Sankt Otten

Artist: Sankt Otten + Majeure
P: 2010
SANKT OTTEN's Split Album with MAJEURE, the solo project of ZOMBI’s drummer A.E. Paterra
Tracks 1 to 3 recorded and mixed at Straylight Studios, Pittsburg, Pennsylvania, June 2010.
Tracks 4 to 7 recorded spring/summer 2010, Osnabrück/Germany.
Track 8 is a collaboration of Sankt Otten and Majeure, and was recorded in July/August 2010.
It is also exclusive to the CD version of this release.

Artist: Sankt Otten
P: 2010
Sankt Otten's fourth album sees the duo’s sound evolving once again, while retaining the undeniable hallmarks of atmosphere, melodic dexterity and depth. “Morgen wieder lustig” employs stacks of luscious synthesizers, with knowing nods to fellow Germans Kraftwerk and Klaus Schulze, alongside Oliver Klemm's hallmark soaring guitar drones and Stephan Otten’s unmistakable rhythms. While their early sonic experiments explored the brooding and frayed edges of ambient, post-rock and jazz, these new songs push this relationship to a new level. Morgen wieder lustig shifts from the head-rush ambience of 'Das bezahlte Lob' to the dark and twisted post-jazz of 'Fromme Lügen'. Just when you think you have the album pegged, 'X für U' drags you on a melancholic, Klaus Schulze-inspired sc-fi odyssey.

Artist: Sankt Otten
P: 2012
SEQUENCER LIEBE (“Sequencer Love“) leads into a paradise of warm analogue sounds garnished with the typical soaring guitar drones of OLIVER KLEMM, while the band's mastermind STEPHAN OTTEN flavoured these ingredients with his 80s electronic drum sounds. For the first time he used synthetic sounds and percussions for this album exclusively. Sequencer lines that may remind one of German pioneers of progressive electronic music are the red thread of this release - but SANKT OTTEN are moving the Krautrock elements into a new context. The title track SEQUENCER LIEBE is the best example for this approach. On the other hand the band offers ambient tracks like MIR BRICHT DIE STIMME WEG or DIE STADT RIECHT NACH DIR. Both of these epic tracks are dominated by great synthesizer soundscapes and e-bow guitar sounds which give you goose bumps easily. Finally, titles like KANN DENN LIEBE SYNTHIE SEIN ? and GESTERN FAND ICH ALTE TRAENEN show that SANKT OTTEN’s talent for little Synthpop hymns that could come right from the 80s. Altogether, the main achievement of their 6th full length is that SANKT OTTEN are combining influences of old genres with elements of today’s music to a unique and timeless mixture. The spanish artist SALUSTIANO again borrowed SANKT OTTEN some of his great paintings for the artwork, this time from this lastest BLACK collection. These black paintings constitute part two of a cooperation trilogy which began with the red artwork of GOTTES SYNTHESIZER. The perfect synergy with SANKT OTTEN’s unique sound.

Artist: Sankt Otten
P: 2025
For the first time, an external studio was booked (Mühle der Freundschaft, Bad Iburg) and the pool of analog synthesizers and other sound generators there was dusted off. Sankt Otten came up with the master plan to first free the spirit of 50 years of German electronic music trapped in the antiquated keyboards and oscillator housings, then to dismantle it, turn it inside out and reinterpret it. Echoes of music from Düsseldorf are joined by sounds familiar from the Weserbergland, or mystical, sublime arcs of sound and, of course, the sequences typical of the Berlin School - whether side by side or interwoven. In a departure from the usual way of working, the majority of the tracks were created in the studio and in part from improvisations, which makes “Tote Winkel “ the most organic material we have heard from Sankt Otten to date.