Sylvain Lupari ,Toronto, December 6th,
"Observe the tones, hear the noises and welcome to the third sound dimension of Petrified Forest, of "wellenvorm”
Oh...that I loved the very first album of "wellenvorm", Toene des Nebels in 2014, where the structures of rhythms were totally dominated by the mortuary atmospheres.
This immersion of sounds which broke rhythms and evanescent melodies led us to outstanding sound territories. Uwe Rottluff does it again with “Petrified Forest” and his music as gloomy than intrusive which is inspired by the genesis of his home town Chemnitz in Germany (Sachsen) and of the petrified forest which attracts a very large number of tourists.
And believe me, that does not take a lot of imagination to be part of these tourists well at warm in our salon with earphones (very important) well screwed on our ears.
"Perm" puts us straight in the atmospheres with a thick cloud of iridescent lines from where escape ringings and howlings.
The noise of the synth lines weaves a blower of machinery which suffers from its shouts. A movement of sequences extricates itself from this metallic halo in order to wag like an elf who spreads his rhythmic crumbs to find his way back.
Always so creative as theatrical, Uwe Rottluff has the art to forge two lines of rhythm which overlap without ever spreading a pace of fire. Here, everything is frozen.
The mooing of the sirens comes from everywhere whereas the rhythms and the melodies interlace their stationary charms in a tetanized ambience.
The first real skeleton of melody appears in the wonderful and powerful "Twilight". The rhythm is slow but present. It bangs with scattered beatings which let drop the lappings of the hoofs on a hardened surface. The delight comes from a dark synth line which seems to wake up between the torpor of the lavas crystallized in their carbonized membranes. A celestial voice rises over this sleepy fury, adding a horrifying dramatic approach which remains anchored in our ears beyond the borders of "Thunder" and its apocalyptic beatings which disturb a calcified fauna. That does not prevent a very beautiful melodious approach from hatching after the point of 3 minutes.
Drinking on the effects of "Twilight", it floats in this universe of perdition where all the noises enchant as much as disturb in an atmosphere which stupefies our senses always on the lookout for a rhythm of which the disrupted approach enriches even more the feeling of suspense which puts ablaze the universe of “Petrified Forest”. After "Blust Wave" which mislaid its scarlet mooings and its irascible thunders in the oblivion,
"Nuee Ardente" propose an approach of post neo e-rock with a structure of atmospheres pierced by slivers of rhythms and of fragments of melodies tried by a fluty synth. These mooing which decorate the eschatological landscape part of “Petrified Forest” stigmatize a vision of disaster which seems to stay this invisible witness of this tragedy arisen some thousands of years earlier. We always stay in these divided rhythms which kick under the gilt of fluty harmonies with the rebel and indomitable, and nevertheless very beautiful,
"Crystal Wood" and its crystallized arpeggios which slightly dance in a chthonian atmosphere and in a mid-tempo which looks constantly to join each tip of its phases. This is a strong title where the sound effects, there is plethora here as all over “Petrified Forest”, dominate the ambiences as well as the phases of rhythms and melodies.
In a more Berliner style electronic approach, the sequencing does very Christopher Franke here,
"Petrified Logs" is also torn between its phases of rhythm which try constantly to connect their ends in atmospheres which are clearly more taciturn, more horrifying.The intensity of the writing style of Uwe Rottluff is always galvanized by summits as touching as the distress of a tribe in front of the inescapable disaster of the blazing fire from the lavas.
"Endless Silence" is not as silent as its title indicates it.It’s another compact mass of sounds and of petrified rhythms which try to knot the incoherence and the absences between these phases which feed the dimension of delight and of fright which crystallizes the some 58 minutes of another brilliant album of WellenVorm.
An inescapable one for the fans of parallel universes!
Sylvain Lupari ,Toronto, December 6th,
"Observe the tones, hear the noises and welcome to the third sound dimension of Petrified Forest, of "wellenvorm”
Oh...that I loved the very first album of "wellenvorm", Toene des Nebels in 2014, where the structures of rhythms were totally dominated by the mortuary atmospheres.
This immersion of sounds which broke rhythms and evanescent melodies led us to outstanding sound territories. Uwe Rottluff does it again with “Petrified Forest” and his music as gloomy than intrusive which is inspired by the genesis of his home town Chemnitz in Germany (Sachsen) and of the petrified forest which attracts a very large number of tourists.
And believe me, that does not take a lot of imagination to be part of these tourists well at warm in our salon with earphones (very important) well screwed on our ears.
"Perm" puts us straight in the atmospheres with a thick cloud of iridescent lines from where escape ringings and howlings.
The noise of the synth lines weaves a blower of machinery which suffers from its shouts. A movement of sequences extricates itself from this metallic halo in order to wag like an elf who spreads his rhythmic crumbs to find his way back.
Always so creative as theatrical, Uwe Rottluff has the art to forge two lines of rhythm which overlap without ever spreading a pace of fire. Here, everything is frozen.
The mooing of the sirens comes from everywhere whereas the rhythms and the melodies interlace their stationary charms in a tetanized ambience.
The first real skeleton of melody appears in the wonderful and powerful "Twilight". The rhythm is slow but present. It bangs with scattered beatings which let drop the lappings of the hoofs on a hardened surface. The delight comes from a dark synth line which seems to wake up between the torpor of the lavas crystallized in their carbonized membranes. A celestial voice rises over this sleepy fury, adding a horrifying dramatic approach which remains anchored in our ears beyond the borders of "Thunder" and its apocalyptic beatings which disturb a calcified fauna. That does not prevent a very beautiful melodious approach from hatching after the point of 3 minutes.
Drinking on the effects of "Twilight", it floats in this universe of perdition where all the noises enchant as much as disturb in an atmosphere which stupefies our senses always on the lookout for a rhythm of which the disrupted approach enriches even more the feeling of suspense which puts ablaze the universe of “Petrified Forest”. After "Blust Wave" which mislaid its scarlet mooings and its irascible thunders in the oblivion,
"Nuee Ardente" propose an approach of post neo e-rock with a structure of atmospheres pierced by slivers of rhythms and of fragments of melodies tried by a fluty synth. These mooing which decorate the eschatological landscape part of “Petrified Forest” stigmatize a vision of disaster which seems to stay this invisible witness of this tragedy arisen some thousands of years earlier. We always stay in these divided rhythms which kick under the gilt of fluty harmonies with the rebel and indomitable, and nevertheless very beautiful,
"Crystal Wood" and its crystallized arpeggios which slightly dance in a chthonian atmosphere and in a mid-tempo which looks constantly to join each tip of its phases. This is a strong title where the sound effects, there is plethora here as all over “Petrified Forest”, dominate the ambiences as well as the phases of rhythms and melodies.
In a more Berliner style electronic approach, the sequencing does very Christopher Franke here,
"Petrified Logs" is also torn between its phases of rhythm which try constantly to connect their ends in atmospheres which are clearly more taciturn, more horrifying.The intensity of the writing style of Uwe Rottluff is always galvanized by summits as touching as the distress of a tribe in front of the inescapable disaster of the blazing fire from the lavas.
"Endless Silence" is not as silent as its title indicates it.It’s another compact mass of sounds and of petrified rhythms which try to knot the incoherence and the absences between these phases which feed the dimension of delight and of fright which crystallizes the some 58 minutes of another brilliant album of WellenVorm.
An inescapable one for the fans of parallel universes!
MusikZirkus-Magazin.de
wellenvorm – Toene des Nebels MellowJet Records (2014)
"wellenvorm " ist das musikalische Projekt des aus Chemnitz stammenden Elektronikmusikers Uwe Rottluff.
Im Herbst 2014 veröffentlicht er beim deutschen Label MellowJet Records sein Debütalbum unter dem Titel „Toene des Nebels“.
Das Cover ziert eine winterlich wirkende, nebelige Atmosphäre, die auf unterkühlte oder gar düstere Ambientmusik hinweist.
Das Album ist große, klassische Elektronik pur. Und das auf höchstem Niveau.
Hier hört man die analogen Schaltungen und Bauteile förmlich, da WellenVorm auf virtuelle Klangerzeuger verzichtet und die digitale Welt nur zum perfekten abschmecken des Ganzen nutzt. Diese Kombination klingt nicht nur herrlich, sondern hat ihren ganz eigenen Stil.
„Toene des Nebels“ besitzt eine düster anmutende Stimmung, die gerade zu dunklen und nebeligen Jahreszeiten passt.
Eigene musikalische Themen greift er im Verlauf des Albums gekonnt wieder auf und transformiert sie in einen anderen Zusammenhang. Auf sieben Tracks, deren Spielzeit zwischen 5:43 und 9:45 Minuten liegt, breitet Uwe Rottluff alias WellenVorm seine atmosphärischen Sounds aus.
Die CD beginnt mit dem fast zehnminütigen Titelstück, das zunächst einige flächige Ambientsounds aufweist, die eine mystische Stimmung verbreiten. Eine Art Echoeffekt unterstützt dieses Flair und baut schon zu Beginn die Spannung auf. Nach gut zwei Minuten kommen aber herrliche Harmonien auf und ziehen den Hörer in ihren Bann.Hypnotisch ziehen die Harmonien und Sounds ihre Bahnen durch den Raum und benebeln den Hörer.
Das zweite Stück „Fliegende Sequenzen“ könnte nicht besser betitelt sein, denn auf herrlich weite Flächen legt Uwe flirrende oder besser gesagt fliegende Sequenzen. Diese wechseln sich dann noch mit recht hymnisch wirkenden Passagen ab.
Etwas melancholisch zeigt sich „Weinender Mond“. Das keine düstere Grundstimmung aufkommt, verdankt der Titel aber seinen abwechselnden Rhythmen.Zwischendurch spendiert Uwe dem Stück auch noch einige hypnotisch wirkende Parts.
kling in der Tat wie ein Track, der auf einer Sinuskurve (bzw. eines Klanges daraus) beruht. Dazu gibt es aber auch wieder einige Sequenzerrhythmen. Ein fesselndes Stück.
Das Stück „Sequenzerliebe“ hat nichts mit dem fast gleichnamigen Stück der deutschen Formation Sankt Otten zu tun. In diesem Stück stehen ungewöhnliche Rhythmusmuster im Vordergrund, während ein Sequenzer im Hintergrund seine Arbeit verrichtet. Das klingt neu und mystisch.
Auch „Sonnenstrahl“ und „Herbststurm“ fügen sich in diese Atmosphäre nahtlos ein.
Mit WellenVorm bzw. Uwe Rottluff ist ein neuer Musiker in der Elektronikszene aufgetaucht, dessen Namen man sich merken sollte.
Sein Debütalbum „Toene des Nebels“ kann auf ganzer Linie überzeugen, schafft es der Musiker doch neue Elemente und hypnotische Sounds perfekt miteinander zu verbinden.
Sehr empfehlenswert.
Stephan Schelle, Dezember 2014