SAMUEL CADIMA

My esteemed ProgArchives colleague, the Portugal based SAMUEL CADIMA aka Meltdowner is back to unleash his modern take on the world of Berlin School progressive electronic splendor with his new album 70TU5 which is pronounced "Lotus!" The beautiful cover art painted by another ProgArchives colleague gives a hint to the album title. This is album #3 and continues CADIMA's fascination with the fusion of 1970s Krautrock, Tangerine Dream inspired electronic free floating and even a post-rock style of cyclical loops.

Another influence is the space rock of Porcupine Tree with an array of stringed instruments adding colorful flavors to the to the extensive keyboard attacks via Korg MS-20 Mini, M-Audio Venom, Arturia Analog Lab (Mellotron, Farfisa, Hammond, Solina, Prophet, CS-80, Rhodes, Pigments), VCV Rack and an NI Abbey Road 70's Drummer. For the string section we are treated to electric guitars a la Manuel Göttsching, a Portuguese guitar, a mandolin and bass. Also included is various undisclosed percussive sounds.

Add to that the mastering was done by Dirk Jan Müller of Electric Orange fame and the result is a guaranteed lysergic journey into the sonic cloud world of crafty Krautrock laced with electrifying electronic elegance! 70TU5 is a short album by modern day standards and hosts six tantalizing tracks that only add up to about 32 minutes of playing time but in the process expands your mind to an eternal blissful state where space and time are irrelevant. This short but sweet psychedelic playground is beautifully crafted with gorgeous soundscapes that exist in the vacuous far reaches of space fortified by beautiful melodic subtleties and splendiferous aural elegance.

While much prog electronic and Krautrock focuses on the detachment of the gravitational pull of reality, CADIMA embraces the emotional connections that music can offer therefore 70TU5 is nestled with catchy little melodies that offer a bit of comfort as your consciousness drifts into the vastness of space however it's not all warm as fuzzy as tracks like "Die Verborgene Falle" emits a dreadful pulsating sense of utter despair and once translated into the English "The Hidden Trap" perfectly captures the fearful prospects of the unexpected and a situation gone terribly awry.

The album even rocks out a bit with "Frischluft" which means "Fresh Air" and taps into a bit of Neu! inspired motorik in the rhythm department only adding a bit of dramatic synthesizer mojo and some guitar and bass action. The track could easily be used as a sci-fi theme song! The addition of the folk instrumentation adds some unexpected flavors to the bizarre mix of rock and electronic sounds. This one even features a feisty guitar solo. As the most crossover track on board also feels a little awkward as it stands out amongst its spacier kosmische neighbors that surround it. The album closes with the chilled out comedown "Waning Sun"

CADIMA has certainly done his homework in the world of progressive electronic and Krautrock to paint his soundscapes with an incredible number of influences which conspire to create an excellent journey through some of the coolest modern examples of space rock fortified with multi-layered electronic sequences that would fit right in with the masters of the swinging 70s. While clearly inspired by the legends of the past, CADIMA forges his own path in the modern era employing all of the production and mixing blessings that the current age has to offer. Highly recommended for those into the most lysergically soaked sounds of the creative electronic pioneers ranging from Heldon and Tangerine Dream to the more modern psycho-trippers like Electric Orange. A true triumphant Portuguese gem!

Filled with light of hope. This is my first impression whilst listening to "70UT5" the latest album by my progressive friend Samuel. His previous work "Outros Horizontes" is drenched in his virtual fantasia, with dreamy sound structures. On the other hand, sounds like "70UT5" makes us look at our real life and the future in its clear, rigid structural manner. Consider we should walk and live straight forward no matter what happens around us, via this creation.

"Redespertar" sounds like a soft, white cloud in the blue sky. We see the delightful sky with some gentle clouds and inhale cool clean air outside, while listening to his delicate, calm sound production. "Eerie Reflections" tosses us his young and resilient energy which he would have got from authentic rock spirits in the 70s contemporary pop / rock scene. Fuzzy bluesy electric guitar shouts completely vibrate our heart and muscle. And especially the title 'Eerie' sound vibes should be 'Reflected' into our eyes and ears. Not so complex nor innovative but supremely impressive. In this track, his heavy sound measures remind us of kinda influences by a production giant Alan Parsons.

"Komorebi" (In Japanese, means sunlight through trees) would express a ray of sunlight under such a dark circumstance, I guess. The sound texture reminds me of kinda leaning toward Japanese traditional folk or enka music full of bubbling sound effects and repetitive but dramatic atmospheric phrases fed with synthesizer plays. Sounds like he might adopt a variety of Japanese musical essence including psychedelic, folk, pop ... etc. etc. In "Die Verborgene Falle (the hidden trap)" we would be likely to get swallowed up into such an inorganic simple electronic collective. Dark, depressive, mysterious melodic repetitions tell us the current tough situation ... repetitive anxieties and tragedies all over the world. But please hang in there. The following stuff "Frischluft (fresh air)" is exactly 'fruitful Neu!". Through the track we finally get an outcome like fresh air. Simple and brilliant soundscape with cool, clean, catchy rock texture can directly be ours. The epilogue "Waning Sun" is sorta promising ambience, dominantly flooded with hopeful bright melody lines and comfortable psychedelia.

Well matured but tightly sounded, his creativity should be.

Always surprised and impressed with his musical diversity and theoretical creation. "Outros Horizontes" was released as the second full-length album by one of electrip leaders (and my prog friend) Samuel CADIMA in early 2019, that should be enough for me to get brilliant happiness in those days. According to some electronic / psychedelic fans' words, his incredible musical eyesight (earsight?) and fantastic creativity through decent, serious construction would drive me to kinda Fantasia.

The first trip "De Partida No Teleporto" is an official frontdoor taking me to his trippy dreamy sound world. Not simply ambient but ethnic, tribal nuance can veil me softly. Repetitive comfortable phrases push me to another dimension step by step. Why not beautiful? But do not be deceived, he has lots of 'cards' in his hand. Suddenly a gorgeous nightmare titled "Ref'gio" attacks me , with mysterious, unstable melodic lines. I'm immersed in this conpllex, condensed track always, to be honest. Sounds like a solemn gemstone beneath the sea, at least for me. Fascinating is fuzzy electric guitar sound in the latter part, too.

"Montanha De Nuvens", the shortest track in this creation, can be called as the most of 'heavy rock' through his instrument, of all. Very enjoyable is his rock-ish essence deeply existed in his experience. And the last titled one is another crazy killer. Excessively heavy distorted sound streams should invade and conquer our brain perfectly. Above mentioned, Samuel can do tunic construction in an elaborate manner. As well, I'm impressed in his detailed work and close analysis (even in artist evaluation with us).

Finally let me say thanks to Samuel for providing such a dreamy dream.

Eclectic/Electronic Prog.

Samuel Cadima´s Cascata (2017), touches on different stylings music composition wise. Its first track which gives name to this release is a showcase of influences and proposals. From early electronics like patterns, TD´s like pulses and atmospheres, an electronic/acoustic pastorale section, another TD like pulse passage & an acoustic guitar closure, in that order to be exact. Although an irregular ride it has some enticing moments and as mentioned a shape of things to come.

Caiado, the second track is divided in 3 sections in its opening it displays a bit more of Cadima´s skills on the acoustic guitar and a kind of a not so secret reference to Symphonic Prog´s flavors followed by some experimental electronics which sound kind of naive, as in the first track, and closes with a coda of the acoustic guitar riff.

Voo Noturno track three, embodies in its first section ,of a track of three, some nice original and foreign ideas put up together at once and when it does not remind me exactly of their names the electronic composition works out fine . The following part is promising due to the electric guitar debut but stays short by those annoying by now electronic noises which are neither original nor interesting. The track closes with a short, old sounding piano and human whistle, tune which is not exactly an original idea but better than the previous noises.

The last track Meia-Luz suffers the same fate of most of this release´s better proposals, it is self sabotaged by the same glitch/pulse noises which still keep on sounding and still keep on sounding poorly creative and repetitive and really self indulgent to say the least.

What could have been great is self limited or spoiled by the not yet consolidated style of a young & promising artist, very skilled in playing guitar, but clearly still on the making as far s music composition goes.

**2 PA stars.

After the excellent debut "Cascata," Portugal based SAMUEL CADIMA with whom i've been working with for a few years on the PSIKE team (psychedelic, Kraut, Indo-raga, progressive electronic additions) on ProgArchives dropped his stellar mix of progressive electronic and Krautrock spaciness spiced up with all kinds of other elements from the past and in the process created one of the coolest retro prog albums of 2017 and two years later and a little more experience under his belt, CADIMA unleashes his sophomore album in the form of OUTROS HORIZONTES (Portuguese for "Other Horizons") and as diverse and eclectic as the debut was, this followup is just bursting with all kinds of interesting upgrades including not only a fatter series of synthesizers (Korg MS-20 Mini, M-Audio Venom, Arturia VST Farfisa, Hammond, Solina, Oberheim) but the inclusion of both electric and acoustic guitar, bass, percussion, vocals, recorder and a mandolin.

The album is divided into four tracks with three of them extending past the eleven minute mark and the remaining just under six so these are slow free flowing parades of sounds, rhythms, grooves and ambience. Unlike the debut which showcased an intro track that stole half of the playing time, this one is more even keel with the tracks more or less in equal standing with only the third, "Montanha de Nuevens" under the ten minute mark. In addition to the similar to the debut Tangerine Dream, Agitation Free, Manuel Göttsching and Jean-Michel Jarre influences are the colorful additions of Jonas Monk, Mike Oldfield, Steve Hackett, Colour Haze and Cosmic Ground, so overall the album has a much wider spectrum of sound and in the end evokes a much wider range of 70s retro this time around. Despite the extra sounds abroad, nothing feels forced as the musical flow is allowed to slowly ooze into existence.

"De Partida No Teleporto" launches things with the familiar repetitive Berlin School hypnosis of looped rhythmic drive that allows the contrapuntal guitar licks and other elements to develop into a hypnotic tapestry of pure cosmic bliss. Perhaps the most "stable" track on board as it doesn't splinter off into different themes. "Refúgio" follows with the whispering winds of a white winter wailing away with distant voices and spacey frequency drifts chirping about but ultimately giving way to a chime sounding percussive drive as a dramatic melodic development ratchets up the tension with a deep bass rich backdrop which cradles the tinnier exhibitionists. And just when you think the track is all cozy in its present form, it completely shifts gears and takes us into hyperdrive Berlin School synth action with repetitive looped synth stabs providing the backbone of the track while another melodies soars above. However this track meanders and completely shifts gears again many times. The wild ride only gets more sinister, mysterious and cosmic. Buckle up. This one takes you all the way through the wormhole and ends with an unexpected electric guitar and drum machine.

Montanha de Nuvens" takes on an acoustic guitar melody with the electronica and organs taking a backseat but adding the proper psychedelic touches with some folky touches courtesy of a recorder and a more rockin' ending with some electric guitar heft. This one escapes the clutches of progressive electronic altogether and sounds more like Supertramp in the acoustic guitar department alongside a trippy 60s psychedelic rock organ but then it breaks into a heavier anthemic rock cranking out a heavy dual guitar sequence and ends fairly quickly as shortest album track. The ending title track is not only the lengthiest coming close to the 12 minute mark but is also the most cosmic as it opens with a spooky oscillating synth sound accompanied by several layers of equally chilling sound effects and evokes the most surreal and frightening aspects of classic Klaus Schulze. The track displays CADIMA's natural knack for understanding the subliminal pacing of this sort of soundscape by allowing certain droning effects to subtly change pitch slightly while percussive elements come and go and mini-crescendoes wend and wind until they become an even larger one.

One of the hardest parts in making a progressive electronic album based in the Berlin School tradition is to prevent things from becoming overly repetitive and falling into periods of ennui. CADIMA took this to heart and creates a never-ending series of different styles and sounds to keep the whole thing churning along in unpredictable manners. While the album starts out in a more familiar Berlin School fashion with undeniable Tangerine Dream connections, the later tracks take unexpected journeys as they change things up and delve into genres not typically associated with the Berlin School or world of progressive electronic, two genres that are not accustomed to allowing themselves to cross boundaries. OUTROS HORIZONTES is an excellent musical adventure that uses the electronic aspects to create indelible mood setting mystification while the other jaunts add some spice to the planetary peregrination into this sonic odyssey. This is an excellent sophomore offering from Portugal's SAMUEL CADIMA and an unexpected brilliance shrouded in Berlin School regalia. Bravo!

It's funny how we can be superficially familiar with someone for years and have nary a clue as to who they really are and what they are actually capable of as an artist. Case in point, as a member of ProgArchives on the PSIKE evaluation team, i have been working with a colleague under the pseudonym of Meltdowner for a few years now where we carefully evaluate new band prospects for psychedelic rock, Indo-raga, Krautrock and progressive electronic for inclusion on the PA database. Little did i know that Portugal based Meltdowner who is really SAMUEL CADIMA was quite the crafty musician in his own right with a developed appreciation for not only progressive rock in general but a particular fondness for the spacier side of things.

So in 2017 he announced that he was releasing his debut album CASCATA when he introduced it to us on the PSIKE team and of course it was an instant YES for inclusion due to its no brainer progressive electronic influences from the greats of Tangerine Dream, Klaus Schulze, Manuel Göttsching and Jean-Michel Jarre. The album emerged when it did due to personal tragedy of losing his mother and the ultimate escape from the prolonged experience was to record this debut album which takes a few cues from the classic Berlin School world of Germany's progressive electronic scene from the 70s and includes the more sophisticated auras of the French scene. The result is a mature sounding orchestra of analog synths, effects and equalization that didn't even require a post-production.

CASCATA (Portuguese for "Waterfall") is a retro album through and through bringing the lush soundscapes of the 70s into full retro revival with the suave sophistication of Tangerine Dream's arty drifting from one soundscape to the next along with catchy hooky melodies that reverberate into psychedelic hypnosis. The album consists of four tracks but the lengthy opening title track swallows up more than half of the running time as it jets near the 23 minute mark but in reality zigzags at a snail's pace through many different stylistic changes in its long journey. The introductory oscillating synthesizers that provide a rather Tangerine Dream retro backbone for the bubbling rhythmic drive churns on for several minutes with layers of contrapuntal synthesized ambience building up the tension with eerie melodies echoing from the clouds. I love how the changes are gradual and overlapping and introduce new ideas before old ones fade out of the picture. A stellar track that doesn't wear out its welcome despite the lengthy run time. Nice acoustic guitar outro.

The following three tracks are much shorter although they range from over four to eight and a half minutes. "Calado" takes the album past the blatant Berlin School influences and adds an interesting mix of acoustic guitar strumming with an Agitation Free ethnic vibe that includes Middle Eastern drumming with the ambient electronica glazing the sonicscape on the back burner. Well at least until the middle section when the acoustic guitar stops and the electronica gets all crazy on you. It turns into a wild ride like something off "Dark Side Of The Moon" with turbulence fluttering around like a quantum soundtrack for the album cover! It also reminds me a bit of Achim Reichel's wildest Krautrock moments and then a reprise of the acoustic guitar along with some distant joyous vocals from the distance. Great melodies and nice mix with the electronica. "Voo Noturno" continues the echoey space effects in a more homogenized way as the track sticks to the playbook of a steady stream of cosmic fluttering until half way through it transmogrifies into a dueling off-kilter guitar lick and a hyperactive electronic jitteriness and then changes again into a piano and theremin. Bitchin' cool!

The grand finale "Mela-Luz" is the shortest just over four minutes but packs the most punch. A choppy series of synth stabs sounds as it's almost going to break out an 80s new wave hit but in reality is much like Agitation Free's first album and instead finds spacey synthesized atmospherics playing peek-a-boo but finally find enough confidence to come out and play. And then a guitar joins in. It's a very interesting mixture of melodic repetitive synths on speed and a nonchalant guitar slowly strumming along. Overall, this is an impressive debut that never allows the listening experience to become tiresome. While the influences may be blatant, the mixture of how they are stitched together is quite compelling. While i prefer the following album to this debut, there's no denying that this is an excellent slice of atmospheric admirability.

Samuel Cadima from Portugal is relatively a new comer to the Progressive Electronic genre. He released his first album in 2017, and early on in 2019, released this, his 2nd album, "Outros Horizontes". He plays all of the instruments on this album, and it isn't completely electronic as he is credited with guitars, bass, mandolin, percussion, recorder and so on along with all of the keyboards. Talk about multi-talented. But how does this album stack up with the endless list of electronica artists out there? Well, that's what I am hoping to find out. The music is based on a sci-fi story, but since that story was not shared by the artist, he says that it is all open to the listener's interpretation. There are 4 tracks, 3 of which are just over 11 minutes each and one at just over 5 minutes.

The Berlin School style is evident from the very first track "De Partida No Teleporto". Starting with an electronic synth pattern, other synth layers start to get added in. The foundation is a repeating staccato pattern, and the melodic layer is more sustained notes. Soon other layers join, a low electronic bass sound playing the same note quickly, the jangling guitar joins the layers and other effects. The style is Krautrock in that everything is built off of a single key. The chiming guitar layers help drive the track forward in a melodic way and all of the other layers add some great atmosphere. Later, after the 8 minute mark, things become almost celestial-like in sound with a very nice sound and then this goes away as the basic foundation continues and the sound gets bent, slowing things down and changing the key and becoming trance-like.

"Refugio" starts with an airy sound and a high pitched tuning noise in the distant background. The sound of a box of matches and the striking of the match is heard. Then a mid-tempo arpeggio comes from a synthesizer that sounds almost music-box like, not quite though and this turns into a melody of sorts while bass and guitar are added, and the sound remains bright, but the overall feel is dark. There are some cool spacey effects, then a fast foundation is built from a lower synth starting a new melody. There is a nice effect in the music that makes the sound just a little off, almost sounding warped down a microtone or two. It is an interesting effect. This soon breaks down and there are more spacey effects. A synth brings in some sustained chords and there is a definite dark feeling in the music now as it plays along slowly. Things turn ambient, but then a completely new beat comes in along with a nice electric guitar solo surrounded by retro-sounding keyboard accompaniment.

"Montanha de Nuvens" is the shorter track on the album. It starts with a surprising acoustic guitar playing alone. There might be a slight processed sound along with it, but it's still quite nice. An organ is brought in along with a tambourine. Later, it becomes evident that the acoustic guitar is passed through a manipulation as the sound becomes slightly bent. Out of nowhere, a recorder sneaks up on you increasing the organic sound of the track. At 3 minutes, it suddenly becomes a heavier and darker track as an electric guitar is brought sounding similar to stoner rock.

The title track "Outros Horizontes" is much more experimental as it starts out with eerie effects and a deep drone. This continues on for some time with nice effects going on and a percussive effect in the background. Things move slowly as the music slowly crescendos, almost like a sun slowly rising on the horizon. There is no melody, per se, just a metallic effect changing tones and later, an arpegiatted synth. The percussion ends around the 6 minute mark and there is a sudden increase in activity with spacey effects swirling around the drone that continues to change dynamically. Soon, you are left with only the synth-generated drone and it increases in loudness as layers break free and then join back into the drone.

There is a surprising amount of variety in these 4 tracks, from Krautrock, to classical rock to experimental. I love the fact that Cadima is not limiting himself to one style, but explores many sub-genres. The fact that he adds in real instruments also help with the overall sound. In the end, I am very impressed with the sounds here, it never really becomes boring at any point, as you become immersed in the music and go on a journey in your own mind, aided by this album. There is a lot of territory covered in these four tracks, but don't worry, the sound is also very cohesive.

— First review of this album —

This single track has come up to us in the hot summer of 2018 as one of tracks in Samuel CADIMA's upcoming creation. In his debut album he launched trippy, dreamy texture along with his splendid electronic sound departure, and via this stuff, amazingly, his musical appearance's got more delightful and tastier fully with major keys. A tad cloudy electric guitar touch is rather of my comfort. He says he always plays all instruments in the creations and that's pretty surprising for us because of his variation of sound appearances and approaches. We might beat time with our hands to this song without ourselves I guess, and the loud beat would be an apparent praise for his upcoming album in near future.

Having been on a big hunger for electronica--both past and present--it is quite appropriate and fortunate for this album to land in my lap. My first impressions are ones of joy: joy for the fact that another young modern artist is interested in picking up where the masters of the 1970s like Edgar Froese, Klaus Schulze, and Manuel Göttsching left off; joy for the fact that this artist wants to use guitars, bass and drums in his creations (over and above the usual use of keyboards/synthesizers); joy that the artist sees the blending of various sections into one cohesive whole as a desirable creative expression; and joy that this artist is quite serious in his study and respect of the techniques and songs that came before him (which allows him inspiration and courage for his own creations).

1. "Cascata" (22:41) opens with bubbling and popping as if we're at Yellowstone's "Mud Pots." In the second minute a slow pulsing electronic buzz begins to repeat about every eight seconds. Then a faster-paced arpeggio joins in from a squishy keyboard. Next a couple or three more keyboard tracks enter weaving together while a spacey warbling high-pitched synth takes the lead in a meandering solo. At the end of the fifth minute a human voice keens a couple of times from the background. The established weave fades out at the end of the sixth minute with bubbling sounds bridging our way into a new soundtrack?this one sounding much more traditional Berlin School with old synth sounds filling the fore- and background and wings. Three tracks begin but are then joined by some more palette-filling synths in the ninth minute. All the while a "harpsichord" like instrument has been playing a nonstop sequence of arpeggi since the bubbles faded away. Mellotron voices and Mike Oldfield-like guitar scream out from the background. Very pretty soundscape. At the end of the twelfth minute a more "soft-mallet" synthesizer sequence takes over providing the foundational driving force as more electro-pops and older familiar synth Berlin School electronic sounds fill in the tracks making the complete weave around it. Nice section with some interesting Kraftwerk-like industrial sounds as well. Then, at 17:00, a burbling synth saw cuts through all other sound and shuts the previous section down. Deep electronic bass pulses alternate with saw-like synth "trails" before a sustained though occasionally shifting high pitch eerie synth note steers the aliens on. The jet propulsion drive is the only other sound to let us know that there is life, that there is movement here, otherwise the ghostly single synth note makes us think that we're awfully alone. At 20:30 a slowly picked acoustic guitar begins leading us through some grounding arpeggi while the alien solo ship continues to fly above. Cool song that takes us on a widely imaginative journey?one that, I feel, will take many listens before a defined path is imprinted. I like the "tour through time" the different sections offer us. (8.5/10)

2. "Calado" (7:21) opens with heavily treated electrified acoustic guitars strumming away before Fripp-like sustained guitar notes join in. Hand percussion is next to join in as the twin Fripp tracks continue to pronounce the melodic theme over the strumming guitars. A second more crazed synth begins to join in in the third minute. It gets pretty psych-crazy in the fifth minute when the music shifts radically into Willy Wonka "Tunnel of Terror" realm. A few droning notes are all that keep us grounded for the two minutes of this ride until the guitar-strumming returns for the final minute. (9.5/10)

3. "Voo Noturno" (8:30) opens with a guitar picked "sequence" "loop" over which synth squeals, squirts, and burbles are interspersed. In the second minute, the presence of a heavily distorted bass "line" tries to make itself known while more synth lines, these more melodic, show themselves over the top, working their way into the weave. I am truly impressed with Samuel's use of acoustic guitar picking arpeggi to lay down the "sequences" in place of computer-generated ones! At 4:30 there is a HUGE shift as the music established fades and disappears while an "electron wind" bridges us to a section in which a screaming Edgar Froese-like guitar (think "Coldwater Canyon") solos over computer generated clicks, pops, and voice samples. This continues to 7:10 when the guitar fades out. At 7:30 a cheesy horror movie warbling synth enters over a saccharine electric piano solo. Weird ending. (9/10)

4. "Meia-Luz" (4:19) opening with pulsing computer-edited midi-ed sound slowly shifting chords over the first minute. In the second minute a distant, lonely, space "slide whistle" enters providing some melodic structure. In the third minute a meandering JOHN MARTYN-like acoustic guitar track is added to the mix. Very interesting but nothing truly engaging or memorable to bring me back to this one. (7.5/10)

My one suggestion for Samuel, should he wish to continue emulating the Berlin School and electronica masters that have come before him, is to not be afraid to stick with one set of sounds over the long lengths of song?or to more slowly blend less radically different themes or instrumental palettes. For example, the first guitar-based section of Voo Noturno could very easily have been extended to provide the background/base for an entire song of 8-15 minutes; the two radical shifts that occur in the middle and near the end were not necessary. And Meia-Luz would have been improved (i.e. become more engaging), in my opinion if the minimal weave had been thickened and smoothed by two or three more tracks.

What the hell, such a great electronic album by such a great electronic creator is just around me. This is one of the most fantastic discoveries this year for me. Samuel CADIMA is a promising electronic musician / multi-instrumentalist, and at the same time our prog mate in Progarchives. Cannot help getting happy such a electronic fantasy was released, inspired by lots of progressive electronic vanguards respecting Berlin School.

Actually his soundscape is just like his gentle character and terrific, powerful efforts for digging, grabbing the mind of the audience out. Slow, smooth but hard-edged development of melodic polarity. As if we would get intoxicated with expensive bottles of wine filled with long, comfortable aftertaste, we can get completely immersed in his inner space. Not weird nor queer but gorgeous and attractive melodic repetitions of his creation remind me of an Italian delightful electronic obscurity 'Midnight In Space' by Hydrus.

My favourite track (and maybe one of his longest masterpieces) has electronic variation ... dark, bubble-bobbled, clear and catchy (leaning towards Yellow Magic Orchestra or so), dissected (but pretty matured), or crazy disappearing (like the last chord of 'A Day In The Life') ... even only this track should be purchased, and should make us look forward to his next creation. Yeah hell what!