Nachahmer, Wolfgang

Artist: Broekhuis, Rothe & Schönwälder
P: 2021
Kontroll-Raum is a new project from Bas Broekhuis, Frank Rothe and Mario Schönwälder. "Check In" is a fascinating synthetic, polyrhythmic album with numerous influences from the most diverse playing styles of electronic and psychedelic music. As with many good albums, at the beginning you are irritated and unsure where it is supposed to take you. But the fascination is there immediately and you find new sounds and rhythms with every new listen. The CD was created in 2020 in times of spatial separation by intensively sending files with individual tracks and fragments to each other as well as countless video phone calls. In this way, a musical work of great density developed over several months. Open your ears and mind and let the three sound tinkerers Bas Broekhuis, Frank Rothe and Mario Schönwälder take you into their sound cosmos.
Somewhere in the middle between the music of Broekhuis, Keller & Schönwald and Filter-Coffee you could settle the sound creations of control room. The sounds are retro-electronic and slightly colder (machine) than those of UCS, but on the other hand also more rhythmic and percussive than the cosmic waves of filter coffee. Sometimes the music is reminiscent of Schulze with drums (such as a little a la "Moondawn" – you can hear e.B. "C9 05-05"), but the sounds on "Check In" work their way forward in a more modern, colourful and with their own character. With various hand percussions, Broekhuis ensures a steady, often rather thoughtful dynamic, which ensures, however, that the expansive and voluminous sound images, or the airy and playful tone-spinning, move forward movingly, swaying cautiously, more nervously tacking and sometimes even rocking subduedly. At the same time, however, the music also exudes this typically spacy-cosmic depth and tonal density, as one appreciates it on albums of the genre.

Artist: Wolfgang Nachahmer
P: 2018
His second anonymus release "Eiszeit" refers to styles from the 80s in a fresh and vivid way and develops them in a new way of interpretation. 
The artist will keep staying anonymus as well with his second album to give the music a chance to be heard without any allocation to the music he will be associated with, when his real name gets clear. Maybe later his identity will determined.
W. Nachahmer plays Arp Omni 2, Arp Odyssey MK3, Oberheim 2 voice, Polymoog, Micromoog, Multimoog, Moog Little Phatty, Crumar DS-2, Korg O1W/fd, Korg ER-1,Kawai 100P, Kawai K5000S, Roland JD800, Yamaha A4000 sampler, electric and acoustic guitars.

Artist: Wolfgang Nachahmer
P: 2017
 

The album is like a country outing in the summer, whisking sequences and melodic paintings, a change of pure Berlin School and Ambient landscapes. 
The artist will keep anonymus for a while to give the music a chance to be heard without any allocation to the music he will be associated with, when his real name gets clear. Maybe later his identity will determined.
A bed of reverberations, dosed well by fine modulations, and tears of synth which flow with the fluidity of beautiful ethereal solos; "Der Garten der Träume" puts at once my ears in these years where the solos of synth used to make the charms of an EM more drifting than rhythmic. The synth solos stream with the nobility of the art by sticking to it some nice fluty melodies. These solos dance and twist themselves with a duality in tones, while that quite slowly is drumming a structure of sequences in the kind of Picture Music from Klaus Schulze. In spite of the presence of these sequences and of some moments of intensity, "Der Garten der Träume" stays anchored well in its position of astral drifting. Banks of mist awakes an intensity which finds a partner in the vibrations of these sequences. While the solos undulate beneath the metallic jingles of percussive effects, the music seeks for a new partner with cosmic effects which lead "Der Garten der Träume" towards a finale more in ambiospherical mode. "Vorwärme" proposes a short phase of ambient music with all these cosmic effects of the 70's as well as murmurs and sighs of synth and Mellotron which win more in swiftness, as the music reaches its last seconds of cosmic drift.
A beautiful chant of Mellotron awakens the sequences of the Tangerine Dream style which will light the passion of the title-track. Well settled in its decoration of electronic effects, the structure of "Hexenkessel" goes up and down with the same ingenuity of the analog rhythms of the vintage years. At this level, the title is a real tribute to Tangerine Dream of the Phaedra years with good Mellotron and perfumes of guitar which is roaming in the background. Sometimes violent, sometimes misty and often unpredictable the music adopts the diverse gradations of the electronic hymns of that time. The sequencing pattern here is splendid and forges a structure in continual movement, even if the nuances abound in its rhythmic progression. After a good 8 minutes of big electronic rhythm, "Hexenkessel" finds refuge in a foggier zone with the somber harmonies of a very good Mellotron and odd percussive effects (that sounds like an old vinyl to often played and which has trouble with the ambient passages). This is highly addictive! "Auf das neue Land" brings us to another level of psychedelic music with manual percussions which drum around a campfire. Friends surround the percussionist, apparently stoned, and play the acoustic guitars and flutes. Other friends, just as much stoned, hum layers of faded voices while an ingenious among the gang plays synths without electricity. The whole thing gives a very lively acoustic music which spreads its charms under the concerto of stars and dusts of stars. One would say Pink Floyd, period Atom Heart Mother. After a short introduction of ambiences decimated by a fauna of colorful sound effects, "Schoß der Götter" burst with a movement of limp from the sequencer which loses the rhythmic guides in a line of quick and tenacious oscillations. The variations of sinusoidal waves draw a steady race which doesn't feel the need to breathe, the oxygen being assumed by the acrobatic solos of a synth in mode psychedelic gas. It's a good vintage rhythm with a beautiful correlation between the various layers of synth with tones always so ill-assorted. The storm of the oscillations subsides in a finale of soft perfumes of transcendental rest unique to the esoteric ideology of the LSD years.
Instruments used: oberheim2voice-Polymoog-micromoog-elkarhapsody-arpomni-arpodyssey-korgpolysix-crumards2-moogopus3-yamahace20-yamahacs15-Rolandjd800-korgms10-rolandtr808-rolandmc202-percussion-fieldrecording-selectric-and-acousticguitar-DoepferA100 

Artist: Wolfgang Nachahmer
P: 2021
"Nachtwache" is probably the artist's most mature album so far, as far as one can say about an artist who has been internationally active with electronic music for over 30 years. Nachtwache is full of varied melodies and rhythms that, in a little over 60 minutes, lead into a world of the most varied of ideas, dreams, landscapes and fantasies. You can take some time to familiarize yourself with the sounds. You will find that even after several repetitions, new aspects always open up in each track. The album can be listened to very well both as a stimulating background setting, for example when reading a book, as well as completely concentrated and intensely through headphones.

Artist: Wolfgang Nachahmer
P: 2019
Wolfgang Nachahmer keeps his secrets. No one knows, who he is, so his music is purely what you hear and not what you might expect if you knew the well known artist behind this album. The musician follows his great needs to play Berlin School with lots of creative excesses. This fourth album is a bit darker than the albums before, and its straight in its melodies, rhythms and sequences. Old school lovers will love this album as of its celebration of Berlin School and those, who like to listen to changes in familiar sounds will be surprised about the fresh colours of Wolfgang Nachahmers interpretation of this style. Nachahmer plays Arp Omni 2, Arp Odyssey MK3, Oberheim 2 voice, Polymoog, Micromoog, Multimoog, Moog Little Phatty, Crumar DS-2, Korg O1W/fd, Korg ER-1,Kawai 100P, Kawai K5000S, Roland JD800, Yamaha A4000 sampler, electric and acoustic guitars.

Artist: Wolfgang Nachahmer
P: 2020
Wolfgang Nachahmer keeps being anonymus. His music is purely what you hear and not what you might expect if you knew the well known artist behind this album. With his 5th album at SynGate Records (4 officials and one limited special edition) Nachahmer once more but not only expresses his great passion for Berlin School. But this time you find furthermore sounds of alternative electronic melodies and analogue guitar flowing into unique compositions telling little selfcontained stories. Tracks like "Riesenrad", "Der Aufzug", "Normalerweise", "Kristallmaschine" and "Wendekreis" are like little short storie. These talk about a scene in a Ferris Wheel, about an elevator, a consideration about what is normal or not, about a crystal machine and a turning circle. Finally the title track Triptychon, which is the longest one spanning more but 22 minutes, really is a triptychon merging wonderfully in a soundpainting of three parts.
The album shows once more the versatility of Wolfgang Nachahmer, who is recognizable in his style but at the same time suprises with new ideas and compositions.