Broekhuis & Keller & Schonwalder
Orange
CD / 3 tracks / 71.49 mins
Play Sample:   56K Dialup   Broadband
Download Sample:   500K   1.5Mb
(Excerpt from track(s) 'Orange One')
The opening refrains to 'Orange One' are all rather pastoral, calming pads bringing up images of looking out to the far distance in the early morning light over seemingly endless fields. Sparse percussion, like the first rays of the sun, mix with sounds of what could be birds hiding in the grasslands below. The percussion starts to weave gentle rhythms and a cello type lead heightens the sense of beauty. A sequence starts up without spoiling the gorgeous atmos so carefully crafted. Amongst all this beauty there is also excitement however which increases still further as a second sequence arrives. A repeated melody conjures up a feeling of wonder, gradually morphing as the track continues its very steady build, increasing in intensity all the time but somehow managing to retain that tender edge.

A slow high register sequence provides a rather thoughtful beginning to 'Orange Two'. This is joined by a decidedly brooding but also quite exquisite lead line punctuated by occasional drum flourishes. It's as if we have had to start a journey in the middle of the night, with a slight air of sadness in the air. A beefier sequence joins the first questing forward. The rhythm solidifies and we are soon motoring along in quite a groove. Additional flutey synth solos add a little interest over the blanket of hypnotic syncopations. In the fifteenth minute things start to be stripped back. Sighing pads then more wonderful cello (or it could be violin) become the main features. All rather soothing it is too. I looked for Thomas Kagermann in the credits but he is not there so I assume this is sampled or otherwise synthetically created. Whatever the source, it is highly effective. The sequence and rhythm never completely disappear, just subside somewhat. Additional lead lines come and go then in the twenty fourth minute the drums and pulsations start to rise in the mix once more until they are again quite forceful and mesmerizing, a delicate staccato melody providing contrast.

In the twenty ninth minute strings and soft pads once again rise in the mix, rhythms disappear and the sequence subsides, morphing this way and that in the background. We finish with quite a twist as suddenly shrill chiming bells enter accompanied by other Hellish noises. 'Orange and Blue' provides quite a different, slightly Eastern feel as dreamy little rhythms, tinkling effects and soft pads mix blissfully together. When the sequence arrives it remains low in the mix, enhancing the tranquil atmosphere rather than dominating. The way it combines with the rhythm takes a decidedly Schulzian turn. A piano melody adds an even more beautiful element to what is already the best track on the album. Things come to an end in the tenth minute but I wish it could have gone on much longer. (DL)

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