To close the list of sizes of filter papers from 100 to 102 Frank Rothe and Mario Schönwälder have searched in their files of older recordings and found some gems of "Berlin School" electronic for a release on this EP.
In order to close the dossier of the filter paper sizes of 100-102, Frank Rothe & Mario Schonwalder did the cleaning in old sessions of recording and would have found some small jewels of a EM always bound to the essences of retro Berlin School. More than 45 minutes were so gather. “Filter-Kaffee 100” thus becomes so a prequel to the first 2 volumes of the series. We hear the first experiments of the Rothe & Schonwalder here who offers a Berlin School style more centered on the dark side of the glaucous atmospheres of a music which gave sometimes shivers in the back if one would adapt it to a suspense and/or horror movie.|
- Night Shift, 4:16 min
- Bridge Over Troubled Oscillators & LFOs, 3:56 min
- Shadows Of The Darkshift, 6:03 min
- Rebound, 8:01 min
- Raindrops, 5:58 min
- Midnight Session, 16:57 min
A din sculptured around metallic doors which we open and cosmic noises are introducing the opening of "Night Shift". The rhythm becomes fluid with a line of sequences which makes oscillate and stumble its keys in a sonorous environment stuffed with echoes of hoops which collide, whimperings of a kind of Theramin and ambient layers filled with fog. That sounds a little as the rhythms and the ambiences of Flashpoint. "Bridge Over Troubled Oscillators and LFOs" is a long track loaded of glaucous moods to which they have grafted certain elements of ambiences of "Night Shift" to white noises and hummings of machinery. "Shadows of the Darkshift" is more melodious. The rhythm is ambient with sequences which swirl in the vapors of jingles and seraphic voices before taking a slightly slower tangent. It's a slow cosmic dance where sequences sparkle from all over and a line of bass draws up a slightly sneaky structure. The mix of the voices and the orchestrations gives us the shivers and raises the hair of the arms. That makes very Repelen, without the string instruments. After an introduction sewn in the suspense where knockings, heavy and uncertain movements as well as slow layers of drizzle, "Rebound" plunges us into a heavy rhythm Redshift. The synths throw lamentations of the Ricochet time in a dense fog where the rhythm, which became a mix of Redshift and TD of the Rubycon era, has difficulty in making tremble the wide banks of mystic drizzle. This is definitively the key point of “Filter-Kaffee 100” with "Shadows of the Darkshift". "Raindrops" offers a Software static rhythm pattern. The sequences pour out good movements of kick while other more crystalline sequences are structuring some nice evasive harmonies in a sonic decoration filled of hollow winds and of subtle singings rigged by a synth and its false trumpets. We also hear distant spectral harmonies here, adding a sibylline charm to this piece of music which gains to be more scrutinized. "Midnight Session" is a long track of atmospheres embroidered around filiform layers of resonant bass pulsations which drag a fascinating placid heaviness. There are lots of misty and spectral tones, as well as voices rather difficult to identify, which escape from the depths of these layers also filled of greyness and of metallic dusts. Intense, due to the depth of the sounds and the layers, enveloping and even incentive to the schizophrenia of the sounds, "Midnight Session" looks like a theme music, amplified, where the suspense and the mystery roams throughout its 16 minutes, making of this “Filter-Kaffee 100” an album of more atmospheres than rhythms which drinks of this nice period of the Dream but in a more modern envelope.
2016. Sylvain Lupari / gutsofdarkness.com & synthsequences.blogspot.ca