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CD
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MONIKA 079CD
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Following her previous albums, Baden-Baden (MONIKA 039CD/LP) and Los Angeles (MONIKA 059CD) on Monika, F.S.K. bassist Michaela Melián now continues the theme of geographically-titled albums with Monaco. Again, the record is rich in hypnotically-woven sounds with a resolute mood reminiscent of film music. In keeping with the previous two albums, the instrumentation is made up of largely classical acoustic instruments which are layered in loops to create mesmerizing soundscapes. In addition to the traditional instruments such as violoncello, Spanish and electric guitar, and banjo all played by Melián herself, the album also features synthesizer and even a mellophonium played by guest instrumentalist Ching Ying Hsieh. Once again, Michaela has been assisted on the production by fellow Freiwillige Selbskontrolle band member (namely the drummer) Carl Oesterhelt. And as with her former albums on Monika, Melián plays tribute to a musical hero -- this time David Bowie, in the form of a cover song with her rendition of "Scary Monsters." This rendition at the end of side one is the only lyrical relief on an otherwise instrumental album. Otherwise, the compositions explore the realm of sound art and ambience, drifting pieces with a dark and melancholy beauty. The music is atmospheric, brooding, and contemplative -- such are the conceptual similarities between this and Melián's work. In any case, Monaco now takes its place with the earlier LPs to form a powerful trilogy.
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LP
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MONIKA 079LP
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LP version. Following her previous albums, Baden-Baden (MONIKA 039CD/LP) and Los Angeles (MONIKA 059CD) on Monika, F.S.K. bassist Michaela Melián now continues the theme of geographically-titled albums with Monaco. Again, the record is rich in hypnotically-woven sounds with a resolute mood reminiscent of film music. In keeping with the previous two albums, the instrumentation is made up of largely classical acoustic instruments which are layered in loops to create mesmerizing soundscapes. In addition to the traditional instruments such as violoncello, Spanish and electric guitar, and banjo all played by Melián herself, the album also features synthesizer and even a mellophonium played by guest instrumentalist Ching Ying Hsieh. Once again, Michaela has been assisted on the production by fellow Freiwillige Selbskontrolle band member (namely the drummer) Carl Oesterhelt. And as with her former albums on Monika, Melián plays tribute to a musical hero -- this time David Bowie, in the form of a cover song with her rendition of "Scary Monsters." This rendition at the end of side one is the only lyrical relief on an otherwise instrumental album. Otherwise, the compositions explore the realm of sound art and ambience, drifting pieces with a dark and melancholy beauty. The music is atmospheric, brooding, and contemplative -- such are the conceptual similarities between this and Melián's work. In any case, Monaco now takes its place with the earlier LPs to form a powerful trilogy.
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12"
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MONIKA 058EP
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Convention Manifesto is the 12" single taken from Michaela Melián's album, Los Angeles. Muted trumpets give "Convention" a touch of 1930s swinging glamour. Classically-trained musician Melián plays all the instruments and was assisted by fellow FSK member, Carl Oesterhelt, on electronics, programming and production. Exclusive to this 12", Melián has made a special extended version of her Roxy Music cover "Manifesto."
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CD
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MONIKA 059CD
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Two years on from her acclaimed debut album, Baden-Baden, Michaela Melián returns with her second full-length release, Los Angeles. When she is not working on her multi-media art, participating in exhibitions or playing bass in, probably the best German band ever, FSK, Melián is also busy composing and producing her own solo recordings. The mood on Los Angeles is noticeably more subdued than that of Baden-Baden -- its slow building beats made it a crossover hit and even won over many fans in the DJ community. Los Angeles, on the other hand, is almost completely devoid of said beats -- there is a mere sprinkling of electronics, and yet it has no less of an impact. The focus may be on drones and slowly shifting ambient soundscapes, but this is powerful music that will touch you deep within. Classically-trained musician Melián, again plays a wide array of instruments including violoncello, Spanish guitar, ukulele, bass, organ and melodica. And again she is assisted by fellow FSK member, Carl Oesterhelt, on electronics, programming and production. The impression that Los Angeles gives is intensely poignant: for instance, the heartwrenching and sombre track "Föhrenwald," which is taken from Melián's award-winning radio play of the same title. Other compositions, such as "Buchberg" and "Stein," take the shape of loop-based ambient tracks, while "Stift" is a charming journey through a land of pizzicato strings with an Oriental-influenced melody. Like Baden-Baden, Los Angeles ends with a cover version of a Bryan Ferry song, "Manifesto" -- a nice touch which reveals the pop roots of this highly-evolved sound. It's a long way from the German town of Baden-Baden to the American city of Los Angeles, and Michaela Melián covers a lot of ground on her sonic journey.
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2LP
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MONIKA 039LP
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CD
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MONIKA 039CD
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"Warmth. Calm. Affection. Not unlike Kompakt style 'Ambient Pop' but still owing something to specifically German traditions such as NEU!, Popol Vuh or early Kraftwerk. Persistent. Ever onward. Then comes a beat with which we can see the passing of time. We say yes to the modern world. But then go straight back into the oxygen tank. Brain weight in meal solutions, as isolated as connected. Terry Riley takes a look at the surveillance system and presses a few relay switches. And then there's the Roxy Music cover version 'A Song For Europe', as minimal as it is monumental. Elegance and decadence, Europe endless, Melián calls Nico Päffgen back from the grave in this swansong for the new EU countries. Reality and postcard pictures. Europe endless. She is a woman with style (Stiel). She is revolutionary in the way she does not allow herself to be categorised." -- Justus Köhncke. This, Michaela Melián`s first solo album, comprises slow and uplifting melodic grooves. She uses strong yet simple beats and entrancing cello to set a relaxed mood. Two years in the making, the album from F.S.K. bassist and singer is a work of concisely crafted electronic beauty.
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