1. In Natura
  2. Draconian MP3 soundclip of Draconian [2:30]
  3. Music for the Man MP3 soundclip of Music for the man [2:30]
  4. Die Kinder der Erde MP3 soundclip of Die kinder der erde [2:29]
  5. The Swan
  6. Seduced by Grief
  7. Ghosts from the North
  8. The Dark Spell
  9. Close Encounter
  10. My Wake Up
This album was recorded between May 2008 and September 2010 at Nattefrost Studio, Copenhagen, Denmark and at Nattefrost Mobile Studio at various locations.
Mastered in September 2010 by Ron Boots.

Nattefrost is Bjørn Jeppesen
All tracks composed, performed and produced by Bjørn Jeppesen except for:
"Die Kinder der Erde", which is composed and performed by Kathrin Manz (Matzumi) and Bjørn Jeppesen.
"Close encounter" is composed and performed by Michel van Osenbruggen (Synth.nl) and Bjørn Jeppesen.
"The Swan" is composed by Charles-Camille Saint-Saëns.
"My wake up" is composed by Heidi Mortenson.

Bjørn Jeppesen - All hardware & software synthesizers, vocoders and other various electronic equipment.
Jerome Polenz - speech on "Ghosts from the north"
"De Natura" gets this album underway with heavy effects and a rumbling bass line. A great melodic theme follows with traces of Kraftwerk's "The Robots" in the way the sequences and rhythms are built. Some key changes follow with various pulsating electronic sounds coming and going. Excellent, varied EM!
"Draconian" follows in a similar manner - urban synths (house-like), pulsing rhythms, twittering effects... all this accounts for a typical, trademark Nattefrost sound. A gentle, 4/4 rhythm gives the track a sense of purpose and brings in that extra dynamic element. This track is fairly somber and is loaded with fat sequences.
"Music for the Man" is moodier, darker and with a wicked beat that sounds like Kraftwerk gone Industrial. The use of vocoder reinforces that feeling.
"Die Kinder der Erde", co-composed by Matzumi, is a rather intense track, with galloping sequences and fat synth pads. It's dramatic and engaging, following traditions set by German masters of the 1970's. There's even a fair bit of spacey Mellotron choir towards the end.
"The Swan" is a funny, and somewhat unexpected remake of Saint-Saens' well-known piece. I am not sure if Bjorn had been listening to a lot of early 1970's "Moog Pop" lately or there was some other obscure reason to do this kind of thing. Anyway, it's fairly enjoyable, if somewhat trite. I should also mention that it is not exactly in line with the rest of the material of this CD.
"Seduced by Grief" is a comparatively minimal track with a dominating rhythm and a few mysterious background pads / melodic hooks. There's not much in terms of sequencing, most of the pulsations being rather simple and minimal, with the lower end being the most pronounced.
"Ghosts from the North" combines spooky electronic textures with a narrating voice in German. However, the track then turns into a heavy sequencing hybrid, spiced up with a Techno beat. Not exactly my type of thing, I think it will appeal more to the Trance crowd.
"The Dark Spell" has an ambient intro. Out of this sonic melange rises a menacing sequence, coupled with bleepy arpeggios. I didn't find the melodic content on this track particularly successful, though. It is nice but not exactly up to Bjorn's usual standards. But I'll give it to him that he created a different track, exploring new territory.
"Close Encounter" is made by a duo of Bjorn and Michel van Osenbruggen aka Synth.nl. This track has a more playful character and excellent melodic synth soloing (courtesy of Michel I would guess). It is amazing how well the styles of the two artists merge into an excellent pulsating, melodic EM hybrid. It is certainly one of the best tracks on this album.
"My Wake Up", composed by Heidi Mortenson, sounds like a musical joke. It's basically a bunch of funny melodies ala early 1970's "Moog Pop" and some atmospheric textures used for contrast. This is what EM would sound like in a parallel universe where cartoon-loving Daleks have conquered the Earth.

This album is a box full of surprises. Some of the tracks are extremely good, some not so interesting in my opinion, but overall it's an enjoyable listening. Well done!

2011. Artemi Pugachov / Encyclopedia of Electronic Music Sorry dear Bjoern, but this is not a hats-off production. It seems there were not many ideas, the sound is less and not excactly as the three great works at groove before. What happens? Please take time for the next production. This is not the quality I know from you. So I take Transformation as example and will forget this actually cd as soon as possible! You can do it better! Really!

2010. Marcus Loeffner-Ohlrogge / Germany Nattefrost has become quite a "household" name in serious electronic music. On record but also on stage, Bjørn Jeppesen knows what he is doing. Therefore it is not a strange thing that there was a lot of demand in seeing this versatile musician from Denmark live on a festival in The Netherlands. This took place on the "E-Live festival" In Oirschot at October 9 and was a big success. Just prior to "E-Live", Bjørn released a new CD on the Groove-label, "Dying Sun/Scarlet Moon" and, not surprisingly, many of the material from that album was played during the concert.
Bjørn likes to take challenges in working with other musicians. For instance, amongst others, he has worked with Robert Schroeder. On "Dying Sun/Scarlet Moon" also some interesting people are present (physically and/or digitally). He is accompanied by Matzumi (a.k.a. Kathrin Manz) on "Die Kinder Der Erde" and Synth.nl (a.k.a. Michel van Osenbruggen) on "Close Encounter". Bjørn is known as a musician who tries to mix different kinds of influences into his music and than puts his own "sauce", so to say, over it. This "sauce" is a Scandinavian atmosphere. An somewhat "colder" version of Jean Michel Jarre perhaps? More than is the case on other albums, the melody is very important and present on "Dying Sun/Scarlet Moon". Bjørn has the ability to compose tracks with impressive sequences, fine melodies but all the time with this Scandinavian feel to it. That makes his music special.

It already starts with the first track "In Natura" that has a great sequence. Sometimes, the music is also slightly danceable. "Draconian" is a piece where the great Jarre himself would certainly to be ashamed of (in contrary…). "Die Kinder Der Erde" has a wonderful sequence and a greatness to it that can be compared to the best times of Tangerine Dream. "The Swan", which was already on his live album "Live In Germany", is an adaptation from the great French composer Camille Saint-Saëns. Its is a nice interlude on the album. A highlight on the album is "Close Encounter", the encounter with Synth.nl. It has some excellent melodies and sequencer lines. The last piece "My Wake Up" is, indeed a nice piece to wake up with. Just as his famous predecessor Jarre sometimes did, it is a quite comic composition with an ancient drumbox.

With "Dying Sun/Scarlet Moon", Bjørn proves that he is growing as a musician but also as a composer. Hats off.

2010. Paul Rijkens The fine electronics Bjørn Jeppesen aka Nattefrost presents on "Dying Sun/Scarlet Moon" album are of a groovy but also spatial nature.

The album offers a nice assemblage of attractive sequencer patterns, contemporary sounds and textures, all glued together into catchy instrumental compositions which set things in motion from the first tracks on.
Did he already previously collaborate with Robert Schroeder, this album sees him work together with Matzumi (a.k.a. the German musician Kathrin Manz) on "Die Kinder Der Erde" and Synth.nl (a.k.a. Dutch composer Michel van Osenbruggen) on "Close Encounter". Especially the latter piece is a strong and expressive effort offering a beautiful marriage of sequencers and appealing melodic lines.

All in all, Mr Jeppesen knows how to aptly pull off an attractive bunch of electronic music on this release, although I can’t accustom to the dull and amateur-sounding final track "My wake-up" nor his modernized version of the classic piece "The Swan" by Camille Saint-Saëns (which was already featured on "Live in Germany").

2010. Bert Strolenberg / Sonic Immersion Onder een in deze winterperiode toepasselijk pseudoniem gaat de Deense elektronische musicus Bjørn Jeppesen schuil. De man heeft al een handjevol albums uitgebracht en werkte reeds met de gekende Robert Schroeder. Op Dying Sun / Scarlet Moon zet Jeppesen vooral in op ritmes en sequencers.

De muziek bevindt zich vaak in de lounge en down tempo-hoek. Nattefrost's ritmegebruik is best verfijnd en fraai van opbouw, maar hier ligt ook de grootste zwakte van dit album. De tracks bouwen namelijk spanning op zonder uit te monden in enige climax of memorabele melodie. Sterker nog, er staat buiten de cover The Swan van de Franse klassieke componist Camille Saint-Saëns geen enkel stuk op dat aandacht trekt via de melodielijn! Op de cd figureren ook enkele gasten waarvan de eveneens uit de Groove-stal afkomstige Synth.nl de bekendste is. Hun gezamenlijke nummer Close Encounters is het meest genietbare stuk elektronische muziek van de plaat.

Nee, het moge duidelijk zijn ik kan niet echt warm lopen voor deze werkjes die Nattefrost in de voorbije 2,5 jaar componeerde; dit is een tamelijk zwak album vol stuurloze stukken.

2011. Robbert Schuller / iO Pages The more Bjorn Jeppesen’s career moves on, the more the Scandinavian synthesist amazes by the variety of its musical approach. Since his first notes launched with Absorbed in Dreams and Yearning in 2006 we felt that Nattefrost would be always different. Dying Sun/Scarlet Moon is an album full of musical unexpected developments where everything, except the predictability, is there. From Techno pop à la Kraftwerk to lively synth pop, while passing by good electronic à la Jarre where long solos and cosmic atmospheres are darted by heavy rhythms, Dying Sun/Scarlet Moon is offering for all tastes. An album builds on 10 tracks filled of a disconcerting sound wealth where ears are constantly assailed by a multiplicity of sounds as heterogeneous as unexpected on structures that hook the ear, make tapping your feet and which are always in evolutionary mode.

Noisy explosions, where the metal is rubbing to felt, and vocalizes of robotics cherubs open the first measures of In Natura. Already our ears have difficulty to seize all the musical energy that comes out this colorful intro, as well as a humming sequential line of which chords skip and zigzag among pulsations and vibrations to static resonances. Streaks and strata, as foggy as metallic, glance through this coarse-ground rhythm, while nervous keyboard keys draw a melodious line on an ascending sequence which waves in a very composite electronic universe. In Natura wind on a fragmented rhythm with a hesitating sequential movement which seems to cavort in space, while percussions encircle this rhythm at once heavy and light where other sequences unfold nervously pushing In Natura in a rhythmic contradiction and a surprising musicality for a so short lapse of time, like the other 9 tracks which roll with a kind of delight on Dying Sun/ Scarlet Moon.
Navigating between various rhythmic structures, Draconian begins with soft chords to tonalities a bit graves which resound and merge with a heavy reverberating sequence of which chords skip randomly. On a tempo hesitating between free jazz and soft Techno, Draconian evolves under streaks and watered waves which criss-cross a bipolar structure where rhythms permutated between delicacy and heaviness.
Music for the Man is an ode to Kraftwerk and Music Non Stop. The tempo is heavy, minimalism and vibrates on a beautiful fusion of sequences and electronic percussions. A very good track that is magnetic, quite as Music Non Stop, but with fine subtleties in electronic pads which undulate above this highly entertaining rhythm.
Die Kinder der Erde is a heavy electronic track where sequences gallop beneath a thick cloud of synth to multiple layers and pads. It’s quite an electronic music piece that hides brief melodies astray beneath arrhythmic sequences and electronic percussions which twined an imperfect rhythm on very aggressive synth layers and wandering choirs. Very well and bizarrely lively, in the lineage of good Jarre, which is a robust influence for Nattefrost, and as in Close Encounter which is, on the other hand, more complex and progressive.
The Swan is a superb and completely charming melody that Nattefrost had revealed on Live Germany with sequences that collide violently on a very poetic synth singing a delicate melody which is transforming quite fast into an ear worm.
After an intro filled by heterogeneous tones, Seduced by Grief is liven up around a circular sequential movement of which minimalism skipping are leaking away on sober percussions. A hybrid sound universe where the sci-fi goes alongside to a delicate EM covered with suave synth layers and rippling Mellotron waves glide above a light furtive rhythm, Seduced by Grief evolves with an implosion smothered by diverse melodious approaches.
All the opposite of Ghosts from the North which presents a frivolous rhythmic on slamming percussions à la Jarre. Swirling and feverish rhythm, Ghosts from the North embraces the paths of a light Techno with an ascending rhythm with fluid chords which spin in a rich sound fauna with ill-matched percussions.
Heavy, vaporous and strangely ambient, The Dark Spell's intro honors its naming with a surprising mesmerizing structure which takes life on a circular sequential movement. Strummed chords of a pulsating and minimalism movement which slides towards a little more technoïd tangent beneath a charmer synth of which spectral whistles spin under a thick cloud of tones as electronic as crossbred. It’s a beautiful prelude to the very heavy and cosmic Close Encounter whose key point is unarguably this duel of brightness percussions.
My Wake Up ends with a kind electronic nursery rhyme built on harmless sequences, which roll as a rhythmic carousel, and a hybrid synth where cackling are wrapped of suave melodious layers.

It’s a track as strange as crazy that fits so well to this very multi- colors and multi-sound universe which is Dying Sun/ Scarlet Moon.

Sylvain Lupari / Guts of Darkness This release from 2010 offers 48 minutes of bouncy electronic music. Nattefrost is Bjorn Jeppesen. He is joined on a few tracks by Kathrin Manz and Michel van Osenbruggen (aka Synth.nl).

Spry electronics are matched by bouncy tempos, yet the result is often understated. A versatile array of electronics are utilized to generate lavish tunes that slide and swoosh with vitality. Strong lead melodies are created, then supported by additional riffs that give the songs a many-layered character. Agile chords glitter with appealing luster, combining to fashion songs that seethe with a relaxed energy.
Rhythms play a vital role here, whether the beats are produced by conventional e-perc or by the rapid succession of harnessed pulsations. Frequently, both methods are employed, producing a lush zestiness when the rhythms achieve a pleasant intricacy. These compositions exhibit an attractive charm in their combination of dreamy pastiches with uptempo sensibilities. The songs possess a somber quality that is tastily seasoned by an undercurrent of soothing joviality, resulting in music that is as entertaining as it is at inducing contemplation.

Mesmerization is balanced nicely with an active allure.

2011. Matt Howarth / Sonic Curiosity