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After 4 years in the making, the musical collaboration with Uwe Cremer, “Audio Cologne Project”, has released its first album “2911.”, featuring Zsolt Galántai on drums.
Label: Terrainflight TF009
Release Date: 1st June, 2013
Track listing:
- chemist’s bike 18:44
- crazy bongos 08:45
- spieluhr 19:45
- grobmotorik 06:51
- mind the gap 17:34
- akustisch-1 (bonus) 04:38
uwe cremer: lead/rhythm/slide guitars, bass guitar(l), keyboards, sequencer
dave pearson: keyboards, sequencers, bass guitar(2-5), bongo(2)
zsolt galántai: drums(1-5)
artwork and design: angiewoman
all recording & composing in the digital domain at dave’s studio in hungary and uwe’s studio in germany between jul 2009 and may 2013
written and produced by dave pearson and uwe cremer
mixed and mastered by dave pearson
tracks 1-6 ©℗ 2013 dave pearson and uwe cremer
spieluhr uses the “1915 russian telegraph register” sample by microscopia from freesound.org (cc sampling+ 1.0)
contacts:
dave pearson: www.computerchemist.cominfo@computerchemist.com
uwe cremer: www.level-pi.dekontakt@level-pi.de
zsolt: www.soundcloud.com/zsolthy65
Reviews
Juergen Meurer – betreutesproggen.de (DE)
Dass das Wörtchen Cologne im Bandnamen steckt, dürfte an der einen Hälfte dieses deutsch-englisch-ungarischen Duos liegen. Und warum dann drei Länder, wenn von einem Duo die Rede ist? Berechtigte Frage. Nun, zum einen lebt der Brite Dave Pearson, der sich in der EM-Szene bereits einen Namen als „Computerchemist“ gemacht hat, schon seit geraumer Zeit in Ungarn, zum anderen ist mit Zsolt Galántai (u.a. Rusty Gold) ein ungarischer Gast-Drummer mit von der Partie, der eine durchaus wichtige Rolle spielt. Und, um zum Anfang zurückzukehren, die andere Hälfte ist der Kölner Musiker Uwe Cremer, der schon einige Alben unter dem Pseudonym Level Pi (siehe Surftripps unten) veröffentlich hat. Fehlte nur noch, dass die Gesamtspielzeit 47:11 beträgt – aber glücklicherweise ist es deutlich mehr.
Schon der Opener zeigt, wo es bei dem Audio Cologne Project langgeht. Auf knapp 19 Minuten Spielzeit bringt es ‚Chemist’s bike‘, der zweitlängste Titel des Albums. Gitarre und Schlagzeug sorgen für Rock-Feeling, doch unvermittelt befindet man sich plötzlich in bester Berliner Schule Tradition. Auf eine erfreulich spannende Weise werden hier Elemente aus Progressive Rock, Psychedelic, Krautrock und Elektronische Musik miteinander verwoben. Das darauffolgende ‚Crazy Bongo‘ fällt deutlich in die Krautrock-Sparte, hier werden Erinnerungen an Neu! oder Harmonia wach.
Ein weiteres Highlight des Albums ist der längste Titel, das knapp 20-minütige ‚Spieluhr‘, das dann auch dem Namen entsprechend beginnt. Eine wunderschöne Melodie, die einen durchweg interessanten Titel eröffnet. Es folgen Mellotron-Flöten und es breitet sich eine 70er Edgar Froese-Atmosphäre aus. Doch bald wird Fahrt aufgenommen und das Album entwickelt sich wieder eher zu einem Rock-Album.
Auf ‚Mind The Gap‘, einem weiteren Longtrack, setzt Cremer unter anderem Akzente mit einem floydigen Gitarrenspiel. Auf den ersten fünf Titeln sorgt Drummer Zsolt Galántai für die rhythmische Grundlage, lediglich der kurze „Bonus“-Titel ‚Akustisch-1‘ fällt etwas aus dem Rahmen.
Insgesamt ein Album, bei dem der Rock-Faktor gegenüber dem Elektronik-Anteil eindeutig überwiegt, das aber sowohl Rock- als auch EM-Fans durch seine perfekt arrangierte Mischung ansprechen dürfte.
Bewertung: 11/15 Punkten.
— Von Juergen Meurer, am 14. Juli 2020
Juergen Meurer – betreutesproggen.de (EN translation)
The fact that the word “Cologne” is in the band name is probably due to one half of this German-English-Hungarian duo. And why then three countries when talking about a duo? Legitimate question. Well, on the one hand the Brit Dave Pearson, who has already made a name for himself in the EM scene as a “computer chemist”, has been living in Hungary for quite some time, on the other hand Zsolt Galántai (including Rusty Gold) is a Hungarian guest drummer part of the game, which plays a very important role. And, to get back to the beginning, the other half is the Cologne musician Uwe Cremer, who has already released a number of albums under the pseudonym Level Pi (see surf trips below). The only thing missing was that the total playing time was 47:11 – but fortunately it’s significantly more. Even the opener shows where the Audio Cologne Project is headed. ‘Chemist’s bike’, the second longest track on the album, has a playing time of almost 19 minutes. Guitar and drums create a rock feeling, but suddenly you find yourself in the best Berlin school tradition. Elements from progressive rock, psychedelic, krautrock and electronic music are interwoven in a pleasantly exciting way. The following ‘Crazy Bongo’ clearly falls into the Krautrock category, here memories of Neu! or Harmonia awake. Another highlight of the album is the longest track, the almost 20-minute ‘music box’, which then begins as the name suggests. A beautiful melody that opens a consistently interesting title. Mellotron flutes follow and a 70s Edgar Froese atmosphere spreads. But speed is soon picked up and the album develops more into a rock album. On ‘Mind The Gap’, another long track, Cremer sets accents with a Floydy guitar playing, among other things. On the first five tracks, drummer Zsolt Galántai provides the rhythmic basis, only the short “bonus” track ‘Akustisch-1’ is a bit out of the ordinary. All in all, an album in which the rock factor clearly outweighs the electronic part, but which should appeal to both rock and EM fans with its perfectly arranged mix. Rating: 11/15 points.
— Juergen Meurer, July 14 2020
Jerry Kranitz
Computerchemist is headed up by Dave Pearson, an English musician residing in Hungary. This time last month I reviewed the 2-part new Computerchemist album, Signatures I & II, which included Budapest based drummer Zsolt Galántai. I mention that because despite the different band name, Audio Cologne Project is in some ways a follow up to the Space meets Prog of Signatures, albeit in a different direction.
Audio Cologne Project is the trio of Dave Pearson of Computerchemist on bass, keyboards and sequencers, German musician Uwe Cremer of Level Pi on guitars and keyboards, and Hungarian drummer Zsolt Galántai. Cremer has released three albums that I’m aware of as Level Pi, the first having the distinction of being one of the few new artists to be released by the Garden of Delights label. Pearson and Cremer made contact online in 2007 and collaborated remotely, and after meeting in person in 2009 decided to work together on a project that strayed from the EM and Berlin school albums that both had been known for, toward a Rock/Krautrock context, without completely abandoning their Berlin school influences.
2911 consists of 6 instrumental tracks, some taking plenty of time to stretch out and explore. The nearly 19 minute Chemist’s Bike comes roaring out of the starting gate as a hard and heavy 70s styled riff rocker, with chunky guitar chords and Hammond styled organ. But this is just a brief intro as the sequenced keyboards soon join in, along with symphonic keys and spaced out winding and weaving guitar licks. And from there it transitions to a distinctly Pink Floyd-ian jam, then returns to the opening rocking theme, before settling into a Space-Prog excursion with classic old time keyboard sounds. Crazy Bongos kicks off with a bit of a motorik groove, and the piano melody reminds me of a Neu! song that I can’t quite put my finger on. The music is propelled by rockin’ drumming, and I like the combination of piano and spacey pinging efx’d guitar licks.
At nearly 20 minutes, Spieluhr is another lengthy stretch out track. It opens with a children’s music box lullaby. Piano and a haunting spacey Mellotron-like melody soon take over, as steady understated drumming builds tension, leading up to an explosion in which the trio launch into a power rocking jam that blends symphonic Prog, cosmic keys, and trippy psychedelic guitar. Around the halfway mark the music transitions, getting into territory that’s both Tangerine Dreamy and symphonic, and things quickly get hot ‘n heavy and Space-Prog rocking again, and I love the ripping guitar solo backed by all manner of cosmic keys and stormy drumming.
Grobmotorik is a fiery guitar driven heavy rocker, though later the keys edge their way in and we get some tasty Dub-infused bass. The 17+ minute Mind The Gap lays down a cool space-jazzy groove, with monster rocking guitar solos that sting like a wasp. Parts sound like a Dave Gilmour-Rick Wright duo. The music later shifts into dreamy mode, winding things down with a peaceful Pink Floyd inspired vibe, though the sequenced keys add a twist. Finally, the short Akustisch-1 wraps up the set, sounding like a Mariachi band supported by electro grooves, sequenced keys, psychedelic guitar and freaky effects.
There’s lots of variety on 2911, and while it’s more heavy rocking, it shares with the Signatures albums (which are still fresh in my mind) an assortment of Space and Progressive Rock influences, with a fresh take on the sounds of yesterday.
— Jerry Kranitz, July 2013
House of Prog
Multinational collaboration AUDIO COLOGNE PROJECT consist of German composer and musician Uwe Cremer on guitars and keyboards and Hungary-based English composer and musician Dave Pearson on bass, keyboards and sequencers. With the aid of drummer Zsolt Galánta this creative duo recorded the material needed for their debut album “2911“, which was released in the summer of 2013.
The end result here is 75 or so minutes of instrumental progressive rock, with the majority of the material assembled in three massive, 15 minutes plus long epic compositions, with a few relatively short pieces wedged in between these massive behemoths. Relatively, as only the final piece, a bonus track, clocks in at less than five minutes. And while there’s a fair deal of variety between the tracks on this disc, there are some fairly obvious traits shared between them too. Of the kind that should intrigue those with a soft spot for progressive electronic music.
Opening number Chemist’s Bike kicks of in a fairly typical classic hard rock manner, with organ textures strongly reminding of Deep Purple on top. Which is followed by a more ambient sequences driven section Tangerine Dream style and a dreamladen, dark art rock passage closer to the likes of Pink Floyd. When this trio has been presented, the rest of this composition blends them with each other in different manners, reaching a conclusion carrying traces from all of them.
Crazy Bongos, which doesn’t really feature any crazy drumming in the limelight, is a tight and energetic affair with a strong and distinct bass and guitar foundation with frail, fleeting guitar and keyboard details on top, where calmer inserts lets the latter take the center stage while the rhythm foundation calms down or perhaps has a beer break or something. It’s a piece that airs off driven, compact and energetic arrangements with ones of a more ambient and dreamladen nature, where Ozric tentacles and Tangerine Dream might be pushed to the front in the similarities department, albeit not in a big way.
Spieluhr, the most compelling as well as the longest composition on this production, continues in a somewhat similar manner, with more of an emphasis on moods of a more delicate manner perhaps, and with some eastern inspired details and possibly some sentiments pointing towards Pink Floyd as well, with a wind-up toy music detail as an effective recurring feature. An inspired creation it is though, and arguably the composition at hand with strongest similarities towards the more accessible parts of Tangerine Dream’s back catalog to boot.
Grobmotorik kicks off in a manner that reminds strongly of Levitation era Hawkwind, and then shifts to a gentler expression residing at the halfway point between Kraftwerk and Vangelis to my ears, again a combination that works well, although for me personally the inital sequence with it’s more energetic and tightly controlled nature was just a tad more compelling.
Mind the Gap have structural similarities to the previous piece, opening in a more energetic manner, albeit alternating between moods of different intensity rather than exploring a strictly high intensity construction in the early phase, with some nice jazz-tinged details in the more delicate phases. Dreamladen arrangements closer to the likes of Pink Floyd and the a smoother, almost ambient mood are the next stages of this epic piece, again with at least some nods in the direction of Tangerine Dream unless I’m much mistaken, but the overall more delicate atmosphere of this particular piece makes me suspect that there are similarities to some of the artists I haven’t really explored in full here, such as Jarre or possibly Oldfield.
Concluding this album is a bonus track, Akustisch-1, that opens with Spanish sounding acoustic guitars and is fleshed out by smooth keyboards, sequences and dreamladen guitar soloing. A short, concise and spirited affair that ends this disc in a nice and fairly logical manner.
All in all this is a fine production that should appeal strongly to those who enjoy progressive electronic music and progressive rock of the instrumental variety. Fans of artists such as Tangerine Dream in general, and those amongst them with a taste for artists like Pink Floyd and Hawkwind in particular I’d suspect.
My rating: 88/100.
— Olav Martin Bjørnsen, houseofprog.com, Dec 29, 2013
Mick Garlick – Sequences Magazine (UK)
Audio Cologne Project sees Computerchemist’s Dave Pearson team up again with Zsolt Galantai on percussion, and then there were three, with guitarist Uwe Cremer of Level Pi. There’s an harder edge to the music this time round, spanning prog rock to krautrock, punctuated with shorter floating interludes of shifting sequencer patterns, with piano and mellotron sounds, giving a 70’s feel to some of the music.
All the musicians certainly gel together, with some explosive riffs and musical prowess throughout. Probably a little too much for the EM purists, but for those like myself, who were brought up on the 70’s prog & krautrock scene, it’s a total blast!
— Mick Garlick, Sequences Magazine
John Shanahan – Hypnagogue
See those guys jumping on the cover of Audio Cologne Project’s 2911 ? They’re jumping because they just got a jolt of this prog-drenched, Krautrock-influenced musical adrenalin. ACP, if I may call them that, are a power trio consisting of keyboardist Dave Pearson, aka Computerchemist, guitarist Uwe Cremer, aka Level Pi, and drummer Zsolt Galántai, who played with Pearson on last year’s Signatures release. This is a flat-out fun, turn-it-up offering that kickstarts with the wild ride of “Chemist’s Bike” and doesn’t much let up on the gas until the last note. While all three players are rock-solid, it’s Cremer who acts as your sonic tour guide for most of the release. It’s obvious to me that before playing, he soaks his guitar overnight in serious blues, then proceeds to wring every sweet drop out of it while he plays. And by blues I mean thundering 70s-style blues-rock blues, equal parts fire and gritty emotion. He absolutely crushes it on “Chemist’s Bike,” and later lightly smokes his riffs in Middle Eastern flavors on the 20-minute epic, “Spieluhr.” Throw in some guitar effects, and things get nicely trippy. In the latter half of “Spieluhr,” he again lets fly with more aggressive lines, hitting the wah-wah good and hard to slide the notes right into you. Of course, all this praise for Cremer is not meant to short the other players, because this is a big batch of effective chemistry. Galántai anchors the trio with his massive fills, driving the frenzy from the rhythmic side. Pearson, as ever, contributes masterful sequencer lines to support Cremer’s flights and lend a crisp and not-too-nostalgic Berlin School feel to the proceedings. In addition, he handles bass guitar duties, most notably the fast-running riff that kicks off and then underscores “Grobmotorik.” (And also, a nice break in “Chemist…”) On “Mind the Gap,” he serves up a sweet, jazzy electric piano solo, its creamy smoothness standing in contrast to the raw guitar licks coming from the other side. This another great long track, which the trio modulate through several tempo and tone changes. Along with its rock bombast and jazz, it also has some fairly Floyd-like moments, quiet passages where Cremer shows his soulful side. Listen carefully for Pearson’s sequencer bubbling under the surface of his keyboard solo as the piece draws to a close. Great attention to detail.
While Cremer and Galántai have worked effectively with Pearson before on their own, the decision to bring everyone into the fold was a very, very good one. The three mesh perfectly, and this release is just full of pure musical joy. I have been a Computerchemist fan for quite a while, and for me, Audio Cologne Project is Computerchemist on steroids. Everything I’ve enjoyed about Pearson’s work just gets amped up here. I have taken the 2911 ride many times since I received it, and I expect it to stay in heavy rotation at Hypnagogue HQ. Like I said, it’s just damned fun. Grab this, and enjoy yourself.
— John Shanahan, Hypnagogue Podcast, 19 September 2013
Improvijazzation Nation
There’s really only one keyword to define this excellent CD in from our long-time pal Dave Pearson (computerchemist), guitarist Uwe Cremer & drummer Zsolt Galántai – VIBRANT! & what a heckuvva’ way to close out an issue… as you scope out the 18:44 “Chemist’s Bike“, you’ll “get it” right away! The oddly titled “Crazy Bongos” is a piece that just DRIVES… high-energy playing, for sure – but do it (at least the first time) with your HEADPHONES on! It was the soaring guitar/drum/synth work on “Mind The Gap” that blew me away, though… definitely my favorite on the CD. I give “ACP” a MOST HIGHLY RECOMMENDED, especially for listeners who want to dig down deep into the energy lode these guys are mining for your aural pleasure. “EQ” (energy quotient) rating is a perfect 5.00, which means that it also gets the “PICK” of this issue for “best high-energy instrumental collab”! Get more information about this group at the 2911 page on BANDCAMP (where you can also purchase/download it).
— Rotcod Zzaj, Improvijazzation Nation
Exposé Progressive Music
Köln Germany is known for many things: its music scene, the Roman influence, the Dom Cathedral, and its famous Eau de Cologne 4711. Uwe Cremer’s (aka Level ∏) and Dave Pearson’s (aka computerchemist) new Audio Cologne Project is a musical double entendre. And the cover art completes it with its pseudo-4711 label. Those of you familiar with 4711 know how refreshing this cologne water is and that carries over to the music. There are two guys jumping for joy on the cover because they are refreshed and excited about the music! And rightly so. From the very first chord, Uwe and Dave kick into high gear some of the best instrumental Krautrock you will hear since its heyday in the 70s. The first track is the nearly 19-minute “Chemist’s Bike” that alternates between powerful guitar solos and quite interludes interspersed with sequencers, Mellotron, and drums. It has a definite retro 70s/80s vibe and never gets tired or worn out. The next track is “Crazy Bongos” that opens with piano and quietly builds to a crazy synth voice spelling the song title. The third track is “Spieluhr” or music box, which is how this 20-minute track opens. There is a Tangerine Dream post-Phaedra influence running throughout complimenting the mid-Eastern and Persian themes. The fourth track is “Grobmotorik” that is a modern acoustic nod to Klaus Dinger, Neu!, and La Dusseldorf. “Mind the Gap” is another long track clocking in at about 18 minutes that starts out slow and quiet and evolves into some excellent jazz fusion, but it is a bit too long to sustain interest. The final track “Akustisch” is what you would get if you grafted The Gypsy Kings to Krautrock. Uwe purely and simply outdoes himself on Spanish guitar! So slap on some 2911 and pamper yourself for the next 70 minutes.
– Henry Schneider. expose.org, 2013-11-05
Andreas Pawlowski – EMpulsiv.de (DE)
Dieses Album, dieser Kracher namens „2911.“ (mit Punkt) ist eine echte Überraschung für mich. Gerade eben erst sind zwei Solo-Alben von Dave Pearson alias Computerchemist erschienen (“Signatures I.” und “Signatures II.”). Und nun das…
Der schon genannte Dave Pearson und Uwe Cremer alias Level Pi sind die kreativen Köpfe und Hände hinter dem Audio Cologne Project. Seit 2009 wuchsen die Musikstücke, die nun veröffentlicht wurden, langsam, indem die beiden ihre Ideen und musikalischen Entwürfe austauschten, bearbeiteten und weiter entwickelten. Wenn man bedenkt, dass der eine (Dave) in Ungarn, und in Deutschland der andere (Uwe) lebt, sind die vier Jahre Entwicklungszeit für das Album aber auch nicht verwunderlich. Nachdem Dave Pearson den Drummer Zsolt Galántai 2011 kennengelernt hatte, wurde er noch in die Produktion eingebunden. Im Gegensatz zu den beiden “Signatures”-Alben ist Zsolt Galántai diesmal nicht als Komponist aufgeführt. Und in der Tat ist seine Rolle zwar eine tragende und nicht zu unterschätzen, aber sein Spiel ist hier anders als auf den Computerchemist-Silberlingen. Auf „2911.“ ist es – wenn ich das mal so nennen darf – „herkömmlicher“ und etwas zurückhaltender.
Von dem eher andere Zielgruppen ansprechenden Cover – welches mir sehr gut gefällt – lasse man sich nicht in die Irre führen. Das hat zwar eine frappierende Ähnlichkeit mit dem Etikett, welches ein gewisses Wasser kölnischen Ursprungs beinhaltendes Fläschchen ziert. Die Musik dieser Scheibe (bzw. dieses Downloads) ist jedoch mit gänzlich anderen Wassern gewaschen.
Verschwunden war die Rockmusik eigentlich nie aus der EM, aber in der letzten Zeit gab es vermehrt Produktionen, die die Fahne der Rockmusik hochhalten. Uwe Cremer als Level Pi und Dave Pearson als Computerchemist gehören zu den konsequentesten Vertretern dieser Musikerspezies, die Rockmusik und EM zu einer Einheit verschmelzen. Wenn das dann noch so gut gemacht ist wie vom Audio Cologne Project, kann es uns Hörern nur recht sein.
Mit dem ersten Ton knallt einem gleich eine richtig rockige E-Gitarre samt Schlagzeug entgegen. Nach kurzer Zeit unterbricht der Sequencer aber die Tour de Force, und auch orchestrale Elemente kommen zum Tragen, woraufhin die E-Gitarre einen neuen Anlauf nimmt, diesmal langsamer und weniger „ruppig“. Jetzt werden nicht ganze Akkorde gespielt, sondern die Melodiesaiten werden für eine gute Melodie gebraucht. Dann folgt der Tour de Force zweiter Teil – Joe Satriani macht das auch nicht besser… Und das passiert alles in der ersten Hälfte von „Chemist’s Bike“. Das Stück ist eins von den dreien, die fast 20 Minuten lang sind; es ist also nicht überladen, sondern verträgt durchaus diese Diversität, ohne ausgefranst zu wirken. In der zweiten Hälfte wird’s elektronischer. Mellotron- und andere Synthesizerklänge prägen nun das Stück, zudem ist es im gesamten Klangbild ruhiger. Gegen Ende rocken die E-Gitarren noch einmal los und knüpfen an den Beginn von „Chemist’s Bike“ an.
„Crazy Bongos“ ist in seiner Art ein sehr interessantes Stück, bei dem ein rhythmisch gespieltes Klavier dominiert. Erinnerungen an Pink Floyd werden geweckt, vor allem wohl durch die E-Gitarre. Ein Vocoder kommt auch noch zum Einsatz. „Crazy Bongos“ hat keine Melodie im klassischen Sinne, es ist eher eine Aneinanderreihung von Akkorden in rhythmischer Art – das aber sehr wirkungsvoll.
Eine „Spieluhr“ (so der Titel des dritten Stückes auf „2911.“) wird aufgezogen. Das Thema, das dann erklingt, ist mir irgendwie bekannt. Dann setzen Klänge von Flöten ein; ich vermute, dass die von einem Mellotron stammen. Die ersten vier Minuten gehen sehr ruhig vorbei. Dann aber setzen wieder Klavier, Schlagzeug und Gitarre ein. Letztere klingt stellenweise ein wenig wie ein Sitar. Nach der halben Laufzeit wird die Spieluhr erneut aufgezogen, und das Thema wird von der E-Gitarre aufgenommen. Ähnlich wie im ersten Track wechseln sich bei „Spieluhr“ ruhige und kräftige Passagen ab.
Nach dem rockigen Stück „Grobmotorik“, bei dem Zsolt Galántai glänzen kann, folgt das mit gut 17 Minuten kürzeste der langen Stücke, überschrieben mit „Mind The Gap“. Der Titel hat vermutlich nichts mit der Londoner U-Bahn zu tun. Allerdings erinnern mich die drei Wörter immer daran, weil ich in diversen U-Bahn-Stationen diesen Satz immer wieder gehört habe. Und der klang so merkwürdig über die Lautsprecher, dass mir das heute noch im Ohr ist. „Mind The Gap“ ist ein Stück, das sehr angenehm mit E-Piano beginnt, dessen Töne ein starkes Echo haben. Die Melodie hört sich für mich ungewöhnlich an. Auch das nach wenigen Minuten einsetzende Schlagzeug ist zunächst zurückhaltend. Mit dem Eingreifen der heftig verzerrten E-Gitarre ändert sich das allerdings. Zwischendurch holt das E-Piano die Musik immer wieder in ruhigere Gewässer. Ein fortwährender Wechsel zwischen sanft und wild bewegt lässt keinerlei Ermüdung aufkommen. Leicht jazzige Anklänge sind beim E-Piano auszumachen, und die E-Gitarre wartet mit einem tollen Solo-Sound auf.
Der Bonustrack „Akustisch-1“ ist ein echtes Schmankerl. Da wird dem Hörer zunächst eine Flamencogitarre kredenzt, und auch der Rhythmuspart kommt einem entsprechend spanisch vor. Aber das ist nur der Anfang, und die E-Gitarre steigert die Nummer noch um einiges. Ganz leicht erinnert mich „Akustisch-1“ sogar an Broekhuis, Keller & Schönwälder, die bei ihren Konzerten in Moers-Repelen zusammen mit Raughi Ebert und Thomas Kagermann auch so oder ähnlich klingen können.
Als Fazit kann ich „2911.“ eigentlich nur wieder wärmstens empfehlen. Eine runde Sache ist Uwe und Dave da gelungen, die es verdient hat, von vielen gewürdigt zu werden.
— Andreas Pawlowski, empulsiv.de
Andreas Pawlowski – EMpulsiv.de (EN translation)
This album, this banger called “2911.” (with a period) is a real surprise for me. Two solo albums by Dave Pearson aka Computerchemist have just been released (“Signatures I.” and “Signatures II.”). And now this… The aforementioned Dave Pearson and Uwe Cremer aka Level Pi are the creative minds and hands behind the Audio Cologne Project. Since 2009, the pieces of music that have now been released have slowly grown as the two shared, edited and developed their ideas and musical designs. If you consider that one (Dave) lives in Hungary and the other (Uwe) in Germany, the four years of development for the album are not surprising. After Dave Pearson met drummer Zsolt Galántai in 2011, he was involved in the production. Unlike the two “Signatures” albums, this time Zsolt Galántai is not listed as the composer. And in fact his role is a supporting one and not to be underestimated, but his game is different here than on the Computerchemist silverlings. On “2911.” it’s – if I may call it that – “more conventional” and a bit more reserved. Don’t let the cover, which appeals to other target groups and I like it very much, mislead you. This bears a striking resemblance to the label on a bottle containing a certain water of Cologne origin. However, the music on this disc (or this download) has been washed with completely different waters. Rock music never actually disappeared from the EM, but recently there have been more productions that fly the flag of rock music. Uwe Cremer as Level Pi and Dave Pearson as a computer chemist are among the most consistent representatives of this species of musicians who merge rock music and EM into one. If it’s done as well as the Audio Cologne Project, then it can only be good for us listeners. With the first note, a really rocking e-guitar and drums hit you. After a short time, however, the sequencer interrupts the tour de force, and orchestral elements also come into play, whereupon the electric guitar starts again, this time slower and less “rough”. Whole chords are not played now, but the melody strings are used for a good melody. Then follows the tour de force part two – Joe Satriani doesn’t do it any better either… And that all happens in the first half of “Chemist’s Bike”. The piece is one of three that are almost 20 minutes long; So it’s not overloaded, but can handle this diversity without appearing frayed. In the second half it gets more electronic. Mellotron and other synthesizer sounds now characterize the piece, and the overall sound pattern is quieter. Towards the end the e-guitars rock again and tie in with the beginning of “Chemist’s Bike”. “Crazy Bongos” is a very interesting piece of its kind, in which a rhythmically played piano dominates. Memories of Pink Floyd are awakened, mainly by the electric guitar. A vocoder is also used. “Crazy Bongos” doesn’t have a melody in the classic sense, it’s more of a string of chords in a rhythmic way – but very effective. A “music box” (the title of the third piece on “2911.”) is wound up. The theme that then sounds is somehow familiar to me. Then the sounds of flutes begin; I’m assuming they’re from a Mellotron. The first four minutes pass very calmly. But then piano, drums and guitar start again. The latter sounds a bit like a sitar in places. Halfway through, the music box is wound up again and the theme is picked up by the electric guitar. Similar to the first track, quiet and powerful passages alternate on “Spieluhr”. After the rocking piece “Grobmotorik”, in which Zsolt Galántai can shine, follows the shortest of the long pieces at a good 17 minutes, entitled “Mind The Gap”. The title probably has nothing to do with the London Underground. However, the three words always remind me because I have heard this sentence again and again in various subway stations. And it sounded so strange over the speakers that I can still hear it today. “Mind The Gap” is a piece that begins very pleasantly with electric piano, the notes of which have a strong echo. The melody sounds unusual to me. The drums, which start after a few minutes, are also reserved at first. However, this changes with the intervention of the heavily distorted electric guitar. In between, the e-piano keeps bringing the music into calmer waters. A constant alternation between gently and wildly moving leaves no fatigue. Slightly jazzy hints can be detected on the electric piano, and the electric guitar comes up with a great solo sound. The bonus track “Akustisch-1” is a real treat. The listener is first served a flamenco guitar, and the rhythm part also seems correspondingly Spanish. But that’s just the beginning, and the electric guitar takes things up a notch. “Akustisch-1” even reminds me very slightly of Broekhuis, Keller & Schönwälder, who can also sound the same or similar at their concerts in Moers-Repelen together with Raughi Ebert and Thomas Kagermann. As a conclusion, I can only warmly recommend “2911.” again. Uwe and Dave have achieved something well-rounded that deserves to be appreciated by many.
— Andreas Pawlowski, empulsiv.de
Stephan Schelle – Musikzirkus Magazin (DE)
Der deutsche Musiker Uwe Cremer, der auch mit seinem Projekt Level Pi als Grenzgänger zwischen Rock und Elektronik hin- und herwandelt, ist mit dem Elektronikmusiker Dave „Computerchemist“ Pearson eine Kollaboration eingegangen. In den Jahren 2009 bis 2013 haben diese beiden unter Mithilfe des ungarischen Schlagzeugers Zsolt Galántai (Ossion, Baba Yaga, Rusty Gold) ihr erstes Album eingespielt. Es trägt den Namen „2911.“ und ist als Download bei BANDCAMP erhältlich.
Uwe spielt bei den Stücken Gitarre, Keyboards und Bass, während Dave am Bass, Keyboards und Sequenzer zu hören ist. Sie selbst sagen von sich, dass sie sich in ihrem Projekt auf Rockelemente und die experimentelle Seite des Krautrocks konzentrieren. Allerdings verstärken sie dies auch noch um weitere musikalische Elemente. Alle Stücke wurden von Uwe Cremer und Dave Pearson gemeinsam komponiert.
Den Einstieg bekommt man mit „Chemist’s Bike“, bei dem zunächst ein fetter Bass und elektronische Schleier aus den Boxen wehen. Doch schon nach 20 Sekunden sorgen E-Gitarre und Schlagzeug für den rockigen Anstrich, der fast schon in Richtung Hardrock weist. Die Orgelsounds sorgen hier aber für das krautige Flair. Das geht schon mal gut ab. Doch dann merkt man, das Stück bringt es ja auf fast 19 Minuten und es kommen nach nicht ganz zwei Minuten herrliche Elektronikpassagen auf, die an die traditionelle Elektronik erinnern, allerdings blitzen immer wieder sanft rockige Schlagzeug- und Gitarrenmuster auf. Dann wird es fast schon proggig und man hat das Gefühl eine rockige Variante von Pink Floyd zu hören, die im Zeitlupentempo vor dem Ohr dahin zieht. Kaum ist man in diesen Teil eingedrungen, ändert sich auch schon wieder das Bild und ein fetter Basslauf leitet in den rockigen Teil vom Anfang über. Was für ein Stück. Da ist wirklich viel drin und man kann sich einfach in diesen Sound fallen lassen – als Rockfan genauso wie als Elektronikfreund, der rockigen Klängen nicht abgeneigt ist. Hier werden wieder maßlos einige musikalische Grenzen eingerissen.
Fast wie Neu! oder Harmonia klingt das Stück „Crazy Bongos“, bei dem anfangs noch keine Bongos zu hören sind. Vielmehr sind es elektronische Klänge, Bass, E-Gitarre und Schlagzeug, die hier den krautigen Anstrich verleihen. Ganz am Ende kommen dann mal Percussion auf, die sich aber nicht wirklich nach Bongos anhören.
Als nächstes folgt das fast 20minütige „Spieluhr“, das mit Klängen wie von einer Spieluhr, die eine Kindermelodie spielt, beginnt. Dann kommen aber mysteriöse elektronische Klanggebilde auf, die nach „Berliner Schule“, kombiniert mit Soundtrack- oder experimenteller Theatermusik klingen. Das Ganze ist aber harmonisch und auch melodisch angelegt. Nach gut fünf Minuten kommt dann mit dem Einsatz von Schlagzeug und Gitarre (inkl. Piano) dann der Rock wieder in den Vordergrund. Auch asiatisch und psychedelisch wirkende Sounds mischen sich darunter.
Man hat zu Anfang von „Grobmotorik“ das Gefühl eine Dampflok ankommen zu hören. Dann setzt der Bass ein, auf den dann E-Gitarre und Schlagzeug folgen. Jetzt wird es recht krautig. Krautrock trifft hier auf Psychedelicrock. Das geht wieder gut ab und ist hoch melodisch. Atmosphärisch zeigt sich dann das mehr als 17minütige „Mind The Gap“. Sehr atmosphärische Synthiesounds starten in den Track, der dann durch funkige Bassläufe und ein trockenes Schlagwerk richtig zündet. Auch die E-Gitarre sorgt wieder für besondere Momente, dieses Mal wirkt sie etwas jazzig.
Es gibt dann mit „Akustisch-1“ noch einen 4:38minütigen Bonustrack, bei dem zwar die Akustikgitarre die Melodie spielt, aber auch synthetische Sounds und die E-Gitarre hier wieder zum Einsatz kommen. Das ist klasse gemacht.
Mit „2911.“ hat das neue Projekt von Uwe „Level Pi“ Cremer und Dave „Computerchemist“ Pearson, Audio Cologne Project ein klasse Debüt hingelegt, das sich zwischen den musikalischen Welten Rock und Elektronik bewegt. Dabei werden neben „Berliner Schule“ auch Psychedelic- und Krautrock sowie weitere musikalische Zutaten in eine sehr ansprechende Form gegossen. Ein tolles Instrumentalalbum, das man sich besorgen sollte.
— Stephan Schelle, musikzirkus-magazin.de, Februar 2014
Stephan Schelle – Musikzirkus Magazin (EN translation)
The German musician Uwe Cremer, who also walks back and forth between rock and electronics with his project Level Pi, has entered into a collaboration with the electronic musician Dave “Computerchemist” Pearson. Between 2009 and 2013, these two recorded their first album with the help of Hungarian drummer Zsolt Galántai (Ossion, Baba Yaga, Rusty Gold). It’s called “2911.” and is available for download from BANDCAMP. Uwe plays guitar, keyboards and bass on the tracks, while Dave can be heard on bass, keyboards and sequencer. They themselves say that their project focuses on rock elements and the experimental side of krautrock. However, they also reinforce this with other musical elements. All pieces were composed together by Uwe Cremer and Dave Pearson. You get the start with “Chemist’s Bike”, in which a fat bass and electronic veils blow out of the speakers. But after just 20 seconds, the electric guitar and drums provide the rocky touch that almost points in the direction of hard rock. However, the organ sounds provide the herbaceous flair here. That’s going well. But then you realize that the piece runs for almost 19 minutes and after less than two minutes there are wonderful electronic passages that are reminiscent of traditional electronics, although gently rocking drum and guitar patterns flash up again and again. Then it gets almost prog and you have the feeling of hearing a rock variant of Pink Floyd, which moves in front of your ear in slow motion. As soon as you get into this part, the picture changes again and a fat bass line leads into the rocking part from the beginning. what a piece There’s really a lot in there and you can just let yourself fall into this sound – as a rock fan as well as an electronic friend who is not averse to rock sounds. Here again, some musical boundaries are torn down excessively. Almost new! or Harmonia sounds the piece “Crazy Bongos”, in which no bongos can be heard at the beginning. Rather, it’s electronic sounds, bass, electric guitar and drums that lend the herbaceous touch here. At the very end there are percussion, but they don’t really sound like bongos. Next comes the nearly 20-minute “music box,” which begins with sounds like a music box playing a children’s tune. But then mysterious electronic sound structures appear that sound like the “Berlin School”, combined with soundtrack or experimental theater music. But the whole thing is harmonically and melodically laid out. After a good five minutes, with the use of drums and guitar (incl. piano), rock comes to the fore again. Asian and psychedelic sounds are also mixed in. At the beginning of “Grobmotorik” you have the feeling of hearing a steam locomotive arriving. Then the bass kicks in, followed by electric guitar and drums. Now it’s going to get pretty nasty. Herb rock meets psychedelic rock. This works well again and is highly melodic. The more than 17-minute “Mind The Gap” then shows itself atmospherically. Very atmospheric synth sounds start the track, which then really ignites with funky bass runs and dry drums. The e-guitar also provides special moments again, this time it seems a bit jazzy. With “Akustisch-1” there is another 4:38 minute bonus track, in which the acoustic guitar plays the melody, but synthetic sounds and the e-guitar are also used here again. That’s great. With “2911.”, the new project by Uwe “Level Pi” Cremer and Dave “Computerchemist” Pearson, Audio Cologne Project, has made a great debut that moves between the musical worlds of rock and electronics. In addition to “Berlin School”, psychedelic and krautrock as well as other musical ingredients are cast in a very appealing form. A great instrumental album to get your hands on.
— Stephan Schelle, musikzirkus-magazin.de, February 2014
