Norman Records reviews regen:tropfen… gives 5 stars!
The first time I heard this I thought it was ace. I rarely get that these days. My attention span is so short that by the time an album is half way through I forget what I’m listening to. Maybe that’s an age thing though? I’m gonna call her Zazie for the rest of the review as her name is a bit of a gobful and it’s gonna save my fingers a bit of typing. This is Zazie’s debut and it was recorded in Berlin in a small little room with a garden view and in Nils Frahm’s studio (I presume with the help on Nils). Instruments on the album are piano, voice, cello, glockenspiel, field recordings, found sounds and also silence as an equivalent form of sound though it’s essentially piano based. It’s an astonishing debut as well. The music here is really powerful and emotive and whilst it’s doing all of that heavy stuff it’s also completely beautiful and absorbing! There’s loads of weird little noises and sounds that punctuate the music. Sometimes you’ll get the sounds of doors opening or random bits of German speech just firing through one speaker. Also silence plays a heavy part in the creation of the music with it cropping up in certain pieces adding a little of the less is more approach. Zazie’s sporadic vocals are delicate and fragile and they remind me of the pixie elf woman from Mum. If you’re into Yann Tiersen. Max Richter and Hauschka then this album has elements of all of those guys in and you should more than likely take note of this amazing album!
Caleidoscoop review regen:tropfen
Zazie-regenDe in 1983 in Duitsland geboren componiste/pianiste Maike Zazie Matern moet gedacht hebben dat haar naam toch niet lekker zou bekken, dus dat ze zichzelf net zo goed Zazie Von Einem Anderen Stern kan noemen. Voor haar debuut Regen:Tropfen, op het altijd dromerige kwaliteitslabel Drifting Falling, heeft ze gebruik kunnen maken van de geweldige Durtonstudio van Nils Frahm. Daar neemt ze haar uiterst droefgeestige pianostukken op, deels gecomponeerd en deels geïmproviseerd. Maar in plaats van simpelweg pianomuziek te maken, neemt ze ook veldopnames en omgevingsgeluiden mee en mengt ze er elektronica doorheen. Je hoort naast het bovenliggende pianospel bijvoorbeeld ook voetstappen, vogels, mensen die in de opnameruimte praten, de zee en de zachte, krakende elektronische geluiden. Ze maakt tevens sporadisch gebruik van cello en klokkenspel, maar ook stilte als equivalent voor geluid. De meeste stukken voorziet ze verder van haar fluisterzang, waarbij ze laveert tussen Duits, Zweeds en iets daar tussenin. Het geheel is dromerig, tot de verbeelding sprekend en behoorlijk nostalgisch. Haar muziek roept associaties op met artiesten als Nils Frahm, Peter Broderick en Dustin O’Halloran, hoewel er ook elementen van Erik Satie, Chopin, Arvo Pärt, Amiina, Soap&Skin, Annelies Monseré en AGF om de hoek komen kijken. Zazie zet met haar breekbare muziek vooral een intieme sfeer neer, waarbij de regendruppels op de ramen tikken terwijl de open haard knettert. Een onwaarschijnlijk mooi droomdebuut.
First Glance of zazie von einem anderen stern by [sic] Magazine
She was born in Germany, lived in Sweden, but perhaps more tellingly Zazie Von Einem Anderen Stern translates as “Zazie from another star”. She is a singer-songwriter but as the name suggests she’ll probably be filed within the ‘unconventional’ variety.
Zazie’s pieces centre around the piano but have been described variously as sad, brittle, childish and fragile. She is the latest addition to the admirable Drifting Falling roster where her debut album, regen:tropfen is portrayed as “an electro-acoustic daydream, in stark contrast to the manic pace of the urban life she lives”
Textura review regen:tropfen
A few words about regen:tropfen by zazie von einem anderen stern by Textura.
Maike Zazie Matern aka Zazie Von Einem Anderen Stern (“zazie from another star”) recorded her debut album Regen:tropfen (“rain:drops”) in a “small little room with a garden view and on a piano at [Nil Frahm’s] Durtonstudio in Berlin-Wedding.” That seemingly minor production detail in fact says much about the recording’s intimate feel and home-spun character. The album offers a soothing respite from the hectic world of her current Berlin home-base by presenting fairy tale atmospheres that evoke the transporting magic of children’s stories and songs. During the forty-minute set, piano notes fall like, yes, raindrops while tinkles add bell-like lustre and occasional electronic accents add percussive flavour. Her classical-tinged piano playing is the dominant sound but the material’s fleshed out with the sounds of her fragile voice (in German and Swedish), cello, glockenspiel, field recordings, and assorted found sounds. Satie and Chopin, both of whom formed part of her classical piano education, are strong presences in her music, but she acknowledges Björk, Múm, Arvo Pärt, Peter Broderick, and Yann Tiersen as influences too.
That clomping footsteps are the first sounds one hears at the album’s beginning says much about the character of the project. The occasional creak of the piano bench adds to the recording’s intimate quality, while traffic noises (“Nacht”) affirm that a world exists beyond her piano parlor. In “Morgen,” chirping birds and restrained piano playing capture the still-sleepy mood of an awakening morn, though the playing grows energized as the day advances. With its babbling river sounds and whispered voiceover, “Ölandsvisa” is like some deep forest Grimm’s Fairy Tale come to life. On the more experimental tip, the voices of twenty different people surface during “Raum Ohne Zeit,” a theatrical treatment that adds even more distinguishing character to the track’s blend of piano arpeggios, electronic treatments, and field recordings, and an undercurrent of minimal beats and effects gives “Zwischen Meinen Händen” the strongest electronic presence on the album. Regen:tropfen is elsewhere dotted with multiple melancholy settings for piano, glockenspiel, and Matern’s breathy voice. Generally speaking, the album’s mood is mellow and alternately adult-like in the elegance of the melodious piano playing but child-like in its dream-like charm.
Coke Machine Glow review regen:tropfen
A stellar review from Coke Machine Glow for the debut release from zazie von einem anderen stern, “regen:tropfen”.
Neoclassical music has been enjoying some time in the limelight recently (in fact, if you take off the “neo” part, it’s been enjoying it since 1750), and while composers like Peter Broderick and Indignant Senility have kept orchestras busy in Portland, there hasn’t been much of response from the continent. OK, Peter Broderick might have moved there after he’d finished taking bows for Float (2008), but on the whole Europe’s neoclassical profile is a little more elitist, a little more “look at us, we’re as serious as Beethoven.”
That all stops in a couple of weeks when Germany’s Maike Matern goes public, descending onto stage like Björk in a ball-gown with her debut as Zazie Von Einem Anderen Stern (or “Zazie from a different star” for those without access to Babelfish). Matern sees herself as a little astrological—her press sheet even mentions her home studio is south-facing—and, in between remembering her childhood listening to Pappa play klavier, she likes to stare out over the skies of Berlin, stargazing like neighbour Peter Broderick. Luckily, though, Zazie responds as well to the stellar twinkliness as he does: both are child prodigies who rebelled using piano, both break up their lush compositions with samples from the city around them. And as any classical conductor will tell you, it takes balls to try and orchestrate a four-lane orbital road system. Balls and a knowledge of the electrical grid.
Balls apart, the difference between Broderick and Maike Zazie Matern is that, while Broderick is a youngster who can furrow his brow like Chopin, Zazie seems to be more comfortable with her youth, even incorporating the odd trace of pop into her music. On “Nacht,” the second track from debut album Regen:Tropfen (“rain:drops”), synth chimes lifted from Cannibal Ox’s “Iron Galaxy” play over the sound of sliding panels. Perhaps they’re not synth chimes at all, though; perhaps they’re the reversing signals she’s recorded from a lorry. But then a Ludovico Einaudi piano line takes flight and you realize that this is the work of a composer, albeit one as comfortable tinkling the ivories as she is recording tube trains accelerating. A change in key ushers in more midnight babble as Zazie’s fingers get lighter by the stroke, as if each pinkie’s strapped to a little sack of helium now that the clock’s struck twelve. Then someone walks across a gravel drive, wary of triggering the security lights, and you realize “Nacht” is the German translation of night, and Zazie’s intricate blend of piano scales, gooseflesh samples, and faint busker strumming show even the classically trained can capture the city: a mix of litter and sodium lighting.
Redefine Mag review “The Longed-For Season”
When The Clouds, the solo project of Italian musician Francesco Galeno, is electronic post-rock in the vein of bands like Metavari and The Album Leaf. His six-track EP, The Longed-For Season, certainly lives up to its album title; it absolutely feels like an album about longing. It does not swell or soar in any grand way; instead, it explores the muted aspects of life through the use of Rhodes piano, guitar, and glockenspiel mixed in with subtle glitchy effects.
“The Longed-For Season” reviewed on Space City Rock
Space City Rock review When the Clouds’ “The Longed-For Season”
It doesn’t require refined taste or extensive background information to enjoy The Longed-For Season, the debut EP by When the Clouds. But this easy-to-like ambient music is more than just pretty sounds — it also holds up to an analytical listen.
Francesco Galano (the man behind the moniker) makes his layered, complex songs from a mix of field recordings, glitch and drone noises, and acoustic instruments. The result is an organic sound with a slow, natural rhythm and occasionally swooping bass — real nice. It’s not always so fall-asleep-to-able, though. Most songs rise slowly but have strong climaxes that put a little drama into the otherwise calm feel.
With a nod to post-rockers such as Explosions in the Sky, Galano grounds his otherwise airy and ethereal music with pleasantly simplistic guitar and bass. The occasional glitch-y sounds and light drums also help to bulk it up. The Longed-For Season is definitely worth repeated listening. It’s top-notch rainy Sunday morning theme music — warm, comfortable, and happy.
everythingischemical.com reviews regen:tropfen
First review for the upcoming release of regen:tropfen from zazie von einem anderen stern:
On October 5th, 2010 “Regen:Tropfen” (aka “Raind:Drops”), the debut album from Zazie Von Einem Anderen Stern (aka “Zazzie From Another Star) will be released via Drifting Falling. The interesting thing: Drifting Falling generally focuses on Shoegaze/Dream Pop/Indie Electronic sounds. Zazie is the first Neo Classical artist, as well as the first female musician to be released via this amazingly underrated label. The music: “Found sounds” with comforting/delicate atmospheres produced by piano and broken voice. Fans of Nils Frahm, Peter Broderick (with whom she’s collaborated with), Max Richter, and Ólafur Arnalds; this one is DEFINITELY for you.
A quick quote from Maike Zazie: “All sound and tone, also silence… All that my ears are able to absorb, has a melody.” If you can “absorb” that quote, you know exactly what you’re in for. “Regen:Tropfen” is a unique album. Although the genre/sounds within are familiar, there’s something unique amongst the elongated tones and hidden noises/messages. In-general piano carries the melody along, but, if you (truly) focus on the background, it’s the samples/noises/human experiences that carry the piano. So truly, all sound/tone/silence IS the melody. Ms. Zazie has a way with creating the most hauntingly brilliant minimalist structures. And out of their cold “absent-lifed” tone’s she brings warmth, profound beauty, and overall understanding of the importance of each and every “small aspect” from life as we know it. To simplify: if you like the sounds of Glockenspiels, Cello, Violin, Piano, field recordings, and broken hearted/delicate vocals ..you need this album in your life (now).
This album is gorgeous/nigh perfect. Piano lovers, Virginia Astley lovers, lovers of beauty your celestial chariot awaits you. This is most likely my favorite Neo Classical release of the year so far. HIGHLY RECOMMENDED.
Standout Tracks: I love the entire atmosphere of this one, it’s hard to pull one from another. Morgen, Raum Ohne Zeit (oh my.), Regentropfen (great vocal track), Im Juli, Zwischen Meinen Händen..
EtherREAL Webzine reviews “The Longed-For Season”
Review from EtherREAL Webzine of “The Longed-For Season” by When The Clouds:Il est grand temps que ces pages mentionnent le label Drifting Falling. Nous aurions pu (du ?) le faire bien avant, notamment lorsque le label de Houston a sorti des disques de Televise ou ce superbe album post-rock de Kontakte. Fidèle à sa ligne de conduite (en gros : marier post-rock, shoegaze et electronica), la structure texane nous livre cette fois-ci le première sortie de When The Clouds, idéal vecteur d’une évocation de ce label.
En effet, les six compositions de Francesco Galano se font tour à tour entraînantes (quand lignes de guitare et rythmiques se mêlent dans un post-rock électronique proche des artistes n5MD) ou plus mélancoliques (avec cordes digitalisées et atmosphère plus légère, ou mélodica, Glockenspiel et guitare détachée). Dans la première veine, on est alors transporté, presque pris de vertige par ces enchaînements tourbillonnants (The Dawn And The Embrace) tandis que, dans la seconde, on reprend agréablement son souffle (Rise On) ou bien on se laisse aller à un certain vague à l’âme (Flooding River, The Place Where This Path Leads, The House Of Sleep).
Pour tromper le chroniqueur qui était bien content d’avoir catégorisé la plupart des morceaux, l’Italien peut même offrir un titre à la croisée de ces deux chemins : November Song (rythmiques electronica mais climat général plutôt apaisé). Bref, avec un disque capable d’autant de cohérence et de diversité dans un format ne dépassant pas la demi-heure, When The Clouds s’inscrit immédiatement assez haut dans notre hiérarchie personnelle.
original review | auto translation
Kontakte’s “Superbug” gets ace review from freqzine.net
Awesome review of Kontakte’s “Superbug” from FREQ Music E-Zine:London bliss-rockers Kontakte continue their journey into the outer reaches of motorik rhythms and chimingly elevated guitar work with an EP which works around the theme in differing ways. “Superbug” itself boils over with tightly-wound energy, surging from twinkly psychedelic guitar melodies which dive off into shoegaze metal territory on a bedrock of cascading, weighty beats and a buzzing undertow. It’s reminiscent of the way Bowery Electric took the sound of ecstatic soaring guitars and made them throb to drum machine rhythms, but updated for a new century of technological beat-making, pulling off switchback returns until the final crash out.
“The Light Shining From A Window Behind Us” brings a benign uncoiling piano solo to the fore to introduce the final push into the reverse-engineered electronica of “Flight Paths,” where crossover keyboard reverberations trickle Harmonia-like into a langorous cloudscraping guitar line, all mellow and fruitfully calm until the music blossoms into the sort of sound which makes freefall dives into cottonwool spring to mind. But there’s a tricksy subtext here too, with interjections of chaos spilling the gentle mood briefly until the normality of the glissando is resumed.
original review