Zinkl

Artist: V/A
P: 2001
A collection of unreleased tracks from the creative music edge . Compiled by the spanish magazin Margen.


Here the last copy!

Artist: Roedelius, Peter Mergener,
Kistenmacher, Gruberski u.a.
P: 2001
Nice collection of new tracks by the artists compiled by the MEMI Electronic music fanclub.

Artist: V/A
P: 1998
Nice collection of all artists that had been on the Prudence label in the year 1998.

Artist: V/A
P: 2000
A good view at the releases of the BSC label arround the year 2000.
 

Artist: Zinkl + Alquimia
P: 2001
What happens when an unconventional intellectual creator of sounds, with his apparently incompatible preferences for 70s art rock and modern computer sounds, meets a Mexican mystic, vocal artist, and groove specialist? Zinkl, the quiet type with a predilection for composing wondrously charming and delightfully unwieldy treasures, and Alquimia, the enigmatic Mexican music sensualist who runs a musicclub in her self-imposed exile in London, certainly make an unusual couple. But they say opposites attract, and these two have deliberately sought each other out. "Underwater”, their first joint album, unites Alquimia’s feeling for exotic but catchy melodies and polished vocal artistry with Zinkl’s off-beat sounds and percussion sequences combined with tricky 12-tone harmonies. In an act of creation the two musical night birds have turned their backs on all the trends and created a magical album: their apparently opposing aesthetic approaches have given rise to a dozen surprisingly homogeneous songs which at the same time are jewels that sparkle from every one of their many facets. Informed listeners will recognize associations ranging from Kate Bush to Stravinsky – yet there is really no equivalent in the modern pop world.

Zinkl & Alquimia: "a musical marriage, made in cyberspace"!

Artist: Zinkl + Nero
P: 2016
Zinkls first steps together with a bariton into the opera area. Nice combination with a lot of work at the PC to get this music running.

Artist: Zinkl
P: 1999
Ladies and Gentlemen, welcome to Zinkl’s “Circus Maximus!”. Remember how, on his previous album “Plexus Andromeda” Zinkl took us for a mysterious and erie musical ride to extraterrestrial life forms? Well now, for the very first time he proudly presents the most bizarre and amazing collection of fairground circus attractions ever to be seen:
Witness how a virtuoso goes berserk in The Inimiable Celloking; he spellbound by Anna Conda, the lascivious dancing snake woman; admire the breath-taking artistry of The Pina Coladas! Zinkl has spared no expemse in staging - not only for the eye, but also for the ear - these rare feats of skill. Just listen to the Talented Fleas Inc. as they  perform their death-defying jumps; be swooned by the melodic groove of a gentle elephant in The Digital Pachyderm. And, last but not least, Zinkl pys tribute to his home town of Munich by including The Grand Parade Of Lifeless Bavarians in this dazzling, multicoloured performance.
Zinkl has created his own unique brand of electronic music, weaving an intricate web of naive melodies; outbursts of distraught dissonance; powerful rhythms and mystical spheres - all seasoned with a dash of that inimitiable “Zinkl” mischievousness.
“Circus Maximus” displays an instrumental pop music full of suspense that sways back and forth like a pedulum between “Avantgarde” and “Easy Listening”

Artist: Zinkl
P: 2014
With his tenth album, marking the twentieth anniversary of “Zinkl Music”, the Munich composer again remains true to his very individual style and working methods. His instrumental “Chamber Prog” – inspired by the classic progressive art rock – was produced electronically. The mainly rhythmic music contains catchy melodies, is imaginative and varied – the moods change from gloomy to jovial, to melancholic, to bizarre.
Zinkl likes to include the “historical” keyboard instruments from the early days of prog (such as the Hammond organ, the Mellotron and the Minimoog), but incorporates above all modern synthesizer, sequencer and percussion sounds. He has a special preference for the sound of the xylophone, carillon and tuned glasses.
His new album “Cockaigne” presents an exciting sound expedition through twelve tracks and best makes an impact when listened to intently as a suite in one piece. The music invokes images in the listener’s mind, and it is not unintentional that the graphic album design is somewhat reminiscent of ELP’s “Pictures at an Exhibition”. However, the pictures, drawings and collages on Zinkl’s album cover were created by himself – in the 1970s.
Zinkl’s instrumental “Chamber Prog” – inspired by the classic progressive art rock – was produced electronically; the predominantly rhythmic music contains catchy melodies, is very imaginative, and the moods fluctuate between gloomy, jovial, melancholic and bizarre.

Artist: Zinkl
P: 2002
With his new longplayer "Dance Music For Insects" Zinkl continues what he started with the musical science fiction adventures on his third album "Plexus Andromeda": Once again he has dedicated a whole album to a very special topic. Insects, Zinkl says, may seem banal at first glance, but on closer examination (i.e. through a magnifying glass) show themselves to be bizarre monsters, "unbelievably robust and resistant and extremely strange."
Thus the notoriously inventive Zinkl confronts the listener with accordingly bizarre and strange sounds in his purely instrumental dance music  for the multi-legged animals. Again his affection for cryptical humour, for drolleries and funny horror makes his music flourish beautifully.
Still there is an important new aspect to Zinkl's music: There is a new emphasis on grooves, the architecture of the songs is more open, amidst all the sophistication sensuality has gained more ground. In short: "Dance Music For Insects" is the most accessible Zinkl album to date.

Artist: Zinkl
P: 1995
Zinkl is an artist who with his first two albums already surprised attentive observers and conoisseurs of the Electronic and Art-Rock Music scene by the distinctives of his style and the abundance of ideas in each track.
The Munich based musician models his compositions out of influences which stem mainly from the British progressive and art rock of the 70s, but also contain European classical music. But Zinkl wraps his details, hints and quotes in unorthodox sounds and new contexts. This zappaesque humour, irony and the very cunning use of dynamics have become trademarks of the Zinkl-style.
Who else combines entertaining and gentle sequences so playfully and wittily with ‘difficult’ and cryptic sections? In a world full of commercially formated and standardized musical boredom, the notorious nightworker Zinkl choses individuality as his option