1. Rene Splinter - Bahnhof Zoo [4:29]
  2. Remy - Shadows of Ignorance [16:34]
  3. Erik Wollo - Ataraxia 1 [7:33]
  4. Erik Wollo - Ataraxia 2 [7:38]
  5. Rene Splinter - Tunnel Vision [9:13]
  6. Harald Grosskopf & Friends (Sunya Beat) - E-Day live 1 [9:13]
  7. Harald Grosskopf & Friends (Sunya Beat) - E-Day live 2 [9:14]
  8. Harald Grosskopf & Friends (Sunya Beat) - E-Day live 3 [6:36]
  9. Rene Splinter - Lemniscate Live [8:12]
Special cd for the E-Day 2011 festival containing never before released music.

E-Day is an electronic music festival, organised each Spring (most of the time on a beautiful day) in theatre “De Enck” in Oirschot, The Netherlands. It is in the south of The Netherlands, close to Eindhoven, known from the “Eindhoven School of electronic music.. Together with E-Live, which is organized each Autumn, E-Day is one of the biggest electronic festivals in the world. It attracts spectators from countries all over the world. The organizers are Kees Aerts and Ron Boots who are also the guys behind the biggest electronic music label in the world, Groove Unlimited. E-Day 2011 had a remarkable occasion because Harald Grosskopf, a legend in electronic music, played his even legendary album “Synthesist” in its entirety. Other concerts were by Remy, a strong force in the Berlin School style, ambient specialist Erik Wøllo and René Splinter who, next to Harald Grosskopf, brought back a lot of memories. Every E-Day and E-Live is accompanied by a special limited edition cd with unique music from the musicians that gave concerts at the festival.

“E-Day 2011” has three tracks by Harald Grosskopf and Friends, two by René Splinter, two by Erik Wøllo and one (but a long one) by Remy. Splinter brought back a lot of memories because his music reminds a lot of that made by Tangerine Dream in the early eighties. This includes the typical PPG Wave Computer-sounds which he generates in “Bahnhof Zoo” (the titles are also comparable with that of TD) and “Tunnel Vision”. Wonderful stuff! Remy (Stroomer) brings a soft rhythmic piece with excellent drums, sequencing and soloing that builds up and becomes more full as the piece progresses. Wøllo is a (grand)master of ambient. He clearly shows that on “Ataraxia 1” and “Ataraxia 2”. The music, electronic by played through a guitar, reminds of the great ambient composers Patrick O’Hearn and David Helpling. Erik is a musician who needs to be heard. Festivals like E-Day and E-Live are great stages for this. Harald Grosskopf and Friends (actually the band Sunya Beat) bring “E-Day live 1”, “E-Day live 2” and “E-Day live 3”. These are three rhythmic tracks (what else could you expect from a man like Grosskopf, who is the one guy that started drumming with sequencers during the days that he worked with Klaus Schulze and Ashra. An important place in this music is the electric guitar of Mario Heilhecker. The third track has a great opening.
E-Day 2011 was, as ever, a fine festival with joyful concerts. These compilation cd’s bring back a lot of memories to these great days. Let them last forever!

2011. Press Information A spring event very appreciated by EM fans of the grand region of Eindhoven in the Netherlands the E-Day festival, quite as the E-Live festival, also attracts hundreds of spectators from all around the world. E-Day 2011 was on its 6th edition and presented performances by René Splinter, Remy, Erik Wøllo and Harald Grosskopf. Once again the organizers, Kees Aerts and Ron Boots, succeeded in presenting a festival high in tones where Berlin School goes alongside more progressive and more atmospheric music, while reminiscences of Tangerine Dream of the 80’s were also very present. And, as every year, Groove label produces a CD which wants to be a souvenir and an excellent window while being a complement to this festival where each artist offers unreleased music. It’s a nice collector's item for these fans of the artists performing on this festival and for those who want to discover them.

If you are a Tangerine Dream fan, mostly the Schmoelling years, René Splinter will know how to get your interest. "Bahnhof Zoo" is a superb track pulled out of the Exit and Thief years with a strong rhythmic influence of Kiev Mission. All that you will hear from this track will return you unmistakably in the core of this period. With its metallic chords, felted pulsations à Le Parc and its sequences which undulate such as a metallic snake skeleton, "Tunnel Vision" bathes in the ambiances of Le Parc and White Eagle, before criss-crossing a pulsating hypnotic rhythm, propelling by furious electronic percussions and surrounding of a magnetic sequential movement. Very fine and chiselled as whistles, solos hum on this structure to musical elements which are so near TD that we would believe to listen to unedited material of the Dream. The intro of "Lemniscate Live" always soaks into these TD atmospheres, except that the track elaborates a nicer melodious approach with synths to pleasa nt winds and metallic pads which stay in suspension on a structure filled of nervous flickering. A pulsation emerges out of it and beats stealthily an uncertain pace while a good sequential movement hiccups a circular rhythm to plunge "Lemniscate Live" into a rhythmic incoherence where the tempo will permute constantly into ambiances and solos always very near the roots of TD of the 80’s. Chords with dark pulsatory tones zigzag among percussions which shape weak thunders under a fine mellotron mist. Following the shape of Schulze’s work, Remy’s "Shadows of Ignorance" evolves with a delicate rhythm beneath fine synth solos to spectral night-wanderings. Solos which chisel nervously an evolutionary rhythm, even a bit groovy, which becomes incisive when the percussions fall for the first time at around 6th minutes. Then the tempo of "Shadows of Ignorance" will permute constantly, going from ambient phases to infernal rhythmic hammered by furious percussions, harpooned by mordant bass no tes and fly over by superb solos of synths both spectral and piercing which let filter fine mellotron mists. It’s true that I’m a diehard fan of Remy whom I consider as being a Klaus Schulze’s equivalence, but I adored this great track which shows off all of his musical complexity on rhythms in constants permutations surrounded by striking synth solos. Those who still don’t know this brilliant synthesist and writer; it’s high time to put you to him.

Nervous riffs to jerky swaying hips dancing on tribal style percussions open "Ataraxia 1" which fine guitar layers wrap with a morphic membrane. A little as in his collaborations with Steve Roach, Erik Wøllo weaves strange and nice melodies, a bit tribal, on staccato rhythms where guitar riffs support solos which are melting to floating envelopes of synth layers. Very nice guitar solos fly over spasmodic riffs of "Ataraxia 1", creating a strange fusion between a hatched rhythmic structure and an ethereal ambiance. More melodious, "Ataraxia 2" proposes a more delicate rhythmic approach where solos of a spectral guitar hang over a rhythm livened up by riffs which unfold in loops, embracing even a bit a rock approach. One of E-Day 2011 highlights is the presence of Harald Grosskopf and his group Sunya Beat who presents a rather particular music style where cosmic rock embraces Krautrock. "E-Day Live 1" begins with heterogeneous tones encircled by oblong layers of a guitar which und ulate with listlessness, whereas a bass shapes a slow and sensual tempo, accompanied by docile cymbals. Guitar laments turn into shouts where riffs and brief solos make strange syncretic chants on a languishing tempo which increases with the arrival of hammering percussions. And "E-Day Live 1" continues its progression on a rhythm always heavier where the guitar sculptures stunning tones and good solos which roll in loops on a pace pounded by more aggressive percussions. "E-Day live 2" starts with a dazzling guitar solo which seizes the audience while Harald Grosskopf grabs his cymbals and Tablas percussions to create a bewitching rhythm of a weird cosmic tribe. After a short atmospheric passage, the tempo returns with more strength to draw an approach a bit technoïd, (à la Ashra on Sauce Hollandaise) with wild percussions which strike in an eclectic atmosphere where the electronic style, with his shrill synth solos, embraces a cosmic rock fed by very nice and floating guitar solos. Notes of e-piano resound in the silence to awake the disjointed rhythm coming from the unbridled percussions of "E-Day Live 3". A bass with free jazz notes seconds this structure filled of composite tones which is very near the progressive roots of Ashra, especially because of these enchanting guitar solos. Solos floating constantly around a jerky rhythm where ethereal choirs daydream on a structure became more and more chaotic but which protects all the same its melodious approach with its piano notes which come and go in a strong musical tumult. Percussions, as acoustic as electronic, become unchained and Harald Grosskopf is offering to himself a furious solo, feeding the spasmodic and hatched rhythm of "E-Day Live 3" which quietly joins its point of origin.

For a compilation of unreleased tracks, E-Day 2011 is simply delightful. Once again Groove NL is not afraid of exploiting various musical styles in one festival, transposing its recipe on a CD which really has no weaknesses. There is for all tastes on this compilation which, in my opinion, is the best of E-Day and E-Live to date.

2011. Sylvain Lupari / gutsofdarkness.com & synth&sequences.com Eure gute Organisation haben leider viel zu wenige Zuschauer/Zuhörer erlebt. Harald war für uns das absolute Highlight. Liegt das an unserem Alter? Auch Erik Wollo war voll nach unserem Geschmack. Leider haben wir Rene Splinter nicht auf der 1. Etage besucht. Ein großer Fehler.

2011. Martina und Klaus Schneiders / Germany