Johannes Schmoelling Instant City Reviews

PHAEDREAM (SYLVAIN LUPARI) (CAN): (read more reviews from Phaedream about Johannes Schmoelling at GOD)
German version of PHAEDREAM's review: here

»Un nouvel opus de Johannes Schnoelling est un évènement en soi. On s’inquiète, on s’interroge. ‘’Qu’est-ce que Johannes nous réserve?’’. Moi? Ce questionnement me semble injustifié. Depuis que Schmoelling a quitté Tangerine Dream, plus rien n’est pareil, même chose pour Chris Franke en passant. TD n’est plus pareil et Schmoelling ne semble pas être l’ombre des mouvements synthétiques qu’il exhalait avec le "Rêve Mandarin".
Certes il y a eu le sublime Wuivend Riet. Album qui démontrait que Schmoelling avait eu son mot créatif dans les années gracieuses de Tangerine Dream. Après Wuivend Riet, le musicien Allemand a bifurqué vers une carrière musicale où les arrangements orchestraux prenaient les guides, donnant des œuvres intéressantes, mais loin des rêves et espoirs des amateurs du légendaire trio à la pulpe de cristal.

Instant City est à Schmoelling ce que Mota Atma est à Tangerine Dream. C’est un album superbement mélodieux où Schmoelling multiplie de sublimes arrangements orchestraux sur de titres aux rythmes variés.

Passing By ouvre ce 8ième opus avec un doux piano nostalgique qui pousse ses notes à l’ombre d’un synthé suave. La mélodie se fond dans une atmosphère mélancolique et tranquillement, le rythme prend forme sur une belle séquence nerveuse, une basse ondulante et de belles percussions soyeuses. Soudainement, une belle strate synthétique aux essences d’un doux violon vient caresser cette délicieuse ambiance et casse le rythme en induisant un tempo plus lourd sur des arrangements orchestraux denses et des grosses envolées de violons hypnotique. Un très bon titre où le rythme nous transporte avec paresse. Sur une basse en écho, dans une atmosphère aux étrangetés sonores Giants out of the Fog évolue lentement. Effets sonores et basse qui vrillent en loupe pour s’écraser avec fracas sur une batterie qui insuffle un mouvement orchestral dense, au même mouvement rotatif. Plus serré, le rythme se traîne mélodieusement sur des effets sonores analogues féeriques.

Instant City tourne autour d’un beat nerveux et circulaire. Langoureux, les innombrables violons ralentissent le rythme, donnant un effet de lourdeur magique où Schmoelling frappe son piano avec force dans un mouvement de spirale descendant. Un titre ‘’punchy’’ à la mélodie facile.

Des petites notes traînent sur un nuage synthétique flottant et Contemplating Clouds nous enchante avec son jolie piano, ses chœurs discrets qui rêvent sur une ligne mélodieuse, agrémentée de superbes percussions aux effets sonores rêvasseurs.

Joyful Solitude continue cette lancé romantique avec une autre belle mélodie flottante sur un nuage synthétique où les complaintes fusent sur des accords mélodieux aux arrangements orchestraux mélancoliques. Un titre agréable où le caractère ‘’lounge’’ s’unit bien à l’atmosphère légère.

Un mouvement qui se poursuit avec Rikscha Square avec son beat nerveux, ses grosses nattes synthétiques et ses percussions qui claquent à l’étouffé.

Viktoriapark est, de loin, le titre le plus intéressant sur Instant City. Sur un tempo haché, aux effluves du Moyen Orient, les notes vrillent avec écho et croisent un mouvement séquentiel rotatif aux accords de guitare. Le synthé souffle des airs flûtés qui se lovent avec soumission aux rythmes arabesques. Excellent titre. Un bijou.

A long time Ago embrasse un mouvement plus nostalgique avec le doux piano de Schmoelling qui se mêle aux suaves arrangements orchestraux. Un titre lent qui souffle comme une berceuse irréelle et qui embrasse un segment plus coloré où les solos de synthé fusent, aux effluves d’un lourd saxe sexué, sur des percussions traînantes, avant de retomber dans ses brumes nostalgiques.

Sur une basse ondulante, Big Cityscapes embrasse plusieurs carrefours musicaux sur des mouvements mélodieux, parsemés de synthé soufflant des airs symphoniques, genre Asia.

Aux travers effets sonores intriguant It's Your Birthday avance avec sensualité sur des accords de verre qui toisent un mouvement linéaire ‘’jazzy-lounge’’, avec un synthé crevant. Schmoelling réussi à créer une atmosphère légère et intimiste. Un bon moment musical, démontrant que la Berlin School n’est pas nécessairement la panacée aux nostalgies.

The Time Seller clôture ce 8ième opus de Schmoelling sur une pulsation hypnotique, truffée d’effets sonores et enrobées de cordes de violons qui s’anime sur une séquence plus agitée. Tombant du ciel, les notes s’éparpillent sur un somptueux solo de synthé, fermant les livres d’un doux recueil d’histoires.
J’ai bien aimé Instant City. Johannes Schmoelling vieillit, comme Edgar, et produit des œuvres mélodieuses, comme Edgar, qui ont le malheur de toiser des oreilles qui espéraient tellement autre chose. Une délicieuse déception qui vaut l’achat, car c’est extrêmement beau et bien fait. Pour amateur de musique mélodieuse et enivrante, Instant City est une belle histoire.«
(lundi 21 août 2006).

German version of PHAEDREAM's review (transcription by Frank Kober)

»Ein neues Opus von Johannes Schmoelling ist an sich schon ein Ereignis. Man ist beunruhigt, stellt sich Fragen. "Was wird Johannes uns denn jetzt aus dem Hut zaubern?". Mir erscheint diese Frage unberechtigt. Seit Schmoelling Tangerine Dream verlassen hat ist nichts mehr beim Alten, nebenbei auch was Chris Franke betrifft. TD hat sich verändert, und auch Schmoelling scheint nicht der Schatten der synthetischen Ströme zu sein, die er mit dem "Mandarinentraum" ins Leben rief.

Natürlich, es gab das wundervolle "Wuivend Riet". Ein Album, das bewies, dass Schmoelling sein kreatives Wort beitrug in den glorreichsten Jahren TDs. Nach Wuivend Riet hat sich der Deutsche Musiker einer Karriere zugewendet, in der orchestrale Arrangements führend wurden und dabei interessante Werke zustande brachten. Diese waren allerdings weit entfernt von den Träumen und Hoffnungen der Liebhaber des legendären Trios mit dem kristallenen Fruchtfleisch.

Instant City ist für Schmoelling, was Mota Atma für Tangerine Dream war. Es ist ein wunderbar melodiöses Album, in dem Schmoelling vielfach erhebende orchestrale Arrangements auf Titel mit variierenden Rhythmen legt.

"Passing By" eröffnet dieses achte Opus mit einem lieblich-nostalgischen Piano, das seine Töne in den Schatten eines weichen Synthesizers schiebt. Die Melodie verschmilzt in einer melancholischen Atmosphäre, und langsam geben eine nervöse Sequenz, tiefe Wellen und schön seidige Percussions dem ganzen eine rhythmische Form. Plötzlich streichelt eine schöne synthetische Schicht aus weichen Violinen diese deliziöse Stimmung und zerschlägt den Rhythmus mit einem schwereren Tempo auf dichten orchestralen Arrangements und großen Bögen von hypnotischen Violinen. Ein sehr guter Titel, in dem der Rhythmus uns mit Ruhe voran trägt. Auf einem Echo-Bass, in einer Atmosphäre mit klanglicher Fremdheit entwickelt sich langsam "Giants out of the Fog". Klangeffekte und Bass, die sich höher bohren, um mit großem Gedonner auf ein Schlagzeug nieder zugehen, das orchestrale, drehende Strömungen einflößt. Jetzt gedrängter, treibt sich der Rhythmus melodiös auf märchenhaften, analogen Klangeffekten voran.

"Instant City" dreht sich um einen nervösen und kreisförmigen Beat. Träge verlangsamen die unzähligen Violinen den Rhythmus und ergeben dabei eine magische Schwere, in der Schmoelling sein Piano mit großer Kraft schlägt in einem abwärts gehenden spiralförmigen Tournament. Ein "punchiger" Titel mit eingehender Melodie.

Kleine Töne treiben sich auf einer synthetischen Wolke, und "Contemplating Clouds" verzaubert uns mit seinem hübschen Klavier, seinen verhaltenen Chören, die auf einer melodiösen Linie träumen, verziert durch hervorragende Percussions mit träumerischen Klangeffekten.

"Joyful Solitude" setzt diesen romantischen Gang fort mit einer weiteren schönen Melodie, gleitend auf einer synthetischen Wolke, wo die Klagen auf melodiösen Akkorden und melancholisch-orchestralen Arrangements dahin schwinden. Ein angenehmer Titel, in dem sich "Lounge"-Charakter gut mit leichter Atmosphäre verbindet.

Eine Strömung, die sich mit "Rikscha Square" fortsetzt, mit nervösem Beat, dicken synthetischen Matten und erstickt schlagenden Percussions.

"Viktoriapark" ist bei weitem der interessanteste Titel auf "Instant City". Mit zerhacktem Tempo und mittelöstlichen Einflüssen bohren die Noten mit Echo und durchkreuzen einen sequenziellen, drehenden Strom mit Gitarrenakkorden. Der Synthesizer spielt Flötenmelodien, die sich unterwürfig an arabische Rhythmen schmiegen. Exzellenter Titel, ein Schmuckstück.

"A long time Ago" ergreift eine nostalgischere Strömung mit einem weichen Schmoelling-Piano, das sich mit Orchester-Arrangements vermischt. Ein langsamer Titel, der wie eine irreale Wiege streicht, und der sich in ein farbigeres Segment verwandelt, wo Synth-Solos inspiriert von schwerem, sexuellen Sax auftreten vor treibenden Percussions, um dann wieder in die nostalgischen Dünste einzutauchen.

Auf einem welligen Bass begegnet "Big Cityscapes" gleich mehreren musikalischen Kreuzungen von melodiösen Strömungen, überstreut mit symphonischen Synthesizermelodien, ein bischen wie Asia.

Gefühlsbetont und mit intrigierenden Soundeffekten durchzogen, schreitet "It's your Birthday" voran. Gläserne Akkorde erzeugen eine lineare "Jazz-Lounge" Strömung mit brechendem Synthesizer. Schmoelling hat erfolgreich eine leichte und intime Atmosphäre geschaffen. Ein schöner musikalischer Moment, der beweist, dass die Berliner Schule nicht unbedingt in die Nostalgie verbannt ist.

"The Time Seller" schließt hypnotisch pulsierend dieses achte Schmoelling-Opus, voll von Soundeffekten, eingebettet in Streicherakkorden und animiert von einer bewegten Sequenz. Vom Himmel fallend ergiessen sich die Töne auf ein kostbares Synth-Solo, und schließen die Bücher einer süßen Geschichtensammlung.
Mir hat Instant City gut gefallen. Johannes Schmoelling wird älter, wie Edgar, und erzeugt, wie Edgar, melodiöse Werke die das Unglück haben, Ohren anzusprechen, die sich so sehr anderes erhofft hatten. Eine deliziöse Enttäuschung, die den Kauf Wert ist, denn das Album ist extrem schön und gut gemacht. Für die Liebhaber von melodiöser und beschwörender Musik ist Instant City eine schöne Geschichte.«
(Montag, 21 August 2006).

JOHN BATTEMA (USA):

»A little past three minutes into "A Long Time Ago" from "Instant City," the harmonic ghost of "Matjora is Still Alive" makes an appearance. Shortly thereafter, Schmoelling's former band bursts from the speakers, the sort of electronic rock boldness that probably still gives Michael Mann chills during late night city drives. Almost as suddenly it disappears into a gradual fadeout, the textures softening on the way out. The piece is haunting in many senses of the word and on an album of many highlights, it is for me one of it's most affecting moments.

Although it shares a similar production style and pallette with 2003's "Recycle or Die," Johannes Schmoelling's newest disc "Instant City" is slightly closer to his conceptual works of the past, particularly his first three discs. It also makes far greater nods to his tenure with Tangerine Dream than any of those records did (the sequencers particularly evoke the sounds of the 80's era of the band). The result is a varied and truly cinematic work that will be a wonderful addition to the electronic music genre.

This is not simply a trip down memory lane for Mr. Schmoelling; surprising new elements appear, such as modern dance and electronica conventions. Jazz textures even creep in along the edges. Sometimes all within the same piece.

Not that the album is flawless. His sublime use of spaces and silence is less prominent here, and arguably his sonic pallette has drifted away from the more surreal nature of his earlier work. But the man's compositional style remains vibrant and fascinating; even when working with seemingly basic chord progressions there is something unpredictable and engaging in his approach. On the surface a piece like "Contemplative Clouds" seems elementary enough yet as the music plays out I find myself transfixed to the speakers to the very last note.

For a good portion of the 90's, Schmoelling's new music output (at least in CD form) was fairly sparse. But with the most recent flurry of activity ("Recycle or Die," "Kyoto," and now "Instant City"), there is cause for celebration as one of my favorite artists continues to present himself as a vital contributor to the musical scene he himself helped form.«

CHRISTIAN GRUHN (D):

»What a fine cover and inside art work, 2004 paintings of Peter Uhlig. My 1st impression to the front painting - Berlin, this "Instant City" must be Berlin. Of course, my city has much more to give than what is shown... but well, what about the music then? Does it tell the story of my city, can I re-find myself by listening to this music? By listening the 2nd time as a run-through to "Instant City", I feel that my 1st impression was completely right. So come with me...

There´s the first track, "Passing By", that grabs me by the hand to start a 74 minute sightseeing, hello city, bright lights, open hearts, "you-can-go-wherever-you want-to" (important for someone who lived in a divided city in the time of the Berlin Wall). Piano comes very friendly.

"Giants Out Of The Fog" starts strange and dusty, telling a little story of what´s behind the bright side of the city, what mighty power is already there. in the 2nd part this power washes away the fog, like a breakthrough. I like this one.

"Instant City", the title track, shows the endless, never stopping and rough power of the big metropole, with it´s driving energy, full power, pure life. It´s a perfect musical painting of my city, and it IS instant, very instant ! My only problem with this track is: it´s too short... Berlin is much bigger than 4:50 !

"Contemplative Clouds" leads us to more silent parts of the city, very romantic and with full of heart. Even if Berlin wouldn´t ever come to rest, here´s a moment to take a deep breath of peace and ... joy.

"Joyful Solitude" - this reminds me heavily to a walk down the "Spreebogen" to the well known "Tiergarten", after a rainfall and then the sun comes out again and everything is wet and the city life comes back again from a short break. What a fresh and peaceful track, come and join me on my walk through the heart of my city (we can do it on Sep 21 if you want to)!

"Rikscha Square" is a moving, driving track, with modern club sounds, that reminds me of what Jeffrey told me about his city Sydney, and I think I can translate it to Berlin.

Then, next, is one of the main stories of this CD, the track "Viktoriapark". It´s the name of J.S.'s new label, and it is - I have to tell that - also the little roundabout park I know for 26 years now, very close to my home. If you want to, this place is the beating heart, the central starting point of this CD (and it´s a nice place to take a rest, a very creative place I.M.O.). The musical direction is a mixture of modesty with little eruptions of... how to tell... say, "I´m free, it´s me, here I am". We´re in 2006 for a couple of minutes... then:

"A Long Time Ago": A strike back to the early times, say: early 80´s? "A Long Time Ago" reflects a similar moment that was told in "Viktoriapark", but it shows the unsureness how to find your place in the city if you´re young. Music changes from melancholic and romantic playing to intensive breaks, it´s like to let things take their course, with a warning in the back of your head: what comes next?

"Big Cityscapes" - back to the modern city, eyes on the new architecture, new economy, glass houses, a new sight of what was formerly divided and non-existent. For me this track is a hommage to the "new heart" of Berlin, the area of the "Potsdamer Platz / SONY Center", then down to the "Brandenburg Gate" and straight ahead to the "Reichstag" and at least, the new "Berlin Central Station". "Don´t be afraid of this city", the music sings in my ears. An outstanding track.

"It´s Your Birthday" seems to have a private background, here i will remain without a word.

"The Time Seller" concludes the difficult view to a complex look at an "Instant City" like Berlin is, it´s a powerful and also warmhearted track. What ever Berlin... ooops, an "Instant City" has to give - it´s much more than the 1st impression of a front cover painting combined with such an album title (be honest to yourselves, wherever YOU live).

I must say, these are my personal and uncut feelings about this album, just written down, could be that tomorrow I have to add something here and there. But I have to say: Thank you Johannes, for today´s open heart, I really like what you composed.«

www.cd-services.com (UK) (contact: info@cd-services.com)

»Recorded in Berlin between 2005 & 2006, this is the ex-Tangerine Dream (1980-1985) musician's brand new studio album, and it's certain to follow his 'Recycle Or Die' and 'White-Out' releases into the annals of best selling EM titles here at CD Services. After listening to this album all the way through, you get the distinct feeling that this guy is either an unashamed romantic or maybe was a great classical composer in a previous life - or both.

> Sweeping string synths, soaring expansive keyboard symphonic backdrops, and huge helpings of piano melodies dominate 'Instant City'. It's all exceedingly heartfelt, and decidedly the sort of thing that would accompany many a "touching" movie. The album opener: 'Passing By', is a beautifully electronically orchestrated piece with a sombre lead melody line that is a very much in that mould of typical Schmoelling openers. Starting with the strings with piano melodies rippling alongside, the lead melody is taken by what sounds distinctly like a violin - but isn't - it's a synthesizer - and this adds to the whole atmospheric nature of the piece. Schmoelling injects a lot of warmth into this track and gets the intro just spot on, so that just short of three minutes, a broad smile comes across your face when the sequencers fire up, and shaker percussion joins the mix. A deep resonant drumbeat is heard below and synth melodies proceed to wind and wander overhead as the track really starts to fly. The piano and strings return to put the icing on the cake as the whole melodic, symphonic, sequencer/drum-driven composition firmly captures your imagination and takes you with it to the end of a gloriously panoramic nine minute piece of music.

> The seven minute: 'Giants Of The Fog' is next up and this time begins with gentle, but effective sequencers, as swirling space synths enter from the distance and dance all around the string backdrop - and another sound painting gradually starts to develop quite beautifully. Cascading synth melodies fly on top, albeit slowly and spacey, while the gentle but solid sequencers bounce along to provide the drive. Around three and a half minutes in, the string army comes marching in and this giant slab of classical symphonic, almost Vangelis like theme takes over with electronic drums also coming into play, while all the previous elements remain intact as well - Another stunning track!

> The five-minute title track is a busy sounding slice of solid symphonic electronic drive - a bit like something you might have heard on TD's 'Le Parc' album, only with lashings of string synths and piano melodies added to the synth rhythms and sequencers. 'Contemplative Clouds' does what it says on the tin, and leaves you wide-eyed as gorgeously melodic electronic sound paintings conjure visions of sunny skies and summer days, sipping tea on the lawn with granny as the children play in some distant meadow - you know the sort of thing - It's pure musical romanticism, and brilliantly done.

> For the near nine-minute: 'Joyful Solitude', dreamy string synths conjure a genuinely atmospheric intro, with soft resonant bass synths hanging in the air as sweeping, haunting keyboard melodies form the shape of the track and grab your attention right from the word go. A lightly galloping sequencer rhythm begins to unfold and the track slowly starts moving as more synth layers are added and the piece expands into one of those soundtracks that accompany footage of the open desert, the Grand Canyon, or something like that. In fact, it's a very "American" sounding track that the likes of the 80's USA synth merchants would have killed to produce, and a great one for all that. However, it does run off the beaten track a bit at this point and ends up in a curious passage of pure melody that sounds like a cross between an electronic samba and the boss nova, pouring out enough sugar to rot an entire set of teeth in three minutes flat :--) Hey ho, on we go...

> A couple of four minute tracks follow that are more solid affairs, with plenty of bite, particularly the excellent sounding 'Victoriapark' is powerfully melodic and even paced, with plenty in the way of counter melodies and extra textural layers. It has one of those wailing Moog-like solos and sounds like the best bits out of the 'Miami Vice' soundtrack, and is just superb.

> 'Rikscha Square' is quite faster paced too, with a futuristic rhythmic force and a vibrant melodic flow.

> Now, the eight and a half minute: 'A Long Time Ago', and what a track this is... It starts with a three-minute cosmic opening passage, then the string synths come in and it transforms into a symphonic spacey gem that sweeps and swells in grandiose fashion. This track has all the right sounds and has them bang in the right pace, with just the right level of density and an arrangement that makes it tug at your heartstrings rather than strangle them. Truly, a gorgeous piece of music, and when, just short of five minutes, it suddenly goes into a much more aggressive TD style melody and rhythm, not only does it sound natural, but it still retains the magic that has made it a winner so far. Then a soaring, scorching and hugely powerful upfront synthesizer solo bursts out of nowhere and flies high and loud all over the panoramic backdrop to great effect for just a short while, then disappears to leave the track to drift back to a slowly symphonic cosmic finale - The best track on the album so far.

> Three further six-minute tracks complete the album, and these again really manage to get the balance right and produce the necessary mix of sweetness and solid, so that while it's all firmly melodic, there's a real sense of feeling that isn't taken to extremes. 'Big Cityscapes' slowly pulsates with sequencers and Kitaro-ish bell-like melodies that take the theme on an ascending flight to the heavens - another gloriously melodic piece that will give many hours of listening pleasure. 'It's Your Birthday' is initially atmospheric, until the rhythms come in and a lead synth sound like something off perhaps 'Logos' or 'Le Parc' era TD, taking the track on through a gently melodic phase with a laid back easy feeling. 'The Time Seller' closes the album at quite an evenly balanced pace, with a sound full of inventive rhythms, simple but effective synth chording and carefully constructed melodies running over ethereal backdrops, and again the familiar soaring synth makes a final appearance.

> So, overall, apart from one slightly dodgy lapse in the middle, this is a very good album indeed, if you want lashings of melodies, light sequencers, big symphonic sounds and brilliantly written compositions. It's beautifully produced, with tastefully used, big (and I mean BIG) synth melodies that stretch wider and louder over some wonderfully panoramic backdrops. The influences are clear for all to hear, and often centres round his 5-year stint with Tangerine Dream over two decades ago, especially focused by the big and powerful synth melodies that inhabit the album in frequent bursts. Schmoelling's music is quite unique in that it can often be simplistic and uncomplicated, but he does it all so brilliantly, making every part of what he plays counts big style - The arrangements are strong, yet uncluttered, and there's nothing wasted or added in just for effect - you get the full picture delivered in the tonal colours best suited to each individual piece of music, with just the right amount of rhythmic structure and melody, and that's the sign of a master electronic music composer at work.«