[Groove] E-News 1246 3rd July 2021
Tonight 7/3/2021
Raumzeit Festival Digital 2021

FREE !! Online Electronic Music festival!
Wednesday we announced this great new way of enjoying music and informed you about this event.

Raumzeit Festival Digital 2021
The music of Raumzeit is electronic music. It is experimental or straightforward, sometimes ambient, technoid or chillout, it can be improvised or not. There are no spatial limits and everything that is synthetically generated is allowed.

Raumzeit is an open, non-commercial project and wants to offer a platform for all musicians. Raumzeit will initially take place as a digital online festival and will be offered as a stream at regular intervals with different guests. We are currently projecting the first concepts for this. Again, the focus will be on finding unusual locations and unusual artistic sequences.

The first stream broadcast will be aired on 7/3/2021 and we have the first line-up complete.
Part 1: Videopremiere 18:00 https://www.youtube.com/watch?v=PeGC1C2CnXQ
Part 2: Videopremiere 19:15 - https://www.youtube.com/watch?v=CiytX6PZEh0
Part 3: Videopremiere 21:00https://www.youtube.com/watch?v=cxyFJqk0PvE&t=0s

The first line-up consists of the following artists/bands (alph.order).

Filter Coffee (Frank Rothe & Mario Schönwälder) - www.manikin.de
Globotom (Thomas Albertsen) - https://globotom.bandcamp.com
Harald Grosskopf - www.haraldgrosskopf.de
Remy Stroomer - www.desertedislandmusic.nl
Ron Boots - www.grooveunlimited.nl
Seifert & Steinbüchel - www.pleasuresound.de
Volker Rapp - www.volker-rapp.de

You can support the musicians by a small donation that will be devided under the musicans. Please use this paypal link - 
Donating Link. https://www.paypal.com/biz/fund?id=752ZRRSKBJ7WN

Thanks for all your support and enjoy the Music 
Ron Boots

GR - 313 - Paul Ellis - Panoramas CD-1
Release date 10-7-2021

The first of 3 new limited releases by Paul Ellis. These stunning pieces of music will flow into your life and enhance it with it's subtle atmosphere. All 3 releases will be limited to only 200 copy's!!.

Paul about this Project.

When I was young and in very quiet, natural settings, I could hear a kind of music in everything. This was an experience that was so common to me that I assumed everyone also heard this sustained, evolving sound, but I was quickly disabused of this notion that it was common when I tried to explain it to anyone. Later in my teenage years I bumped into a few early electronic music albums that seemed to reflect and generate that feeling I had and the inner music I used to hear. This led to my fascination with synthesizers and how, with them, I could create an environment and explore a kind of music that was inherently free on all levels: the form of the music, the timbre and tone. It was the freedom that really got me hooked, with the ability to paint my own sound worlds.

With Panoramas I am injecting a certain amount of chaos into the compositional process to emulate the randomness in what you hear when you're in the middle of a forest. I would deeply listen and realize that every bird, insect, wind, or water sound would happen with their own independent rhythms and melodies yet somehow this chaos did not really produce any discord. So for Panoramas, I took random musical expressions a step further than I had before, I laid down several initial tracks and as each one was added I muted all the other tracks so I could only hear what I was recording at that moment. So, it forced me to pay attention to each individual sound during its creation which made each sound arise in its own unique way. Next, I would layer another set of music and textures over the top while listening to the earlier tracks, which made part of the music conscious and reacting to the other sounds. I spent a long time working on these environments to get the balance between chaos and order right.

This is my transmission of the inner sound of the Pacific Northwest.

Paul Ellis
GR-318 - John Christian - Glis Glis
Release date 10-7-2021

John Christian is one of the three founding members of UK's Airsculpture. One of the finest EM trio's in this day and age of Electronic Music. With Airsculpture they made awesome great music and gave many live performances in the last 25 years (the formed in 1995!)

As a solo artist, John's music inevitably has a lot in common with his work with AirSculpture but presents more composed, structured soundscapes. Many tracks have layers of sequences that mesh in a complex fashion that is hard to achieve within the improvised band framework.

John about the music.

For a long time, I've been exploring electronic music, learning through trial and error. My biggest conclusion in this time is that the defining principle of EM is timbre. If the sounds used aren't amongst the most important elements of a piece, then it's not electronic music, it's music that just happens to be created with electronic instruments.

Gils Gils is very much in line with this philosophy. I began setting up sounds on my Eurorack modular recording as I went. Over time I added more voices, refined what I had, and practiced playing them - recording all the time. Superficially it's just a simple sequencer album - the origional idea was to have no keyboard parts just abstract sounds and rhythms - but the timbral focus is key, with sound parameters continually changing by manual tweaks and modulation.

The three tracks are taken from five of the best takes from these recordings. After living with them for a while I decided they needed some keyboard parts as well, so for two of the tracks I spent some time recording overdubs. The interplay between the mechanical pulse of the sequencer and the imperfect human element is another of my touchstones and it adds an element of life to them. The title track is unadulterated, leaving its interesting quantised pitch sweeps in the foreground.

As well as developing the music I was working on a video setup with the intention of being able to livestream. This hasn't yet worked out well enough to use live but there is a video recording of the first section of Russel's teapot - just the sequencer parts.

You can find it at: www.johnchristian.org/video

John Christian

GR-319 - Guy-Lian - Solar System Part 2
Release date 10-7-2021

Danny on this great new release!

Hi you all. I’m proud to take you on the second part of my musical journey through the solar system. The successor of “Solar System Part I: The Terrestrial Planets” is baptized “Solar System Part II: The Jovian Planets & Beyond” and results in yet another very atmospheric album.

The giant gaseous planets of the outer solar system are referred to as ‘Jovian Planets’. The term ‘Jovian’ is derived from the god ‘Jove’, better known as ‘Jupiter’. The planets Saturn, Uranus and Neptune are said to be Jupiter-like planets hence the term Jovian. Why the extension “& Beyond”? Well, since 2006 Pluto isn’t considered a planet anymore. However I still feel like this little but beautiful object deserves to be mentioned as a member of our solar system so I really wanted it to be a part in the second chapter of my musical story.

Although this is the second album out of two, the tracks of both were composed and recorded in different order. The very first track was “Saturn – VI” in May 2019 where as “Sun – Ouverture” for instance was completed in December 2020. The last track was “Pluto – IX” and was finished in May 2021, exactly two years after the very beginning of this breathtaking experience. All songs comprise the same atmospheric soundscapes, effects and melodic textures resulting in a consistent whole.

Part I as well as Part II gave me lots of fulfillment. I tried to musically capture the overwhelming beauty of every planet or celestial object and hope I succeeded. Where the track “Earth – III” (collaboration with Hermax) is the pinnacle of “Part I: The Terrestrial Planets”, “Jupiter – V” is on “Part II: The Jovian Planets & Beyond”. I had to dive deep into my musical experience to create the dynamic musical structure and get the quite orchestral atmosphere. But all of the tracks on both albums were made with the same love and enthusiasm and in fact I’m proud of every single piece.

Another aspect of the albums was the comprehensive boost of knowledge on the Korg Kronos Workstation which I heavily relied on during composing. Before every beginning of a new track, I started with programming new sounds on the Kronos, getting more and more acquainted with this monster synth of the Japanese manufacturer.

I hope you, the listener, will appreciate the results of my creative and technical labor and enjoy the atmospheric tracks as much as I did creating them.

Guylian (Danny Gijbels)
Last week of the 25% instock offer!!
The sale last week was a good stock shifter, so we have one more week of this special deal. Our biggest sale ever!! 

On all titles other then Groove titles that we have instock you get a 25% discount. Yes on all items instock, new or old releases!! We are clearing out our stock this summer!! So take advance of this deal!!

The price you see behing the CD's are reduced to 75% of this when we process your order!! Take advantage of this and get that summer music in!!.

(beneath you see what we use as stock info!!
These products are NEW in our catalog.
Further in this newsletter are more details.
Adeptus Mechanicus - Planetary Satellites (cdr)
Johan Agebjorn - Artifact (digipak) (cd)
Rene de Bakker - Dive In - Dive Out (cd)
Divine Matrix - Heart of the Shaman (cardboard sleeve) (cdr)
Lord of the Ants - We too are Gods (cardboard sleeve) (cdr)
Steve Orchard - Listening for a Heartbeat (cardboard sleeve) (cdr)
Ron Boots & Gert Emmens - A night at Blackrock station (cd)
Johannes Schmoelling - 21 (cd)
Erik Wollo - North Star (digipak) (cd)

Thanks for your time.
Ron Boots
====== Dreamscape Radio ======
Dreamscape Radio show 593 will be online Sunday round 12.00
You can find Dreamscape here.
Thanks for your time!
22564 Schmoelling, Johannes - 20

Johannes Schmoelling has always been the composer that Tangerine Dream would sorely miss after his departure following the albums Le Parc and Legend. His solo career, set up with the album Wuivend Riet, had something to comfort the Dream fans with a musical approach that flirted with the one of the Virgin years, that is to say 1 long track that filled the B-side and 4 shorter ones that were both lively and melodious with that little progressive touch on side A. I still listen to this album regularly 25 years after its release in 1986. Thereafter, the German musician has developed his solo career around 15 albums solo and nearly a dozen in collaboration with other artists, including Loom, having gravitated in the world of the Dream or that of his label Viktoriapark Records named after a park of the same name, located not far from his home. 20 is an E.P. of about thirty minutes to celebrate the 20 years of his label whose first album was the r e issue of White Out in 2000. JS thought it was a good opportunity to invite musicians to compose with him the music celebrating this event. 20 will be followed by a real album which will be soberly entitled 21 in 2021.

Arpeggios tinkling like a clock out of time open the soft melody of Mountain Blue. This ambient introduction lays down a bass line whose creeping shadow connects to the bright angelic synth layers. Composed with Jonas Behrens, Mountain Blue is a good melody typical to Johannes Schmoelling's repertoire. Torn between a sequencer, percussions and ambient phases, the rhythm follows the different phases of a melody split between driving phases and those a little dreamier, honeyed in good arrangements to put a tear in the corner of our soul. The Stumble is the other track composed with Behrens. A good little track animated by an instinct of creativity which gives it good melodious impulses. The play of the sequencer is very Chris Franke on this track which does not hesit ate to exploit exploratory phases for its short time. Composed with Kurt Ader, Kaleidoscope is the kind of track that will please the nostalgic of Tangerine Dream. The rhythm is more sophisticated here and is designed by a sequencer which likes to make dribbling its rhythmic marbles with more sober percussions. The synth solos here are divinely incredible and fly over both the rhythmic phases, which are much more animated in the second half, and the static phases. The middle of the track is more exploratory with whispered sounds and voice samples with a muffled echo effect. The second rhythm phase is simply...Tangerine Dream. Lambert Ringlage was very influenced by Schmoelling's style in TD. His track written with Schmoelling, Ancient Ride, travels through the ages of the German trio's different soundtracks, from Wavelength to Legend, not to mention The Keep. Ancient Ride is finely elaborated in a progressive vision of the Berlin School of the time with a beautiful bucolic melody i n serted around the 9th minute before the track explodes in a big electronic rock always conceived in creativity.

An E.P. by Johannes Schmoelling that does Tangerine Dream? That's quite a bend my friends, since JS has always wanted to avoid falling into that trap. And yet, it fits him like a glove! So much so that 20 fits in this list that exceeds Loom's arguments. A solid EP that many fans, including myself, were no longer expecting. It's obvious that the expectations will be huge for the rest of things...

Sylvain Lupari (June 15th, 2021) 
79021 Ghost in Mirrors - COLD DUST

The Belgium electronic music scene is expanding for years with own festivals (Cosmic Nights, B-Wave, AntennA/ Littl’ Antenna festival, Sonic Emissions), Belgian Neumusik, two labels promoting this genre of music thoroughly (Littl’Antenna and Wool-E Records) as well as the media Channel AntennA for Electronic Music.

With “Cold Dust”, Koen Buytaert (known as one half of The Roswell Incident) presents his first solo-effort featuring music recorded live in concert during a performance at PostX, Merebeke in October 2018. Here, the cinematic, haunting vibe -already profoundly present on The Roswell Incident releases- has been extended with dark and gothic-ish spheres, coming to mesmerizing effect on the near 20-minute “Why is irrelevant”. A more desolate yet dronish-soundscape environment is explored on “The Thought was missing” clocking at the same length. Its first half reminds slightly of Schulze’s “Cyborg” and then shifts gradually int o the surreal, drifting and imaginary while it gets under your skin. I for one would have loved Koen had extended this tantalising second half a bit further.

Make sure you experience this fine ambient recording travelling into the deep end with a good pair of headphones. Chapeau Koen, and keep up the good work.

Rating: 4 stars out of 5

NAME: Bert Strolenberg/SonicImmersion.org
Copyright © 2021 Ron Boots, All rights reserved.