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BARDO

Peter Michael Hamel

Progressive Electronic


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Peter Michael Hamel Bardo album cover
3.00 | 3 ratings | 1 reviews | 0% 5 stars

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Studio Album, released in 1981

Songs / Tracks Listing

1. Dorian Dervishes (21:47)
2. Bardo (26:18)

Total Time 48:06

Line-up / Musicians

- Peter Michael Hamel / pipe & electric organs, synthesizer, composer

With:
- Ulrich Kraus / organ, synthesizer, producer

Releases information

Artwork: Hermann Wernhard

LP Kuckuck ‎- 048 (1981, Germany)

2xCD Kuckuck ‎- 12046-2 (1992, Europe) Together with "Colours Of Time" on 2nd disc

Thanks to guldbamsen for the addition
and to Quinino for the last updates
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Buy PETER MICHAEL HAMEL Bardo Music


Colours of Time / BardoColours of Time / Bardo
Kuckuck Schallplatten 1992
$20.68
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BardoBardo
Kuckuck
$20.00 (used)

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PETER MICHAEL HAMEL Bardo ratings distribution


3.00
(3 ratings)
Essential: a masterpiece of progressive rock music(0%)
0%
Excellent addition to any prog rock music collection(0%)
0%
Good, but non-essential (100%)
100%
Collectors/fans only (0%)
0%
Poor. Only for completionists (0%)
0%

PETER MICHAEL HAMEL Bardo reviews


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Collaborators/Experts Reviews

Review by Neu!mann
PROG REVIEWER
3 stars The second of two closely related solo albums from German professor Peter Michael Hamel is close enough in style and presentation to his "Colours of Time" (1980) that it might have come from the same recording session. Both albums were performed in collaboration with producer/synthesist Ulrich Kraus, and follow similar formats: in vinyl terms tracing side-long synth-and-organ journeys reminiscent of a minimalist KLAUS SCHULZE, circa "Picture Music".

Astute fans of Hamel's Indo-Krautrock ensemble BETWEEN might spot a brief quotation from the 1973 album "And the Waters Opened", just before the 16-minute mark of Side One's "Dorian Dervishes". The moment provides a nice touch of continuity in the middle of an otherwise loosely-organized improvisation drawn from Indian musical traditions: meditative drones under light-fingered synth arabesques.

The effect is dreamy and drifting, but there's a rigorous intellect behind the music that keeps it at arm's length from anything resembling New Age narcissism. Hamel is no DEUTER, in other words, despite the obvious parallels: two German composers finding inspiration in the Far East, both represented on the Kuckkuck record label.

The 26-minute title track breaks that mold, with its massive chords from what sounds like the largest cathedral pipe organ in Europe. It can't begin to approach the empyrean rapture of Florian Fricke's likeminded "Vuh", but when played loud enough this is transcendental stuff: lighter than air but totally grounded, anticipating the even richer tapestry of Hamel's upcoming "Organum" album in 1986.

It may not leave an indelible impression, but the album is evidence that challenging electronic music didn't become extinct in the 1980s.

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