watchtower
With „watchtower“ Stefan Oberthaler aka keyminator is presenting his first production from the series „Out of the Vulcano“. The center of this series is formed by an elementary process of creativity in composing and improvisation.
Stefan Oberthaler aka keyminator describes both of these musical poles as spurring and at the same time thrilling forces within his musical cosmos.
“Watchtower” additionally dedicates itself to the topic of “breakbeat”, which stretches from “downbeat” over “2step” to “drum’n bass”.
Quote: “In watchtower electronical downbeats meet unusual harmonic to unload themselves in a thunderstorm of drum’n bass, whereas the element of improvisation never gets lost.”
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Stefan Oberthaler aka Keyminator describes his cooperation with the singer Marina Trost as very precious. On the one hand her voice, which reinforces three pieces through its sensitivity and variable timbre with necessary musicality and presence, and on the other hand as an author and composer.
“Music resting in itself” pictures the guiding principle of the whole production and forms an imaginary vault over all nine pieces of “watchtower”.
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Straight in you face production, silky vocals, spiced with warm and big ambient textures, some dirty 70´s funk, a hint of the 80´s electro sound, errupting drum´n´bass, last not least some impressive keyboard work! If lately you´ve been asking yourself what´s new and cool, check this out!
eclectic soulful vibes, with elements of breakbeat,broken,nu jazz and electronica..however despite the myriad influences its still an engaging and enjoyable listen….interesting…
cool and experimental album with many jazzy elements! some may will send shivers down your neck and some aim directly to the dancefloor… one can´t deny a tiny “austrian” influence and some tracks seem for headz and nerds only. anyway – really nice piece of music
I liked the different combinations of sounds. Very relaxing indeed. Being a big fan of the Fender Rhodes piano sound, these tracks got my attention almost immediately. Job well done Stefan! Rick Underwood http://www.rickunderwood.tk
The songs that I’ve heard from this album are great to chill to and just relax back or contemplate. Great for mellow moods or reflecting on life. If you like Jazzy electonic lounge, you’ll probably did the album.
at the crossroads of electrojazz and nujazz, Keyminator brings an electic collection of keyboard-led tracks, sometimes energetic with heavy breakbeats, sometimes smooth when a reminder of Hancock’s funk. A groovy 70’s jazz funk session with today’s sound.
Out of the volcano WATCHTOWER
A review
Stefan oberthaler aka KEYMINATOR feat Marina Trost
A track by track review. This isn’t an expert review- I’m not qualified to assess this composition to the level it justifies- I am not a jazz-head, but I wanted to post my thoughts and views up so that anyone who hasn’t heard Stefan’s album might want to have a listen and make up their own mind.
Overall, I am very happy to recommend this as fine album- origibnal and well produced. Something different for the collection in my case- but well worth checking out.
The work is clearly a composition, which took me further away from my comfort listening-zone of conventional beats and song structures- but it was a pleasant diversion, a journey into sound, fusing ambience born out of technology, with pure voices and fine keyboard skills. On first listen, there is nothing predictable about the path the music will take. The introductions set scenes that are rarely repeated or revisited in the main body of the song- and each piece is concluded with a twist you would never have forecast in the seconds leading up to it. This originality is in such contrast to most of the music I listen to- it took some getting used to.
My response when listening was that I was being transported through landscapes- suggesting at different times both futuristic and prehistoric- at a rate determined by the tempo and timbre. Sometimes slowly enough to allow the full detail of every note and tone to be appreciated- but other times so fast that only fragments could be heard before they had passed by. Although was probably influenced by the cover-art, (which comprises an image of molten lava)- I kept thinking this was in part a geological soundtrack- music for the time before human culture shaped the sounds that fill these spaces (or perhaps a soundtrack from a post-human future?). Its only when the human voice is introduced on track three that I was reminded these landscapes had inhabitants.
Track 1 – black rain – The opening track is an instrumental builds slowly like a sunrise- metallic synth stabs pierce an ambient wash and two keyboard riffs, slow in tempo – relaxing yet with a hint of melancholy. Its filmic, a subtle fanfare for what will follow. A calm before the storm feel to it.
Track 2 – eruption- Another instrumental, this time quicker to start- bubbling introductory tones soon give way to electric piano and sweeping chords- with a stand-out and rapid-synth solo running across a complex backing and restless rhythm. Confirmation that programming didn’t dominate this track. I was reminded of early Rick Wakeman (circa 1975- Journey to the Centre of the Earth LP)- both in terms of the tones and the technique. This had to be from a vintage synthesisers? The contrast between the programmed instruments and human playing is a feature- one which is more striking on later tracks.
Track 3 – elemental ground- a sweep of aboriginal ambient tones introduce the fine voice and stylish delivery of Marina Trost- who breathes an unhurried vocal over doodling electric piano. The double tracked vocals at the end of song reminded me of 1940s radio harmony groups.
Track 4 – crawler – a growling sub-bass synth dominates the mix in this instrumental like some monophonic dinosaur – micro-thin high tempo hi-hats and a desert-dry snare drive the track at an insect-like velocity. In contrast to previous tracks –this has a largely programmed feel- as if the artists had left the studio- and the hardware sprung to life on its own.
Track 5 – earthglow – a sample of what sounds like oriental street voices initiate this tune, a theme which is echoed by the treated tabler percussion- and swirling hi hats. Keyboard chord sequences very reminiscent of UK 1970s space-drama TV show “Blake 7” are followed by delicate electric piano figures cross from speaker-to-speaker. The Asian percussion continues – but now heavily treated, and is supplemented by equally treated hi-hats both unable to break out of the swirling orbit created by the flanger/chorus.
Track 6 – watchtower- “control yourself, control yourself” repeats Marina as an introduction to the most conventional song so far. I’ve played this on the radio a few of times over the last few months. The electro drum and bass at break-neck speed are a frantic backdrop to further warnings from the vocalist to be careful- but in fact Marina fails to maintain control- and the vocals are highly charged , wailing, and soulful in delivery by the end of the song. The albums most emotional component.
Track 7 – stone pearls- in direct contrast to the closing sections of watchtower- a ceaseless mechanical rhythm sets the pace for what I thought was one of the highlights of the album. This track epitomises what I took to be a battle between programmed instruments and human expression. Stefan sprays the synth lead lines across the piece- but the metallic rhythm is unchanging in the background (a bass drum temporarily adds to the mechanical feel), and just when I think it is going to dominate throughout, all backing falls away to leave the keyboard figures unopposed in the musical foreground. The human touch wins again.
Track 8 –firerunner- Rapid and relentless-it sounds as if a jet fighter had “buzzed” the studio in the first few seconds, then a synth tone so sharp and clean glides out of the speakers – and sets off on what feels like a dash across an open space, which only pauses for a breath two or three minutes in (even then there are high tempo hi hats and what could be a hint of human drumming to supplement the programming?) The lead synth eventually becomes fused with the bass line.
Track 9 – moment (for Sarah) – Grand piano played with a classical touch brings in more fine vocals from Marina (who laments over lost love?), slowly this develops into a structured song on the album. Delightful synth soloing again, this time over a bass line and under-stated drums- which by the midway point are operating in fairly conventional song territory.
In summary, an evocative and interesting selection of compositions. Unconventional and liberating to my unadventurous ears. High levels of skill apparent in both the composition and performance, and high quality production presenting both vocals and instruments with clarity and energy.
Lofty, Sheffield UK- October 2009