical tangents that little dare to approach so much the line between a more accessible music and a more exploratory and audacious musical form is difficult to do funambulist.
"Raum und Zeit" is a good starter with a heavy rhythm of which the ample oscillations are wrapped by a smooth coat of mist. The voices are robot-likes and their detached syllables remind me the cybernetic ramblings of Kraftwerk. This is good synth-pop which gets detached from the progressive approaches of Art of Infinity. "Weltraum" is a short title of atmosphere with an astral melody which is trapped in a cosmic corridor. We are still under its charms when the edgy rhythm of "Die Zeit" digs into our ears with a line of bass from which the heavy resonances undulate in another universe of synth-pop where Gary Numan's recollections cannot escape our ears. It's alive and very lively, sometimes very rock, and it especially has nothing to do with Art of Infinity's repertoire that surprises pleasantly in this register. "Das Tor" brings us back to the ambiospheric landscapes of the German duo with a title without rhythm but filled with synth breaths which roar in loops in an intense filmic mood ŕ la Vangelis. It's a good moment of philharmonic and futuristic ambience, quite as "Glasufo" from whom the ambiospheric depths release a great duality between a soft dreamy piano and a weeping violin. Flirting with its13 minutes "Zur zweiten Welt" is the jewel of “Raumwerk”. Noises of a plane engines are furnishing the intro which slowly collapses under the incisive bites of a superb electric guitar. One would believe to be in full Pink Floyd mood with this portion of psychedelicosmic blues. The languishing rhythm is changing of skin at around the 4th minute, embracing a more ethereal phase with a soft piano which misleads its fragile notes into heavy and intense aboriginal musical landscapes, paving the way to a great prog synth-rock which gets consumed in a powerful final where the tribal percussions of Byron Metcalf burst out under the rips of a vampiric guitar. Very good!
While that the lost notes of "Traumraum" meditative piano are continuing to roam on the vestiges of "Zur zweiten Welt", "Tunnellichter" climbs the slopes of a slow and uncertain rhythm which drags an imploring heaviness in a very electronic static broth. We detect a fine melody, a kind of astral divination there, murmured among these rhythmic clogs which forge an ascending rhythm but of which the structure drowns itself in vapors and cosmic breezes. The piano is also one of the harmonious key elements of this 4th opus of Sudler-Mainz and Rentsch. On "Elektrischer Mann" it forges a fascinating funeral march. A sober procession with a finely jerked gait where crumbled harmonies throw a balm of astral incense around a paranormal voice which recites a robotic psalm. Simplistic you will say? Yes but also extremely catchy! "Arena" offers a more progressive structure of the kind of "Zur zweiten Welt" with a synth of which the breaths to the smells of saxophone are roaming in an intro w hich tumbles in a furious cosmic gallop. The rhythm is heavy, curt and jerked. Bitten by the soloing riffs of a gourmand electric guitar and knocked down by percussions to metallic clogs, it runs after its breath that it finds in a long ambiospheric and psychedelicosmic passage where the synth and the guitar are exchanging cooing and lamentations on an absent rhythm which skips as much slightly than the sounds of the voices with faded rustles. "Sternenhalle" closes this last musical odyssey of Art of Infinity with a structure totally ambiospheric where the musical abstract art lives in a luxuriant sound fauna of which the limits are pushed away until infinity. And the guitar? Gosh that I have the impression to hear David Gilmour!
“Raumwerk” is a strong album which merges skillfully a diversity of styles which become entangled with a surprising cohesion in a long finely segmented musical journey. The ambiences are rich and the rhythms, sometimes heavy and curt, are catchy. These elements, added to the wonderful guitars, weave a charming album that has no dead moment. An album that I adored and this from the first rhythms of "Raum und Zeit". And don't you think that the artwork looks a lot like a certain TD album?
2012. Sylvain Lupari / gutsofdarkness.com & synth&sequences.com