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CD
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BB 239CD
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Bureau B present a reissue of Adelbert Von Deyen's third album Atmosphere, originally released in 1980. Album number three from electronic musician Adelbert Von Deyen marks the end of his ambient phase. Whilst Atmosphere largely swathes listeners in familiarly vast expanses of sound, the driving analog drums of the opening track (Von Deyen's most successful, as it turned out) signal a shift towards electro-kraut terrain. Atmosphere showcases Adelbert Von Deyen at the peak of his powers. The opening track, "Timemachine", sees him launch into zestful electro-krautrock, aided and abetted by Wolfgang Zabba Lindner on drums. Lindner had already popped up in the early 1970s in a prog-rock combo by the name of Tomorrow's Gift and recorded an interesting experimental percussion album in 1974 with Carsten Bohn (Vollbedienung Of Percussion). He can also be heard on the second piece "Silverrain" (in rather less zestful mode). A further eight tracks follow - revolving around the theme of Atmosphere - layers of synths glide slowly by, accompanied by drones which resound for minutes on end. Beats and synth FX add to the air of contemplation. A huge amount of time and money went into the production of this album. Adelbert Von Deyen composed tirelessly in his home studio, experimenting with his synthesizers and searching for new sounds. Lars Hidde added the final touches, taking care of the mix and mastering at Star Studio, Hamburg. All in all, it was worth the effort. Atmosphere proved to be Adelbert Von Deyen's most successful album. In his biography he writes: "Reactions to this opus were extreme, but absolutely positive, especially in other countries. 'Timemachine' appeared on quite a few LP and CD compilations and became an instrumental hit, the single selling around fifty thousand copies!" If Adelbert Von Deyen's first two albums saw him strive for artistic and financial independence, Atmosphere marked the beginning of a metamorphosis. Atmosphere is still in the sphere of ambient electronica, but the first two tracks are indicative of a clear shift towards krautrock or electronic rock. Von Deyen's next album would head off in a different direction altogether. The soft rock ballads and socially critical lyrics of Eclipse (1981) came as a complete surprise.
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LP
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BB 239LP
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LP version. Bureau B present a reissue of Adelbert Von Deyen's third album Atmosphere, originally released in 1980. Album number three from electronic musician Adelbert Von Deyen marks the end of his ambient phase. Whilst Atmosphere largely swathes listeners in familiarly vast expanses of sound, the driving analog drums of the opening track (Von Deyen's most successful, as it turned out) signal a shift towards electro-kraut terrain. Atmosphere showcases Adelbert Von Deyen at the peak of his powers. The opening track, "Timemachine", sees him launch into zestful electro-krautrock, aided and abetted by Wolfgang Zabba Lindner on drums. Lindner had already popped up in the early 1970s in a prog-rock combo by the name of Tomorrow's Gift and recorded an interesting experimental percussion album in 1974 with Carsten Bohn (Vollbedienung Of Percussion). He can also be heard on the second piece "Silverrain" (in rather less zestful mode). A further eight tracks follow - revolving around the theme of Atmosphere - layers of synths glide slowly by, accompanied by drones which resound for minutes on end. Beats and synth FX add to the air of contemplation. A huge amount of time and money went into the production of this album. Adelbert Von Deyen composed tirelessly in his home studio, experimenting with his synthesizers and searching for new sounds. Lars Hidde added the final touches, taking care of the mix and mastering at Star Studio, Hamburg. All in all, it was worth the effort. Atmosphere proved to be Adelbert Von Deyen's most successful album. In his biography he writes: "Reactions to this opus were extreme, but absolutely positive, especially in other countries. 'Timemachine' appeared on quite a few LP and CD compilations and became an instrumental hit, the single selling around fifty thousand copies!" If Adelbert Von Deyen's first two albums saw him strive for artistic and financial independence, Atmosphere marked the beginning of a metamorphosis. Atmosphere is still in the sphere of ambient electronica, but the first two tracks are indicative of a clear shift towards krautrock or electronic rock. Von Deyen's next album would head off in a different direction altogether. The soft rock ballads and socially critical lyrics of Eclipse (1981) came as a complete surprise.
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CD
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BB 238CD
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Bureau B present a reissue of Adelbert Von Deyen's second album Nordborg, originally released in 1979. Electronic musician Adelbert Von Deyen's debut and sophomore album were released just a year apart from each other. Sternzeit (BB 237CD/LP) was followed by Nordborg, which featured only one track on each side. Again, Von Deyen took his time crafting a meditative maelstrom of ambient sounds. Von Deyen's debut album Sternzeit had caused quite a stir in 1978 in his home town of Lübeck, where the unconventional young artist found himself inundated with fan mail and booked for autograph sessions. His contract with Sky Records obliged him to deliver a set number of albums to the label - one per year. Enjoying financial independence, he was able to give up his job and focus exclusively on his music. Nordborg appeared in 1979 and featured just two tracks, one on each side. It was inspired by a short holiday in Nordborg on the Danish island of Alsen, which coincided with a violent blizzard. "Moonrise", the A-side title, is a slow motion improvisation on the rising of the moon on Nordborg. Opening with synths evocative of seagull cries, meditative soundscapes mesh together massive lead sounds in unhurried harmony. Winds swirl, synths twist into electronic spheres of sound, drifting without any clear dramatic structure. Immersed in introspection, Adelbert Von Deyen celebrates life in the moment. "Iceland", the B-side piece, is an acoustic interpretation of a snowstorm in Nordborg, Denmark, as remembered by Von Deyen. Perfect for Adelbert Von Deyen's artistic expression: sustained organ tones deliver beat frequencies, an electric piano pattern is lost in reverie, winds build through the ARP Odyssey, finally sinking into icy melancholy and detached organ tones. Towards the end we are reconciled by an almost sacral organ part which Adelbert Von Deyen brings full circle as he returns to the opening theme. Adelbert Von Deyen recorded the second album, like the first, on a Revox A77 tape machine in his little home studio. The instrument list echoes that of Sternzeit, with an ARP Odyssey performance synthesizer, a Farfisa VIP 233 organ, a Farfisa String-Orchestra, Hohner Clavinet D6 electric piano, rhythm computer and an electric guitar.
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Artist |
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LP
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BB 238LP
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LP version. Bureau B present a reissue of Adelbert Von Deyen's second album Nordborg, originally released in 1979. Electronic musician Adelbert Von Deyen's debut and sophomore album were released just a year apart from each other. Sternzeit (BB 237CD/LP) was followed by Nordborg, which featured only one track on each side. Again, Von Deyen took his time crafting a meditative maelstrom of ambient sounds. Von Deyen's debut album Sternzeit had caused quite a stir in 1978 in his home town of Lübeck, where the unconventional young artist found himself inundated with fan mail and booked for autograph sessions. His contract with Sky Records obliged him to deliver a set number of albums to the label - one per year. Enjoying financial independence, he was able to give up his job and focus exclusively on his music. Nordborg appeared in 1979 and featured just two tracks, one on each side. It was inspired by a short holiday in Nordborg on the Danish island of Alsen, which coincided with a violent blizzard. "Moonrise", the A-side title, is a slow motion improvisation on the rising of the moon on Nordborg. Opening with synths evocative of seagull cries, meditative soundscapes mesh together massive lead sounds in unhurried harmony. Winds swirl, synths twist into electronic spheres of sound, drifting without any clear dramatic structure. Immersed in introspection, Adelbert Von Deyen celebrates life in the moment. "Iceland", the B-side piece, is an acoustic interpretation of a snowstorm in Nordborg, Denmark, as remembered by Von Deyen. Perfect for Adelbert Von Deyen's artistic expression: sustained organ tones deliver beat frequencies, an electric piano pattern is lost in reverie, winds build through the ARP Odyssey, finally sinking into icy melancholy and detached organ tones. Towards the end we are reconciled by an almost sacral organ part which Adelbert Von Deyen brings full circle as he returns to the opening theme. Adelbert Von Deyen recorded the second album, like the first, on a Revox A77 tape machine in his little home studio. The instrument list echoes that of Sternzeit, with an ARP Odyssey performance synthesizer, a Farfisa VIP 233 organ, a Farfisa String-Orchestra, Hohner Clavinet D6 electric piano, rhythm computer and an electric guitar.
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CD
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BB 237CD
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Bureau B present a reissue of Adelbert Von Deyen's debut album Sternzeit, originally released in 1978. Adelbert Von Deyen is a protagonist of the so-called Berlin School (Berliner Schule) of electronic music. On his debut album, he takes his time to develop sound structures, often drifting, floating blissfully into tonal interference. The listener also requires time and patience, but will be rewarded with a Zen-like state of contemplation. Adelbert Von Deyen's musical backstory follows a less than typical path. He recalls: "To make the best use of my evenings, I finally bought a second-hand synthesizer, various electronic keyboard instruments and a tape machine, plus a few bits and pieces you need to make music. If I didn't have enough money, I asked the bank. During the day I worked as a re-toucher for a newspaper and in the evenings, I composed my celestial electronic sounds, invariably deep into the night. It took me around eight months to finish my first compositions. I made tape copies which I sent out to various record companies. I struck lucky straight away. Sky Records in Hamburg were interested in my music and my first record was granted a worldwide release in 1978. I called it Sternzeit and I painted the cover myself." Founded by Günter Körber in 1975, the label had already hosted acclaimed releases from electronic and krautrock stars like Michael Rother, Hans-Joachim Roedelius and even Brian Eno. A decent level of public interest was thus guaranteed. Sternzeit was one of the early releases on the label. In principle, many elements on this first album reappear on the two which followed: rich analog layers, the swirling winds of the ARP Odyssey, masterful synth effects sprinkled so delicately. The second side of the record is devoted to a single track which is based on an incessant organ tone and played with vibrato, engendering a hypnotic sense of weightlessness. Keyboarders often taped down keys on their organs or synthesizers to create such effects back in the day. When Adelbert Von Deyen performs, he sits down with his back to the audience, focused on his arsenal of equipment. The way he has unreservedly followed his passions for music and artistic creativity speaks volumes about his free-thinking nature. Adelbert Von Deyen mixed and produced this album in his own small studio on a Revox A77 tape recorder.
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Artist |
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Format |
Label |
Catalog # |
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LP
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BB 237LP
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LP version. Bureau B present a reissue of Adelbert Von Deyen's debut album Sternzeit, originally released in 1978. Adelbert Von Deyen is a protagonist of the so-called Berlin School (Berliner Schule) of electronic music. On his debut album, he takes his time to develop sound structures, often drifting, floating blissfully into tonal interference. The listener also requires time and patience, but will be rewarded with a Zen-like state of contemplation. Adelbert Von Deyen's musical backstory follows a less than typical path. He recalls: "To make the best use of my evenings, I finally bought a second-hand synthesizer, various electronic keyboard instruments and a tape machine, plus a few bits and pieces you need to make music. If I didn't have enough money, I asked the bank. During the day I worked as a re-toucher for a newspaper and in the evenings, I composed my celestial electronic sounds, invariably deep into the night. It took me around eight months to finish my first compositions. I made tape copies which I sent out to various record companies. I struck lucky straight away. Sky Records in Hamburg were interested in my music and my first record was granted a worldwide release in 1978. I called it Sternzeit and I painted the cover myself." Founded by Günter Körber in 1975, the label had already hosted acclaimed releases from electronic and krautrock stars like Michael Rother, Hans-Joachim Roedelius and even Brian Eno. A decent level of public interest was thus guaranteed. Sternzeit was one of the early releases on the label. In principle, many elements on this first album reappear on the two which followed: rich analog layers, the swirling winds of the ARP Odyssey, masterful synth effects sprinkled so delicately. The second side of the record is devoted to a single track which is based on an incessant organ tone and played with vibrato, engendering a hypnotic sense of weightlessness. Keyboarders often taped down keys on their organs or synthesizers to create such effects back in the day. When Adelbert Von Deyen performs, he sits down with his back to the audience, focused on his arsenal of equipment. The way he has unreservedly followed his passions for music and artistic creativity speaks volumes about his free-thinking nature. Adelbert Von Deyen mixed and produced this album in his own small studio on a Revox A77 tape recorder.
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