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MICHAEL BRÜCKNER

Progressive Electronic • Germany


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Michael Brückner picture
Michael Brückner biography
Michael Brückner is a space ambient composer, keyboard player and experimental electronic music alchemist who made a name in related prog electronic subgenres thanks to the publication of a bunch of self produced releases and notable efforts on the renowned SynGate Records (Thirteen Rites of Passage, 2013), Klangwirkstoff Records (Naura, 2013). Very prolific and highly creative, Brückner started his intense musical adventure back in the early 90s. With naturally expressive and melodious themes lead by synthesized patterns, electro arpeggios and moving droned-out sequences, Michael Brückner participates to the revival of kosmische musik and is a strong representative figure of modern downtempo chill-out dream ambient. Most of his production is available as Cd-r / digital editions. In a few occasions, Brückner released some live performances (opening in Berlin for Rainer von Vielen, in Bocholt with Tommy Betzler, 2013...). Michael Brückner's typical musical identity embraces a sonorous synth spacey odyssey that will ravish fans of Klaus Schulze, Bernd Kistenmacher, Steve Roach, Ian Boddy, Didier Bocquet and many others notorious producers of recognizable, well established analog synthscaping eclecticism.

The following discography included in the archives presents a fine selection of Michael Brückner's relevant sound-art production.

Similar artists in the archives: Klaus Schulze, Harald Grosskopf, Bernard Xolotl, Awenson

Michael Brückner official website

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MICHAEL BRÜCKNER discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

MICHAEL BRÜCKNER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1 ratings
The Outsider - Music inspired by the Life and Work of H.P Lovecraft
2002
0.00 | 0 ratings
It Is Not Dead (The Outsider Remakes)
2002
0.00 | 0 ratings
Breakfast on Yuggoth
2003
3.95 | 2 ratings
R is for "Rocket" and "S" is for Space
2012
3.95 | 2 ratings
Naura
2013
4.00 | 1 ratings
Thirteen Rites Of Passage
2013
3.33 | 3 ratings
Kings Of The Earth
2013
0.00 | 0 ratings
Sparrows (with Everling)
2014
3.95 | 2 ratings
Ombra - Revisited
2014
5.00 | 1 ratings
Hochofen (with Gustavo Jobim)
2014
4.00 | 1 ratings
In Letzter Konsequenz
2014
4.00 | 2 ratings
Fog Music 35
2015
4.29 | 3 ratings
Two (Tommy Betzler and Michael Brückner)
2015
4.00 | 2 ratings
Hikari
2016
4.00 | 1 ratings
Muzikhala
2016
4.00 | 1 ratings
Trois Briques
2016
4.00 | 1 ratings
Triplet (Tommy Betzler and Michael Brückner feat. Sammy David)
2016
4.00 | 1 ratings
All The Pieces Fit Forever (2017)
2017
4.00 | 1 ratings
The Dark Path (Alien Nature & Michael Brückner)
2017

MICHAEL BRÜCKNER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.86 | 2 ratings
Two Letters From Crimea
2014
4.67 | 5 ratings
Ondes Intergalactiques: Live at the Cosmic Nights Festival 2015 (Michael Brückner and Mathias Brüssel)
2015

MICHAEL BRÜCKNER Videos (DVD, Blu-ray, VHS etc)

MICHAEL BRÜCKNER Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1 ratings
The Giant Illusion
2016

MICHAEL BRÜCKNER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

MICHAEL BRÜCKNER Reviews


Showing last 10 reviews only
 The Dark Path (Alien Nature & Michael Brückner) by BRÜCKNER, MICHAEL album cover Studio Album, 2017
4.00 | 1 ratings

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The Dark Path (Alien Nature & Michael Brückner)
Michael Brückner Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

— First review of this album —
4 stars Frequent Syn-Gate label-mates Alien Nature (Wolfgang Barkowski) and Michael Brückner are fresh off two very interesting recent releases this year, with the former offering the noisy Krautrock-flavoured `Unter Null' by pairing-up with Christian Fiesel on the Aural Films label, and the latter reworking an earlier electronic/ambient/world fusion project by collaborating with a range of guests on `All the Pieces Fit Forever'. But the notable modern progressive-electronic German composers team up here for a pure Seventies-modelled Berlin School instrumental stunner, `The Dark Path', which lies somewhere between vintage-era tribute and a deeply atmospheric exploration all its own.

Throughout opener `Mandala', long drawn-out sustained veils of dark symphonic chords and warbling spacey effects build an eerie unease, the piece eventually taking on a more ashen drama with an almost imposing industrial iciness once pulsing colder beats kick in alongside searing slivers cutting through the air. A trilling loop then flits in and out of the slinking electronica of `Endemonic Howls', given a touch of psychedelic weirdness by colourful little bleeding twitches.

The unceasing backdrop of almost twenty-eight minute `Auf Sibernen Pfaden' is pure stormy deep-drone ambience, lightly coated with the fizzy rising/falling sprinkles of Klaus Schulze and his ever-unfolding vast landscapes with manic up-front soloing, and the relentless maddening pattering beats, bubbling effects and aching Mellotron choirs that remind of Tangerine Dream here are the closest Bruckner and Barkowski come to openly acknowledging their Berlin School musical forefathers.

The aptly-titled `Blissful' is absolutely sublime, soaring through deep space with hypnotic swirling electronics and lulling crystalline chimings without ever drifting into overly placid ambient patterns for even a moment, making it one to listen to over and over, completely enveloping and rapturous. Closer `Ionic Master' continues the nice come-down by incorporating tribal percussion and spiralling flute into chilled electronica grooves, truly becoming the soundtrack to a secretive ancient ritual on some faraway alien world...probably!

Even in its more shadowy moments, `The Dark Path' is never quite as pitch-black as its ominous title might suggest, instead preferring to graft mysterious moods to its furthest-space travels, and while the pieces are all unhurried and carefully unfolding, Brückner and Barkowski ensure they are full of movement and never become uneventful or too vague. It's also much more than mere slavish hero-worship recreation going on here (even if the longest piece in the middle comes the closest!), the compositions mostly aiming higher than simply remaking Tangerine Dream and Klaus Schulze's music using their exact same sounds of old - and let's face it, there's endless lesser electronic artists doing just that. Many repeated plays prove `The Dark Path' to be extremely rewarding and holding a quality that will likely reveal it to retain a timeless quality, and this is pure Berlin School music done right with a couple of other musical diversions also thrown in as well from two intelligent modern progressive-electronic composers.

Four stars.

 All The Pieces Fit Forever (2017) by BRÜCKNER, MICHAEL album cover Studio Album, 2017
4.00 | 1 ratings

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All The Pieces Fit Forever (2017)
Michael Brückner Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

— First review of this album —
4 stars Modern eclectic progressive-electronic artist Michael Brückner has a couple of releases currently out, the first being the dark vintage Berlin School instrumental stunner with Alien Nature entitled `The Dark Path' distributed through the Syn-Gate label, and this one `All The Pieces Fit Forever 2017', a collection that actually dates back ten years earlier. It was initially a series of unrelated pieces awaiting contributions from other musical guests, but although this never happened at the time of their creation, a decade later six very different musical artists all offered their own input and completely reworked the original recordings in a variety of fascinating ways! It now stands as one of the most unique works released from Brückner to date that offers a definite modern approach and contemporary electronic sound mixed with a range of rich worldly flavours and also includes some unexpected instrument choices.

Although the focal point is the properly finished new version, it's important to see where the original recordings were at in the first place, and they're included here as a bonus on the second disc of the set. Around its pulsing and gurgling rising/falling programming, opener `Jigsaw Riksha' slinks (perhaps accidentally?!) into a Canterbury sound-flavoured laid back jazzy saunter with its sparkling electric piano, quite an unexpected style to hear on an album from Mr Brückner! The lightly melancholic `Pole Connector' is gently dark electronica that glides into the slyest of grooves, `Broken Mirrors' is a low-key trip-hopper that teases a cool dub sound with the most subtle of Hammond organ, and the eclectic `The Big Division' is almost psychedelic with plenty of fuzzy electronics bubbling around a variety of strident beats. The mellow `Puzzled' floats with sparkling electronics, and the fifty-one minute title track is equal parts a mysterious humming drone and unhurried glacial drift that carefully introduces the most minute of rhythmic elements.

But it's with the new contributors for the pieces that completely rework the material in many vital and adventurous ways! Emerging Portuguese artist and Prog Archives website's own esteemed wunderkind Samuel Cadima aka Meltdowner truly recreates the opener `Jigsaw Riksha' with a subtle coating of eerie treated guitar drones, almost revealing a Pink Floyd-like dreaminess (apparently there's kazoo buried in his contribution as well, which will please Corporal Clegg). Soprano singer Clare Butterfield-Elséy aka Rosmerta adds both a wordless vocal full of an aching longing and a striking spoken word passage to `Pole Connector', Kemal Deniz's ravishing Bağlama (a traditional Turkish stringed instrument, something of a variation of the lute) replaces the trip-hop cool of `Broken Mirrors' with a heavy eastern-flavoured drama, and Ben I Sabbah's sparkling electric phin guitar chimes calm down `The Big Division's' bouncing unpredictability and gives it a shimmering ambience. E.U.P.R.P.I, the alias of Bulgarian guitarist Mirian Kolev gives `Puzzled' a graceful serene ambient makeover, and Australian artist Suzannah Moon aka MegaMoonMaiden (who was a key influence in encouraging Michael to recommence these recordings and project overall) not only enhances the fifty-one minute title track with crystalline chimes, meditative flute and tribal percussion, but her ethereal voice and haunting spoken word recitations call like a siren's cry weaving in and around the extended piece.

Some editions of the collection come with bonus tracks - the twenty-one minute `Collecting the Shards' is a dreamlike drone crossed with the spectral expanse of early Klaus Schulze and reaching landscapes of Steve Roach, and a further 2017 instrumental mix of `All of the Pieces Fit Forever' adds just a bit of liveliness and more prominent rhythmic details to give the piece more momentum, making it the superior vocal-free version.

Some listeners may find some of the original album a little lightweight, and diverse collections such as this - essentially three albums worth of material - and especially ones that mix both vocal and instrumental pieces, are always difficult to constantly win everyone over all the time. But if you appreciate constantly experimenting and exploring artists that continuously challenge themselves, don't feel the need to adhere to the style of the vintage masters, who hone their sound and deliver something different with each release, then Michael Brückner's `All The Pieces Fit Forever 2017' is a winning, evocative and colourful musical statement well worth investigating, made even more enchanting by its fine range of guests.

Four stars.

 Triplet (Tommy Betzler and Michael Brückner feat. Sammy David) by BRÜCKNER, MICHAEL album cover Studio Album, 2016
4.00 | 1 ratings

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Triplet (Tommy Betzler and Michael Brückner feat. Sammy David)
Michael Brückner Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

— First review of this album —
4 stars With their first album being playfully called `Two' (a reference to the actual pairing up of German electronic artist Michael Brückner and electronic-percussionist Tommy Betzler, not their second album!), it only makes sense that the duo name their follow-up `Triplet', right?! In this case, it's a reference to the added prominence of guitarist Sammy David, who contributed to parts of the first collaboration but appears in greater capacity here, and, like the debut, it helps make `Triplet' a first-rate crossover work that sits perfectly between ambient spacey electronics with something closer to a more accessible progressive rock approach.

The four pieces on offer here are essentially later studio adaptions of ideas and themes that the main trio of musicians here mostly improvised at the E-Live festival at Oirschot in the Netherlands on October 29th 2016. Eighteen minute opener `The Trip' moves between a reflective atmospheric mood and lively stronger colourful bursts. Introduced by one of those stark piano ruminations that Brückner always does so well, whirring spacey trills and eerie Mellotron flute wisps flit around mellow bluesy Pink Floyd-like ringing guitar soloing. Guest keyboardist Fredryk Jona again contributes some tasty and delirious Moog Voyager solos, and once Tommy's electronic drums and pattering of percussion carefully break to the surface and take hold alongside softly bouncing sequencer patterns, the piece lightly comes to resemble Tangerine Dream's `Force Majeure' album.

Brückner and his electronics mostly step back for `Trilogy', allowing guitarist Sammy David to take much of the spotlight with plentiful soloing frequently in the manner of David Gilmour, but also adopting a tougher hard rock drive in parts, Tommy's constant punchy e-drumming pushing the piece towards an 80's Tangerine Dream flavour. `Doublette' then returns to the core pairing of Brückner and Betzler for a lengthy twenty-three minute workout that seamlessly transitions back and forth between softly sweeping cinematic-like synths, unhurried ambient deep-space drifts and liquid programmed trickles with stronger up-tempo rhythmic bursts fuelled by Tommy's drums, and it makes for a varied and unpredictable piece full of crowd-pleasing soloing.

The main CD also includes a bonus track of a live-in-the-studio interpretation from the four musicians of the third and longest set from the above mentioned show, here entitled `(Three) To the Flame of Life'. Rumbles of drums and cymbal crashes build behind weeping and spacey synth cries, programming slithers, buoyant beats and bubbling wavering psychedelic spirals bleeding over gutsy guitar soloing and peppy drumming, with a dreamy closing few minutes culminating in an uplifting triumphant finale.

Note that some versions of the `Triplet' CD come with a limited DVD-R (that admittedly works best accessing it from your computer) of rehearsals, interviews and rough concert footage of the main three musicians performing at the above mentioned festival in the Netherlands, and it's wonderful to see the musicians in action at their improvisational best backed to the hypnotic psychedelic visuals provided by Edward Rink and Jeroen Bouma.

Overall, the addictive and richly subtle`Triplet' would be ideal for listeners who frequently find a lot of prog-electronic/ambient music too vague or repetitive, as the musicians here have created a diverse, focused and interesting collection that remains exploratory and atmospheric but also melodic and easily approached. It has a great crossover appeal for general prog-rock fans with its liberal use of guitar, and overall the set is full of movement, energy and colour. If something that often sounds like a modern interpretation of Tangerine Dream's `Force Majeure/Cyclone'-era sounds intriguing, investigate `Triplet' immediately, and you won't find a better line-up of Michael Brückner, Tommy Betzler and their musical friends to deliver the goods!

Four stars.

 Trois Briques by BRÜCKNER, MICHAEL album cover Studio Album, 2016
4.00 | 1 ratings

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Trois Briques
Michael Brückner Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

— First review of this album —
4 stars Back for another release on Killian Schloemp's constantly interesting Syn-Gate label, modern German progressive-electronic composer Michael Bruckner delivers a continuous seventy-seven minute three-part suite entitled `Trois Briques' (Three Bricks). Far from being a slavish recreation of the Berlin School masters, the disc instead offers a range of constant rhythmic- based modern electronica, long-form subtle ambient reflections and deep-space prog-electronic atmospheres, with samples of dialogue from old 50/60's TV shows weaving in and out of the music to give the collection somewhat of a curious and vague `concept' approach.

In some ways, `Trois Briques' briefly reminds of Brückner's recent compilation `The Giant Illusion', a remixed set of highlights, obscurities and unreleased pieces that were given a fresh remixing to newly present them as a kind of continuous spacey `mix-tape', everything effortlessly flowing with ease without ever feeling forced. The thirty-two minute opener `La Brique Bleue' moves through a range of crystalline rising/falling electronic veils, drifting aural landscapes and bubbling synth pools. One moment it's reminding ever so briefly of Klaus Schulze's early pulsing solo-heavy alien worlds (just given a modern reinterpretation!), then diverting into stylish synth-pop breaks, slinking trip-hop beats, even sauntering into the chilled spacey realms of the Orb's `Adventures Beyond the Ultraworld'. On the first initial play all the voice samples that waft in and out seem intrusive and distracting, but careful listens reveal that they usually only occur to introduce a new passage or to highlight a more dramatic moment about to occur, surprisingly working very well navigating around this curiously puzzling and moody piece.

`La Brique Verte' is a welcome shorter eight minute interlude that serves as a break between the two bookending thirty-plus minute workouts, and it's one of those purer ambient and pristine piano-highlighted moments that Brückner often delivers with sublime taste, initially somewhat melancholic but ultimately hopeful and embracing. Then it's right back into the lengthy atmospheres, and `La Brique Noire', at almost 37 minutes, is the most mysterious section, the more upfront programming replaced with low-key and hypnotic arrangements of glistening chiming delicate beats and frequently comprised of deeply immersive ambient soundscapes and expansive thoughtful drones that gradually unfold with an unhurried and refined grace.

The voice samples will be a divisive issue for some listeners, but it just gives this new work a distinctive quality quite removed from most of the other works the artist has delivered over the last couple of years. It's also easy to be distracted by the cool programming that takes up many parts of `Trois Briques', but instead always pay special attention to the subtle, minimal ambient flavours going on at all times in the background, the most intricate of details revealing Brückner's sublime understanding of a range of electronic styles and keen musical intelligence. If you're after a reliable Tangerine Dream- modelled electronic listen, best look elsewhere, but if you want a stylish, unpredictable electronic journey that doesn't skimp on atmosphere and variety, `Trois Briques' has plenty of rewarding music to explore.

Four stars.

 The Giant Illusion by BRÜCKNER, MICHAEL album cover Boxset/Compilation, 2016
4.00 | 1 ratings

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The Giant Illusion
Michael Brückner Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

— First review of this album —
4 stars German progressive-electronic artist Michael Brückner takes a break from his lengthy studio releases of this year - `Hikari' and `Muzikhala', both excellent works, have stretched to five discs between them! - and has decided to release a superb...`hybrid' compilation, let's call it! A two CD set comprised of selections from many of his solo works, guest contributions to electronic labels and unreleased material spanning the years 2004-2015, `The Giant Illusion' is hardly some tired slapped-together assortment, instead all the tracks have been given a careful remixing that joins all the pieces together as one continuous and seamless suite of cosmic ambient music.

Opening with constant rhythmic variations bouncing in and out of electric piano tiptoes and whirring electronics, the ten-part suite of the main first disc initially meanders through chilled passages, pulsing beats with up-tempo bursts and plenty of colourful trilling synth soloing. But after the first twenty-two minute section, it slowly progresses into a beautifully uninterrupted drifting flow that mostly abandons the rhythmic elements in favour of plentiful serene ambient synth washes. Gliding electronic slivers, groaning faraway voices and alien tribal drumming float in and out of the near-77 minute selection, it quickly resembling something of a first-rate ambient/prog-electronic/space `mix-tape', and it closes on a very moving and stark piano reflection. Gentle but never empty New Age prettiness, nor too vague and uneventful in the way that some more droning electronic music can be, it's an evocative assortment of deep-space mystery with fleeting personal and deeply human touches with a distinctly modern sound.

The solo 77 minute work that takes up the entire second CD entitled `Rübezaal' is considered a bonus track, and while it's not one of Bruckner's most memorable long-form compositions, it holds plenty of variety and even presents some darker, more melancholic moods not found on the main disc. Subdued and reaching droning passages, slinking dance beats, clockwork-like programming, unfolding crystalline veils and strident guitar strums move throughout the lengthy piece in an unhurried manner, backed to ambient nature field recordings. While it keeps a very contemporary sound, some parts of the opening twenty minutes or so remind of Steve Hillage's 1979 ambient classic `Rainbow Dome Musik', other moments Tangerine Dream's `Thru Metamorphic Rocks' and fleeting spots nearer the end recall the wisping and bubbling disorientating phasing of the early Klaus Schulze albums. Overall the piece works particularly well as an undemanding and varied background listen, and one that reveals new and exciting little details with every spin.

Designed to be an introduction for unsure listeners to Brückner's music, not only is `The Giant Illusion' an ideal compilation for newcomers (and one that is far away from being a clichéd remake of vintage `Berlin School' sounds), the main disc also stands perfectly as a beautiful and completely satisfying proper prog-electronic-ambient album in its own right. This set compliments his earlier 2016 albums nicely (with another new one `Trois Briques' due at the end of October on the SynGate label as well!) and once again admirably showcases the talent, intelligence and great musical variety of Michael Brückner.

Four stars...and no that's not him on the cover, smart guy!

 Muzikhala by BRÜCKNER, MICHAEL album cover Studio Album, 2016
4.00 | 1 ratings

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Muzikhala
Michael Brückner Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

— First review of this album —
4 stars German artist Michael Brückner is constantly proving himself to be one of the strongest and most consistent Berlin School/progressive-electronic/ambient composers currently active in the modern era, with an endless discography of releases that perfectly blend the influences of the vintage masters with contemporary sounds without ever sounding like an uninspired mere clone. No stranger to lengthy multi-disc collections, Brückner returns in 2016 with one of his most ambitious works yet, the three disc set `Muzikhala', and it's sure to be warmly welcomed by progressive-electronic listeners who enjoy releases that cover a range of the related styles.

With a name that roughly translates to `Serenity' in the Chichewa language that originates from two countries in South Central Africa, it should come as no surprise to find that `Muzikhala' is frequently ambient-based and full of extended, constantly flowing long-form compositions (two of which, parts 1 and 3 of the title track, each cover the entirety of a CD!), yet it carefully avoids being too light or ever `New Age'-sounding - not always an easy task to achieve. Several sections of the longer pieces call to mind other predominately ambient-styled releases from Brückner such as 2012's `Eleventh Sun' on the Syngate label, but this is much more complex and dense, and the constant use of rhythmic and percussive elements that appear often balances perfectly with the lengthy unaccompanied passages. While each disc can be listened to as its own entity (and it works beautifully that way), Brückner suggests that the whole three-disc set forms something of a `story' that should be listened to in order.

The opening disc and first part of the title track is subtitled `The Aeronaut', an unhurried and subtle 78 minute soundtrack with long stretches of carefully unfolding atmosphere. Lulling synth breezes breath in and out over mysterious harsher slivers, echoing pristine piano and murmuring bass meanders seductively in over cooling serene electronic caresses, equally reflective and embracing. As groaning Mellotron-like choral voices float forwards and cooing electronic programming fizzes around the speakers, a slinking drum n bass/lightly tribal-like beat enters over the droning electronic collage that eventually turns lighter and full of hope. A mysterious and faraway Vocoder alien narration reminds instantly of Robert Schröder's fascinating and unique debut `Harmonic Ascendant' from 1979, and reprises of earlier themes, a brief haunting Tangerine Dream-like Mellotron passage and some fleeting darker teases close out the track. This piece is everything Michael Brückner does so well when choosing to focus on the more ambient side of his music, and it easily ranks amongst his best compositions to date!

Despite how good the first disc is, there's still two more to go, both full of plenty of worthwhile music. `Bem Betel' drones in a Popol Vuh-like ethno-ambient manner, `Reanimation (Zoom In)' is full of mystery, and Part 2 of the title-track presents constantly shifting electronic canvases backed by ringing drum and bass programming, carefully slinking beats and a hypnotic, constant ticking pulse. `The Vishnoor Incident' trickles with the gentlest of cavernous-like dripping beats and has a subtle Steve Roach-flavoured veil-like finale, and the sustaining glacial stillness of `Drowning' rises to life with perfectly balanced melancholic and embracing qualities, with an unhurried solo from Michael in the final minutes that is reflective and dignified.

The final disc, the third part of the title track and sub-titled `The Rift', is another 70-plus minute single composition, in some ways a remixing or reworking of the previous two segments with delicate and restrained reprises, but also managing to head into darker territory. It holds the most frequently rhythmic-based portion of the three-part piece with a variety of buoyant, clipping programmed beats constantly dancing in and out, zapping pulses and groaning sustaining drones taking the piece the closest to deep-space Berlin School territory on the set. It also refreshingly doesn't provide a perfectly safe finale, Michael presenting some uncomfortably eerie and stark tones instead, a brave way to close the saga.

Admittedly this set could perhaps have worked just as effectively as a double CD (and the first disc could have easily stood as its own standalone release!), but lengthy and intelligent collections such as this greatly reward the most patient and seasoned of prog-electronic listeners. Unsurprisingly, this deeply immersive and addictive latest work `Muzikhala' is another winner, continuing Michael Brückner's inspired streak of varied and creative works over the last several years, and it proves once again what an endlessly evolving and unpredictable progressive-electronic artist he is.

Four stars.

 Hikari by BRÜCKNER, MICHAEL album cover Studio Album, 2016
4.00 | 2 ratings

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Hikari
Michael Brückner Progressive Electronic

Review by admireArt
Prog Reviewer

4 stars All the marbles!

"HIKARI" is Michael Bruckner's way to greet this 2016 with a blast, a Progressive electronic kind, of course. My best advise to indulge into this release is to expect the unexpected.

Michael Bruckner's experimental side stands out, as his creative music composition abilities develop its potential second by second and each highlight is transfigured into another one as the next and the next.

There is an impending sense of freedom in this release's compositions which inevitably grows on you and the richness of his musical language makes one hell of a sonic trip which is attractive, (sometimes even subtly frantic), as it is diverse and non stop dynamic. The routes taken are like a compendium of past and present electronic music possibilities merged into one single form of expression, backed up, as told, by focused experimentation.

And if this is not enough, the icing of this juicy and quiet daring cake is topped with an unpretentious approach perfectly set to quiet high standards.

****4 "indulge" PA stars.

PD-This review covers the Double CD version of this release.

 Hochofen (with Gustavo Jobim) by BRÜCKNER, MICHAEL album cover Studio Album, 2014
5.00 | 1 ratings

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Hochofen (with Gustavo Jobim)
Michael Brückner Progressive Electronic

Review by admireArt
Prog Reviewer

— First review of this album —
5 stars Masterful!

Two minds with inherently different electronic music, direct and indIrect, influences, focuses and approaches, converge in perfect balance to become a new entity withholding their best songwriting attributes and pushing each one's best creative talents.

What an extremely nice surprise to find out how well these two musicians can relate, to the point of wondering why they do not do this more often, but then again, maybe, this is one of the reasons why "HOCHOFEN", 2014, by Michael Bruckner and Gustavo Jobim (both included here in PA) trascends to be an essential part of my vast prog/non-prog/electronic music collection, for starters.

Music wise things are not that easy to explain, which somehow adds bonuses, considering its uniqueness in music language and the blending of each one's own style can only be compared to itself, meaning you already have to be acquainted with both musicians' works and imagine how uncommonly wise this meeting of minds turns out to be.

***** 5 PA stars!

And imagine downloading this masterwork for whatever you can chip in! It's a wonderful world indeed!

PD-Do not be decieved by its horrendous cover art.

 Hikari by BRÜCKNER, MICHAEL album cover Studio Album, 2016
4.00 | 2 ratings

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Hikari
Michael Brückner Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars One of the finest and most consistently interesting artists working in the modern progressive-electronic field is German composer Michael Brückner. Keeping the heels of one foot in the doorway of the vintage electronic masters whilst mostly occupying a varied and colourful take on contemporary styles, each album sounds completely different to his last, and Michael's music is as far removed from slavish and lazy hero worship as you can hope to find in modern electronic genres. His first release of 2016, `Hikari' (Japanese for `light') reveals many different musical personalities across a range of emotions, often darker without being bleak or hostile or avoiding a sense of hope, and varied without ever becoming unfocused.

The centrepoint of the album is a twenty-eight minute six-part suite entitled `The Race'. It's an eerie, dream-like mix of vocal samples, shimmering electronic washes and dark drones with a multitude of cool contemporary beats. Some passages take on an uneasy nightmarish ambience of long stretching stillness, others dance through subdued and gently grooving chill-outs. It's a very modern sounding piece with only the gentlest of vintage influences seeping in, and it oddly balances a calming air with darkening shadows beautifully.

`Tygerlillie's Travelogue' appears in two different forms, and in the same way as this approach on Brückner's superb 2013 `Naura' release brought forth interesting results, the two interpretations offer subtle yet crucial differences. Groaning Mellotron choirs with a careful symphonic flair opens the more overtly vintage-flavoured `Wild Mix' with trickling emerging sequencer patterns and Jarre-like colourful effects, but caressing washes of synths and sprightly Klaus Schulze-esque upfront soloing weaves in and out of the atmosphere, creating an unhurried dreaminess. The `Disciplined Mix' is frequently boisterous and powerful, with more upfront skittering programming and regal enveloping Mellotron bursts.

Essentially the title-track, `Light' is an ethereal and heavenly gentle drone sparkling with an embracing warmth, where twinkling ripples of sequencer patterns unwind, cascade and retreat, and the touching ending is full of hope and heart. Two improvisations then follow, `Sarkis' has a moody drama to it with churning waves of synths rolling around programmed beats, and `Yasashī Yorokobi' is mysterious and even sadly romantic with a more sedate and precious Kitaro-like thoughtfulness, a very lovely way to finish the set.

`Hikari', available on Rick Chase's AmbiOfusion label as both a download and double CD, with gorgeous eye-catching cover art by Steven Barber, might be long, but great stretches of the album work beautifully as intelligent background music yet still full of movement and colour. The frequent percussive elements mean this album sounds constantly lively, the drone aspects are subtle yet never meander on forever to dead-ends, and many of the different soundtracks reveal heart and genuine feeling in a genre constantly dismissed as being cold and clinical, never an easy thing to achieve. This imaginative and often deeply emotional collection is another victory for Michael Brückner, on such an inspired creative roll over the last few years after his superb recent collections `Two Letters from Crimea',`Two' with Tommy Betzler and `Ondes Intergalactiques' with Mathias Brüssel, and it gets 2016 off to a fine start for this talented and contemplative modern progressive-electronic artist.

Four stars.

 Fog Music 35 by BRÜCKNER, MICHAEL album cover Studio Album, 2015
4.00 | 2 ratings

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Fog Music 35
Michael Brückner Progressive Electronic

Review by admireArt
Prog Reviewer

4 stars Great!

I have been a bit disappointed with some of Michael Bruckner's releases which I have acquired. Mostly his inevitable closeness to Tangerine Dream's musical language turns me off completely. Thank the Gods this release "Fog Music 35", 2015, is clean of that imperfection and that is just for starters.

Constructed meticulously with solitary synth's flowing melodic lines, some few acoustic keys and even less field like recorded voices, its hypnotic expansive drone like atmospheres grow deep and wide in displaying open sonic spaces which are as attractive, detached and unpredictable as dense fog is.

All the same colored with a monochromatic like palette which enhances the creative music composition range of Bruckner's personal talents.

I strongly recommend it for any kind of Prog/Electronic follower and any other curious prog cat.

****4 PA stars.

Thanks to philippe Blache for the artist addition.

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