Mario
Schönwälder - Close By My Distance
(1992/2005, SynGate CD-R 2053)
Synth Music Direct (UK)
Re-issue with superb new
artwork plus extra music.
'Let the rhythm comin on you' opens with icy pads and vocal washes. Very
quickly a simple bass arpeggio builds alongside a more melodic and mid-
register sequence. A Schulzian lead, gloriously played on an analogue
flute sound with tons of vibrato, guarantees our attention. Simple white
noise percussion keeps the foot tapping. A second lead is added, just a
heavenly combination. After 4.30 mins the tempo is dramatically raised and
the soloing becomes more intense – I really love Mario's soloing so this
got the thumbs up from me! This is a great opener.
Abstract effects and sparkling pads open Les Yeux Sans Visage' before we
get some very Vangelis-like filter swept sounds. Symphonic pads rise
alongside percussion flourishes. Mario allows himself to draw upon deep
emotions as he produces a yearning string melody – this is a very
heart-felt track, having a similar feel to some of Otarion's sombre
moments. Just lovely. The oddly titles 'Sems U Kanar' is up next and the
symphonic mood is continued with string pads and timpani rolls. At the
1.55 min mark a heavy guitar solo is unleashed, courtesy of Harald
Gleisberg, alongside tom tom rolls and a simple three note sequence –
very dramatic! The guitar fades in volume, but remains, and a faintly
oriental sounding melody is added. Just time to add a note on the
production: the sounds are crisp, the effects perfectly matched to the
track – it's a beautiful sounding CD. The track locks into a groove and
continues.
'The point of impact' features some glorious sound design during its
abstract opening before a pair of dancing, bell-like sequences, creates
order. Halo pads flit across the sound stage. A stately, classical feeling
melody is played against heavenly choral pads – this is just stunning! A
second, more up- front sequence is added at the 4.10 min mark. 'Memories
of Oz' is slow-burning mid-tempo number, with sequences, tron choirs and
over-driven guitar. It's the first explicit Berlin moment of the CD so
far. Often I don't enjoy guitar with my EM, but this player seems to feel
the music well, and his 'licks' are perfectly in tune with the
electronics.
The title cut is up next and is split into three parts, although there
are, strangely, no index points: 'Close by my distance' 'Sortilege' and
'Chapter two'. Glorious pads and abstract effects rise and fall, a vocal
drone adding a touch of unease. Occasional analogue bass swells punctuate
the mix – this is highly visual, film theme-like EM. At the 4 min mark a
pulsing bass sequence and simple percussion begin the process of creating
order. Mario rests his right hand above the synth keys and a 'moogy' solo,
slow and languid begins. More sequences are added, the track is building
nicely, but the solo continues un-checked – just how I like them! The
track is de-constructed over the closing minutes but the solo remains to
the end.
The original CD closed with 'Farewell from heaven'. The mood is
immediately in keeping with the title, relaxed and symphonic. And it just
continues to build in emotional intensity. A fitting close. But, we get 2
bonus tracks on the SynGate CD-Reissue 2053. 'Test sequence' is up first.
A warm pad and bass pulse continue the stately atmosphere of the previous
track until a sequence builds in the 3rd minute it's a simple mid-tempo
and high register one. It's a simple track and has the feel of a demo (or
test?) really.
The set closes with 'Quiet earth'. Immediately a bass sequence is
deployed. Heavenly choirs rise fom the depths (yes, it's decidedly Berlin
in feel) and an exquisitely played analogue lead (oscillator sync and
vibrato added – for tech heads) is unleashed. The mood is sombre and the
track superb, although I think it doesn't quite fit this CD stylistically
– it feels closer to 'Concerts' really. Still, it's a great track!
There's a lot to like about this CD. You get Mario's superb playing and
some stunning production. The tracks have elements of the Berlin school as
well as more 'filmic' EM. Well worth checking out. (WP)
Warren Punshon, 2005
Brandenburg Gate, Berlin 20th March
2005
Electroambient Space (USA)
The Discerning Guide to Instrumental Electronic Music
In an interesting alliance, Mario Schönwälder has started reissuing some
of his earlier works not on his own Manikin Records, but on SynG@te’s
CDR label. Starting with the grammatically challenged “Let the Rhythm
Comin’ On You,” this is vintage Schönwälder from 1992, relaxed and
confident. A lilting bass line meanders its way just so from beginning to
end as delicate beats and a subtle but effective synth solo move things
along. “Les Yeux Sans Visage” is light and airy, surprisingly abstract
yet warm. “Sems’U’Kanar” has long been a favorite of mine, here in
a slightly shorter version than appears on Solotrip. The ethnic sounds,
the guitar synth lead, the simple bass loop, all of it blending seamlessly
together into something that isn’t exactly Berlin school, ambient,
dance, or trance – just a great piece of electronic music. Beautiful
tinkling electronics like glass adorn “The Point of Impact.” Again the
gentle touch pays off here, as it does throughout. “Memories of Oz”
and the title track add on another 26-plus minutes of great mellow
Berlin-tinged journeys. Though the pensive wistful “Farewell From
Heaven” seems such an appropriate way to end the disc, there’s more,
namely two bonus tracks. Recorded around the same time as the rest of the
album, they do fit in well, though for flow I would have swapped them,
opting for the dreamy “Testsequence” as the closer as opposed to the
playful bouncing bass line of “Quiet Earth.” Still, they are worthy
inclusions to a good CD made even better.
