RARITIES

Artist: Robert Schroeder
P: 1989
Schroeder returned somewhat to a more ambient sound, with lush, digital landscapes that sound nothing like the photograph on the cover and more like a spaceship grinding it's way through the universe from a William Gibson novel in alpha state. Almost gone are the drums and drum machines, and the leads are often blended more fully into the mix than before. There's a lot of digital filter sweeps here that grow old and put the CD in it's era, giving it a dated sound at times, but there is also some thick, powerful pads that give the CD a rich feel to it and nothing like this really existed at the time. Out of all of Robert's CDs, this (and ironically, Harmonic Ascendent) hold up best over the years. If I were to recommend one CD of his, it would be either this, HA, or Computer Voice.
This is the old version on the IC Label, with the wrong tracks.

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Artist: Robert Schroeder
P: 1986
In the beginning of 1987 Robert Schroeder published the No.-8- of his solo career. TIMEWAVES is a trip by the times of the history of the electronic devices and synthesizers. Here many mood pictures which have developed from the almost 20 years now synthesizer history are united. From meditation through sound collagen, soft electronics and nice-sounding SynthiPop rhythms. Especially the CD version TIMEWAVES is with her more than 60-minute repertoire once again a masterpiece which received validity with idea, composition, production and sound as a reference for 1987. Since Schroeder reached with his album TIMEWAVES in the "West German Radio" oscillations choice in '87 dreamlike orders:TIMEWAVES was appointed the third-best album of 1987, Robert Schroeder to the second-most popular artist and the title THE MESSAGE to the best title, to the No.-1-of 1987.

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Artists: Robert Wittek
P: 1991
The debut of Wittek was a wonderful one man show, with selfproduced and composed masterpieces. Still one of his best releases.

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Artist: Hans Joachim Roedelius
P: 1989
"Fortress of Love", is one of the most personal albums of Roedelius. He expresses emotions such as friendliness, warmth and confidence in slightly melancholic melodies, that always wear Roedelius' typical handwriting. Skillfully interweaves it with synthetic elements, the instruments played by friends, resulting in a wonderfully pleasing overall picture.

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Artist: Hans Joachim Roedelius
P: 1992
This studio CD is a little more avant garde.
With Stanislaw Michalak (E-contrabass and keyboards), Stephan Steiner (viola), Franz Thamer (trumpet), Hermann Rid (sax), all on "Dranbleiben", "Très bien ensemble" and "Wien, Wien nicht Du allein".

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Artist: Hans Joachim Roedelius
P: 1987
Since the early eighties, Roedelius had more or less dispensed with electronics, focusing increasingly on the grand piano. He also collaborated with various combinations of musicians to create a new kind of music, vastly different to Cluster and Harmonia aesthetics. For Roedelius, it was not only a period of reorientation in musical terms, but also geographically: Austria was now his home. “Tu felix Austria” (Oh, happy Austria), a time-honored Austrian campaign slogan, became his very own motto in no time at all. The pleasure he derived from playing the piano and meeting musicians on the same wavelength did the rest: an enthusiastic Roedelius allowed new impressions and discoveries to flow virtually unfiltered into his music.
“Momenti Felici” is one of the finest examples hereof. With characteristically exuberant inventiveness, Roedelius tickles the ivories lightheartedly, or, entering into more pensive mood, seems to caress the keys. With saxophonist Alexander Czjzek dueling on some of the pieces, Roedelius shuffles a pack of disciplined compositions and carefree improvisations. In this respect, “Momenti Felici” most closely resembles “Jardin au fou”. On closer listening, however, the length in time between the two albums can be discerned. Roedelius honed both his compositional and, more than anything, his playing skills in the lengthy period inbetween. Naturally, “Momenti Felici” saw Roedelius distance himself further still from the electronic scene. The signs had been there on his preceding albums and this release simply removed any last vestige of doubt. Roedelius had, in any case, long since found a new audience, who continue to follow him avidly today. With the passage of time, many of his companions from earlier days have come to realize that a beautiful melody and rich piano chord can be just as pleasing to the ear as pure tones and rhythm machines.
Stringent compositions and neoclassical improvisations. Piano pieces, some with saxophone and/or synthesizer accompanied.
Hans-Joachim Roedelius - piano, keyboards, synthesizer
Alexander Czjzek - saxophone

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Artist: Hans Joachim Roedelius
P: 1987
Piano Piano follows on from the project started with the two titles published in 1987 and 1989 by Venture/Virgin, and presents twelve tracks predominantly for solo piano, composed and performed by Roedelius.
In this work, Roedelius returned to the discographic scene, and does so with the same stylistic coherence which has been a characteristic of his continuing work from 1968 to the present; from the time that is, when he formed a part of the scene at the Zodiac Free Art Centre in Berlin, along with the most important German electronic music groups like Tangerine Dream and Ashra Temple. In the following years, his activity continued together with Dieter Moebius, under the name of Cluster and with this he made, in 1977, two memorable albums along with Brian Eno.
After his move to Austria in 1979, he began his solo career, dedicating his musical research chiefly to the piano.
Piano Piano confirms his stature as a composer and as one of the leaders of "Ambient Music". His style, dry, with strong classical inspiration passes over melodic lines that are both fascinating and endowed with an extraordinary immediacy.
The production is by Roedelius himself.
The cover presents four original paintings, created especially for this work, by the Spanish artist Idelfonso Aguilar.

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Artist: Hans Joachim Roedelius
P: 1993
Good, decent 1993 title. Another chapter of electronic progressive music from the lengthy repertoire of Kluster and Harmonia founder - Hans-Joachim Roedelius. Tunes here that make this one a keeper are the inventive "Nackt" (in English means Nude), the jazzy "Die Tur Stand Offen" (English - The Door Was Open), the eight-minute "Aber Ja, Aber" (Yes, But Yes), "Wie Gewonnen" (English - Won As) and "Sei Stark Mein Herz" (translation: Be Strong My Heart). This eleven track effort offers the fan a true taste and experience of eclectic music. Might take at least two listens for it to fully grow on you.

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Artist: Hans Joachim Roedelius
P: 1981
Here the Sky-Records version.
"Where on earth does Roedelius find such a beautiful array of notes?", Asmus Tietchens wonders in the liner notes to this exquisit reissue. We don't know the answer but we do know that these easy and quiet analog-electronic music miniatures from 1981 will enchant you. It was Roedelius' seventh solo effort and is also known under the title "Selbstportrait IV".

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Artist: Roland Widmer
P: 1992
The Debut from Roland Widmer is about the creation of Earth. The 7 days of creation are divided into 12 versatile tracks full of emotions and interesting sounds and melodies.

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