Sun Electric, Max Loderbauer, Tom Thiel
Live at Votivkirche Wien
Max Loderbauer & Tom Thiel’s Sun Electric beautifully utilise the 20 second reverb decay of an Austrian church in this widescreen 1996 live recording, which can be considered a sibling to their classic ’94 live album for Apollo
As pioneers of ’90s electronica, Sun Electric (along with the likes of The Orb or FSOL) were instrumental in developing techniques for real-time reproduction of their sound at a time when the equipment hadn’t quite caught up with their imaginations. ’Live at Votivkirche Wien’ was recorded in 1996 and depicts the duo in their element, conjuring expansive synth pads and pulses that make fine use of the church’s long reverb decay with a masterful grasp of electro-acoustic dynamic.
The album coincidentally lands 30 years since their exemplary ’30.7.94 Live’ session, as issued by R&S’s Apollo sublabel, to neatly mark a point equidistant to their spiritual forbears in Conrad Schnitzler (Tangerine Dream) and West Berlin’s legendary Zodiak Free Arts Club - a ground zero of live electronic music and kosmiche - and 2023’s fertile contemporary live electronic music scene spanning old skool-style hardware performers thru to laptop and software-touting algorave artists, MPC and CDJ tappers, and all manner between.
Most crucially on this live performance the pair pursue and realise a sort of musical chronics that broadly distinguishes the possibilities of electronic music from its “real” instrumental analogs, with the use of acoustic reverb decay smartly blurring the boundaries as they smoothly flow from a stately ‘Opening’ to the coarse but slippery breakbeat buoyancy of ‘Waititi Post’, and the oceanic scaping of ‘Kallisto’ and ‘Aaah!’.
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Max Loderbauer & Tom Thiel’s Sun Electric beautifully utilise the 20 second reverb decay of an Austrian church in this widescreen 1996 live recording, which can be considered a sibling to their classic ’94 live album for Apollo
As pioneers of ’90s electronica, Sun Electric (along with the likes of The Orb or FSOL) were instrumental in developing techniques for real-time reproduction of their sound at a time when the equipment hadn’t quite caught up with their imaginations. ’Live at Votivkirche Wien’ was recorded in 1996 and depicts the duo in their element, conjuring expansive synth pads and pulses that make fine use of the church’s long reverb decay with a masterful grasp of electro-acoustic dynamic.
The album coincidentally lands 30 years since their exemplary ’30.7.94 Live’ session, as issued by R&S’s Apollo sublabel, to neatly mark a point equidistant to their spiritual forbears in Conrad Schnitzler (Tangerine Dream) and West Berlin’s legendary Zodiak Free Arts Club - a ground zero of live electronic music and kosmiche - and 2023’s fertile contemporary live electronic music scene spanning old skool-style hardware performers thru to laptop and software-touting algorave artists, MPC and CDJ tappers, and all manner between.
Most crucially on this live performance the pair pursue and realise a sort of musical chronics that broadly distinguishes the possibilities of electronic music from its “real” instrumental analogs, with the use of acoustic reverb decay smartly blurring the boundaries as they smoothly flow from a stately ‘Opening’ to the coarse but slippery breakbeat buoyancy of ‘Waititi Post’, and the oceanic scaping of ‘Kallisto’ and ‘Aaah!’.
Max Loderbauer & Tom Thiel’s Sun Electric beautifully utilise the 20 second reverb decay of an Austrian church in this widescreen 1996 live recording, which can be considered a sibling to their classic ’94 live album for Apollo
As pioneers of ’90s electronica, Sun Electric (along with the likes of The Orb or FSOL) were instrumental in developing techniques for real-time reproduction of their sound at a time when the equipment hadn’t quite caught up with their imaginations. ’Live at Votivkirche Wien’ was recorded in 1996 and depicts the duo in their element, conjuring expansive synth pads and pulses that make fine use of the church’s long reverb decay with a masterful grasp of electro-acoustic dynamic.
The album coincidentally lands 30 years since their exemplary ’30.7.94 Live’ session, as issued by R&S’s Apollo sublabel, to neatly mark a point equidistant to their spiritual forbears in Conrad Schnitzler (Tangerine Dream) and West Berlin’s legendary Zodiak Free Arts Club - a ground zero of live electronic music and kosmiche - and 2023’s fertile contemporary live electronic music scene spanning old skool-style hardware performers thru to laptop and software-touting algorave artists, MPC and CDJ tappers, and all manner between.
Most crucially on this live performance the pair pursue and realise a sort of musical chronics that broadly distinguishes the possibilities of electronic music from its “real” instrumental analogs, with the use of acoustic reverb decay smartly blurring the boundaries as they smoothly flow from a stately ‘Opening’ to the coarse but slippery breakbeat buoyancy of ‘Waititi Post’, and the oceanic scaping of ‘Kallisto’ and ‘Aaah!’.
Max Loderbauer & Tom Thiel’s Sun Electric beautifully utilise the 20 second reverb decay of an Austrian church in this widescreen 1996 live recording, which can be considered a sibling to their classic ’94 live album for Apollo
As pioneers of ’90s electronica, Sun Electric (along with the likes of The Orb or FSOL) were instrumental in developing techniques for real-time reproduction of their sound at a time when the equipment hadn’t quite caught up with their imaginations. ’Live at Votivkirche Wien’ was recorded in 1996 and depicts the duo in their element, conjuring expansive synth pads and pulses that make fine use of the church’s long reverb decay with a masterful grasp of electro-acoustic dynamic.
The album coincidentally lands 30 years since their exemplary ’30.7.94 Live’ session, as issued by R&S’s Apollo sublabel, to neatly mark a point equidistant to their spiritual forbears in Conrad Schnitzler (Tangerine Dream) and West Berlin’s legendary Zodiak Free Arts Club - a ground zero of live electronic music and kosmiche - and 2023’s fertile contemporary live electronic music scene spanning old skool-style hardware performers thru to laptop and software-touting algorave artists, MPC and CDJ tappers, and all manner between.
Most crucially on this live performance the pair pursue and realise a sort of musical chronics that broadly distinguishes the possibilities of electronic music from its “real” instrumental analogs, with the use of acoustic reverb decay smartly blurring the boundaries as they smoothly flow from a stately ‘Opening’ to the coarse but slippery breakbeat buoyancy of ‘Waititi Post’, and the oceanic scaping of ‘Kallisto’ and ‘Aaah!’.
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Max Loderbauer & Tom Thiel’s Sun Electric beautifully utilise the 20 second reverb decay of an Austrian church in this widescreen 1996 live recording, which can be considered a sibling to their classic ’94 live album for Apollo
As pioneers of ’90s electronica, Sun Electric (along with the likes of The Orb or FSOL) were instrumental in developing techniques for real-time reproduction of their sound at a time when the equipment hadn’t quite caught up with their imaginations. ’Live at Votivkirche Wien’ was recorded in 1996 and depicts the duo in their element, conjuring expansive synth pads and pulses that make fine use of the church’s long reverb decay with a masterful grasp of electro-acoustic dynamic.
The album coincidentally lands 30 years since their exemplary ’30.7.94 Live’ session, as issued by R&S’s Apollo sublabel, to neatly mark a point equidistant to their spiritual forbears in Conrad Schnitzler (Tangerine Dream) and West Berlin’s legendary Zodiak Free Arts Club - a ground zero of live electronic music and kosmiche - and 2023’s fertile contemporary live electronic music scene spanning old skool-style hardware performers thru to laptop and software-touting algorave artists, MPC and CDJ tappers, and all manner between.
Most crucially on this live performance the pair pursue and realise a sort of musical chronics that broadly distinguishes the possibilities of electronic music from its “real” instrumental analogs, with the use of acoustic reverb decay smartly blurring the boundaries as they smoothly flow from a stately ‘Opening’ to the coarse but slippery breakbeat buoyancy of ‘Waititi Post’, and the oceanic scaping of ‘Kallisto’ and ‘Aaah!’.