1. Oberbaumbrücke [7:41]
  2. Kosmischer Kiez 3:45 Uhr [1:54]
  3. Görlitzer Park [6:47]
  4. Eichkamp [6:42]
  5. Tränenpalast [5:26]
  6. Sternentor [2:43]
  7. Sportmolle [6:09]
  8. Nachtbus [9:00]
  9. Hinterhoff [6:50]
  10. Teufelsberg [6:30]
  11. Entlastungsstrasse [13:27]
  12. Endhaltestelle [3:22]
Fanger & Schönwälder are an integral part of the Berlin electronic scene.

In addition to his solo and band projects, Mario Schönwälder is also successful as the operator of the Manikin Records label. Thomas Fanger has been active in numerous electro, house and ambient projects since the 90s. As on the first and fifth editions of the Analog Overdose series, Fanger and Schönwälder have brought Lutz Graf-Ulbrich aka Lüül on board again for the sixth Analog Overdose. His unmistakable guitar playing gives the tracks a very personal touch. On the latest work, Lüül also plays ukulele and banjo in addition to acoustic and electric guitar. The whole album comes across as pleasantly versatile and varied. The musical spectrum ranges from post-rock, psychedelic ambient drones and hypnotic sequencer descents to krautrock and space disco. This is the first time that we find 12 tracks in a single album of less than 77 minutes from Fanger & Schönwälder. It's also the first time that the Berlin duo moves away from the Berlin School model to embrace the multiple possibilities of Electronic Dance Music (EDM). And I would go further and write that ANALOG OVERDOSE 6 is a very nice solo album by Lutz Graf-Ulbrich (aka Lüül) with the participation of Fanger & Schönwälder to well surround the different excursions of his six-string. I know this is not the case! But it's just like if Lüül wanted to be an incarnation of Manuel Gottsching on AO6.

And it doesn't take long before we enjoy the wonderful musical effluvia of @shra with Oberbaumbrücke. The rhythm is edgy with a pairing of percussions and sequences bouncing in a horizontal line on a conveyor belt and a delightful bass with elastic chords played by Thomas Fanger. Lutz Graf-Ulbrich makes little or no concession to Mario Schonwal der's synthesizer. His guitar knits solos and harmonies on this long cosmic disco structure where the interest still persists at the dawn of the 8th minute. Kosmischer Kiez 3:45 Uhr follows with a short atmospheric interlude that precedes Görlitzer Park and its techno-rock vision arching over a deliciously hungry bass. The floating guitar riffs are not only confronted with the mmoumpff of this bass, but also with the percussion that structures this solid rhythm. The floating guitar riffs are not only confronted with the mmoumpff of this bass, but also with the percussion that structures this solid rhythm. Lüül's plucked harmonies have an Asian flavor while some of the percussive effects sound like the best of Señor Coconut playing xylophone on a row of semi-empty bottles. Dreamy, Mario scatters his keyboard chords that retain their luster in a structure not made for it! Eichkamp comes in with a very @shra structure, Tropical Heat period, with Lutz Graf-Ulbrich taking all the space. His guitar is incredibly divine on this track. Tränenpalast is a good ballad well sculpted by a guitar always precise in its electric attacks on a disco rhythm.

Sternentor is another meditative track that brings us to the very Teutonic and vicious rock of Sportmolle. The percussions are in rock mode, while the bass spits its organic venom in a Cosmic Country Rock structure. There is a passage where the solos have a saxophone hint, too realistic to belong to the electric six-string. The acoustic guitar is superb with its Mark Knopfler tones and the reverb effects in the looped riffs take us into the world of Jimmy Page. These effects push a shimmering harmony in the six-string of Lüül who unties his Latin roots, as well as those even closer to a space Country Rock with the brief interventions of quite harmonious cosmic phases. An excellent rock in AO6! Nachtbus offers a good minimalist rhythm inspired by the circular rocks of Neu! and Michael Rother. This one too is very good! W e stay in the repetitive music frameworks with Hinterhoff, a more electronic track living on a bed teeming with rhythmic material that carries the synthesizer's ambience and harmonies away from any form of rhythmic explosions. I can hear those restless aboriginal percussions texture that close the A-side of Mike Oldfield's Ommadawn. Teufelsberg takes root in the reverberations of sound effects more electronic than cosmic. A shadow stretches its presence in a swirling effect like a big kaleidoscopic spiral that tries to suck us towards the Cosmos. This field of radioactive oscillations plays on its nuances and the organic vision of the circular loops propelled by stroboscopic effects. We are in a big psychotronic rock where neurons travel better than our feet. We stay in the vast cosmic spaces with Entlastungsstrasse, whose structure makes me think of the brilliant Schöneberg of Analog Overdose 5. This big cosmic rock, directly descended from aboriginal trance rhythms, is supported b y an impeccable work of the sequencer and a resonant bass line. The structure is minimalist and spreads its more than 13 minutes so that the synth and the guitar lay down their ability as much to texture atmospheric elements as harmonious loops and sometimes without harmonic goals. The percussions are always as solid and will propose explosions more towards the finale, breaking the myth of the redundancy of the long minimalist structures. Endhaltestelle ends ANALOG OVERDOSE 6 with guitar reverb effects that fill the structure whose foundations shudder at such musical heaviness. I believe that AO6 should have ended after Entlastungsstrasse. My opinion who doesn't take away any credit from this last album of Fanger & Schönwälder which is superior to AO5 and possibly the best since Analog Overdose 4.

2021. Sylvain Lupari