Die Reise zur Monsalwäsche
Läuten der Seele
Die Reise zur Monsalwäsche
Boomkat Product Review:
Brannten Schnüre’s Christian Schoppik closes a prized ‘Water’ trilogy of sides with a hallucinatory collage that dials down the experimentalism to revel in epic string sweeps, phantasmic synths and disembodied chorales, surely recalling Marc Richter’s Black To Comm via aspects of GAS, Nikos Mamangakis, Leyland Kirby’s underrated ‘Intrigue & Stuff’ series, and Terre Thaemlitz's mesmerizing Taxi Driver memory shift on that killer A-Muzak 7".
After birthing the Läuten Der Seele series with a skewed, acclaimed take on the ‘50s German genre of ‘Heimatfilme’ soundtracks in 2022, Schoppik again trades in his avant-folkie credentials (earned as part of Brannten Schnüre, Freundlch Kreisel, and Agnes Beil) for a more wide-angled, wide-eyed culmination to a triptych, or “sacred odyssey”, centred on water as metaphor for searching, and fulfilling a spiritual destiny. To our ears it can loosely be filed as part of a German hauntological sensibility, coming to terms with a past world in a swell of nostalgia-jogging cues and motifs that conjure and convey an ambiguous emotional flux with a seductively oneiric, if at times creepy, quality.
Ostensibly, aesthetically, leagues apart from his more folkwise work, ‘Die Reise zur Monsalwäsche’ follows from ‘Die Mariengrotte als Trinkwasseraufbereitungsanlage’ (2022, Hands in the Dark) and ‘Ertrunken im seichtesten Gewässer’ for World of Echo, with a veritably heady arrangement of sampled and reorganised classical musics augmented by original instrumental touches and devilishly detailed processing under the hood. Over its 42 minute arc, an absorbing, abstract yet emotive narrative emerges from his play of the elements in a style giving us flashbacks to Black To Comm’s febrile but disciplined fantasies and a perhaps more consonant echo of the Intrigue & Stuff’ series by Leyland Kirby, aka The Caretaker, which is surely ripe for reappraisal.
In that vein, we’re treated to a trip that originates in GAS-like, beatific pastoralism in ‘Entschluss, Abschied & Aufbruch’ and dabs of jazz noir sax, fantasy film soundtracks thru to dramatic sturm und drang on a magisterial, miasmic A-side, before toggling the nerves between panic-stricken and broodingly romantic in the B-side’s ‘Verirrung, Ankunft & Erlösung’, rising to climactic strings and queasy brass that leaches out into spangled Cluster-esque ambient, via all manner of lysergic twists and turns.
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Boomkat Product Review:
Brannten Schnüre’s Christian Schoppik closes a prized ‘Water’ trilogy of sides with a hallucinatory collage that dials down the experimentalism to revel in epic string sweeps, phantasmic synths and disembodied chorales, surely recalling Marc Richter’s Black To Comm via aspects of GAS, Nikos Mamangakis, Leyland Kirby’s underrated ‘Intrigue & Stuff’ series, and Terre Thaemlitz's mesmerizing Taxi Driver memory shift on that killer A-Muzak 7".
After birthing the Läuten Der Seele series with a skewed, acclaimed take on the ‘50s German genre of ‘Heimatfilme’ soundtracks in 2022, Schoppik again trades in his avant-folkie credentials (earned as part of Brannten Schnüre, Freundlch Kreisel, and Agnes Beil) for a more wide-angled, wide-eyed culmination to a triptych, or “sacred odyssey”, centred on water as metaphor for searching, and fulfilling a spiritual destiny. To our ears it can loosely be filed as part of a German hauntological sensibility, coming to terms with a past world in a swell of nostalgia-jogging cues and motifs that conjure and convey an ambiguous emotional flux with a seductively oneiric, if at times creepy, quality.
Ostensibly, aesthetically, leagues apart from his more folkwise work, ‘Die Reise zur Monsalwäsche’ follows from ‘Die Mariengrotte als Trinkwasseraufbereitungsanlage’ (2022, Hands in the Dark) and ‘Ertrunken im seichtesten Gewässer’ for World of Echo, with a veritably heady arrangement of sampled and reorganised classical musics augmented by original instrumental touches and devilishly detailed processing under the hood. Over its 42 minute arc, an absorbing, abstract yet emotive narrative emerges from his play of the elements in a style giving us flashbacks to Black To Comm’s febrile but disciplined fantasies and a perhaps more consonant echo of the Intrigue & Stuff’ series by Leyland Kirby, aka The Caretaker, which is surely ripe for reappraisal.
In that vein, we’re treated to a trip that originates in GAS-like, beatific pastoralism in ‘Entschluss, Abschied & Aufbruch’ and dabs of jazz noir sax, fantasy film soundtracks thru to dramatic sturm und drang on a magisterial, miasmic A-side, before toggling the nerves between panic-stricken and broodingly romantic in the B-side’s ‘Verirrung, Ankunft & Erlösung’, rising to climactic strings and queasy brass that leaches out into spangled Cluster-esque ambient, via all manner of lysergic twists and turns.
Boomkat Product Review:
Brannten Schnüre’s Christian Schoppik closes a prized ‘Water’ trilogy of sides with a hallucinatory collage that dials down the experimentalism to revel in epic string sweeps, phantasmic synths and disembodied chorales, surely recalling Marc Richter’s Black To Comm via aspects of GAS, Nikos Mamangakis, Leyland Kirby’s underrated ‘Intrigue & Stuff’ series, and Terre Thaemlitz's mesmerizing Taxi Driver memory shift on that killer A-Muzak 7".
After birthing the Läuten Der Seele series with a skewed, acclaimed take on the ‘50s German genre of ‘Heimatfilme’ soundtracks in 2022, Schoppik again trades in his avant-folkie credentials (earned as part of Brannten Schnüre, Freundlch Kreisel, and Agnes Beil) for a more wide-angled, wide-eyed culmination to a triptych, or “sacred odyssey”, centred on water as metaphor for searching, and fulfilling a spiritual destiny. To our ears it can loosely be filed as part of a German hauntological sensibility, coming to terms with a past world in a swell of nostalgia-jogging cues and motifs that conjure and convey an ambiguous emotional flux with a seductively oneiric, if at times creepy, quality.
Ostensibly, aesthetically, leagues apart from his more folkwise work, ‘Die Reise zur Monsalwäsche’ follows from ‘Die Mariengrotte als Trinkwasseraufbereitungsanlage’ (2022, Hands in the Dark) and ‘Ertrunken im seichtesten Gewässer’ for World of Echo, with a veritably heady arrangement of sampled and reorganised classical musics augmented by original instrumental touches and devilishly detailed processing under the hood. Over its 42 minute arc, an absorbing, abstract yet emotive narrative emerges from his play of the elements in a style giving us flashbacks to Black To Comm’s febrile but disciplined fantasies and a perhaps more consonant echo of the Intrigue & Stuff’ series by Leyland Kirby, aka The Caretaker, which is surely ripe for reappraisal.
In that vein, we’re treated to a trip that originates in GAS-like, beatific pastoralism in ‘Entschluss, Abschied & Aufbruch’ and dabs of jazz noir sax, fantasy film soundtracks thru to dramatic sturm und drang on a magisterial, miasmic A-side, before toggling the nerves between panic-stricken and broodingly romantic in the B-side’s ‘Verirrung, Ankunft & Erlösung’, rising to climactic strings and queasy brass that leaches out into spangled Cluster-esque ambient, via all manner of lysergic twists and turns.
Boomkat Product Review:
Brannten Schnüre’s Christian Schoppik closes a prized ‘Water’ trilogy of sides with a hallucinatory collage that dials down the experimentalism to revel in epic string sweeps, phantasmic synths and disembodied chorales, surely recalling Marc Richter’s Black To Comm via aspects of GAS, Nikos Mamangakis, Leyland Kirby’s underrated ‘Intrigue & Stuff’ series, and Terre Thaemlitz's mesmerizing Taxi Driver memory shift on that killer A-Muzak 7".
After birthing the Läuten Der Seele series with a skewed, acclaimed take on the ‘50s German genre of ‘Heimatfilme’ soundtracks in 2022, Schoppik again trades in his avant-folkie credentials (earned as part of Brannten Schnüre, Freundlch Kreisel, and Agnes Beil) for a more wide-angled, wide-eyed culmination to a triptych, or “sacred odyssey”, centred on water as metaphor for searching, and fulfilling a spiritual destiny. To our ears it can loosely be filed as part of a German hauntological sensibility, coming to terms with a past world in a swell of nostalgia-jogging cues and motifs that conjure and convey an ambiguous emotional flux with a seductively oneiric, if at times creepy, quality.
Ostensibly, aesthetically, leagues apart from his more folkwise work, ‘Die Reise zur Monsalwäsche’ follows from ‘Die Mariengrotte als Trinkwasseraufbereitungsanlage’ (2022, Hands in the Dark) and ‘Ertrunken im seichtesten Gewässer’ for World of Echo, with a veritably heady arrangement of sampled and reorganised classical musics augmented by original instrumental touches and devilishly detailed processing under the hood. Over its 42 minute arc, an absorbing, abstract yet emotive narrative emerges from his play of the elements in a style giving us flashbacks to Black To Comm’s febrile but disciplined fantasies and a perhaps more consonant echo of the Intrigue & Stuff’ series by Leyland Kirby, aka The Caretaker, which is surely ripe for reappraisal.
In that vein, we’re treated to a trip that originates in GAS-like, beatific pastoralism in ‘Entschluss, Abschied & Aufbruch’ and dabs of jazz noir sax, fantasy film soundtracks thru to dramatic sturm und drang on a magisterial, miasmic A-side, before toggling the nerves between panic-stricken and broodingly romantic in the B-side’s ‘Verirrung, Ankunft & Erlösung’, rising to climactic strings and queasy brass that leaches out into spangled Cluster-esque ambient, via all manner of lysergic twists and turns.
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Boomkat Product Review:
Brannten Schnüre’s Christian Schoppik closes a prized ‘Water’ trilogy of sides with a hallucinatory collage that dials down the experimentalism to revel in epic string sweeps, phantasmic synths and disembodied chorales, surely recalling Marc Richter’s Black To Comm via aspects of GAS, Nikos Mamangakis, Leyland Kirby’s underrated ‘Intrigue & Stuff’ series, and Terre Thaemlitz's mesmerizing Taxi Driver memory shift on that killer A-Muzak 7".
After birthing the Läuten Der Seele series with a skewed, acclaimed take on the ‘50s German genre of ‘Heimatfilme’ soundtracks in 2022, Schoppik again trades in his avant-folkie credentials (earned as part of Brannten Schnüre, Freundlch Kreisel, and Agnes Beil) for a more wide-angled, wide-eyed culmination to a triptych, or “sacred odyssey”, centred on water as metaphor for searching, and fulfilling a spiritual destiny. To our ears it can loosely be filed as part of a German hauntological sensibility, coming to terms with a past world in a swell of nostalgia-jogging cues and motifs that conjure and convey an ambiguous emotional flux with a seductively oneiric, if at times creepy, quality.
Ostensibly, aesthetically, leagues apart from his more folkwise work, ‘Die Reise zur Monsalwäsche’ follows from ‘Die Mariengrotte als Trinkwasseraufbereitungsanlage’ (2022, Hands in the Dark) and ‘Ertrunken im seichtesten Gewässer’ for World of Echo, with a veritably heady arrangement of sampled and reorganised classical musics augmented by original instrumental touches and devilishly detailed processing under the hood. Over its 42 minute arc, an absorbing, abstract yet emotive narrative emerges from his play of the elements in a style giving us flashbacks to Black To Comm’s febrile but disciplined fantasies and a perhaps more consonant echo of the Intrigue & Stuff’ series by Leyland Kirby, aka The Caretaker, which is surely ripe for reappraisal.
In that vein, we’re treated to a trip that originates in GAS-like, beatific pastoralism in ‘Entschluss, Abschied & Aufbruch’ and dabs of jazz noir sax, fantasy film soundtracks thru to dramatic sturm und drang on a magisterial, miasmic A-side, before toggling the nerves between panic-stricken and broodingly romantic in the B-side’s ‘Verirrung, Ankunft & Erlösung’, rising to climactic strings and queasy brass that leaches out into spangled Cluster-esque ambient, via all manner of lysergic twists and turns.
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