Momentium is Koepper's second solo release. This release features more of Jeffrey Koepper's rhythmic sequencer compositions.
Jeffrey Koepper has been releasing excellent electronic music since 1985 in various groups and collaborations.
Koepper is a unique electronic composer in today's world in that he uses a wide variety of vintage synthesizers and sequencers to create his emotional evolving sound-worlds.
His mission is to create "The music of tomorrow with the technology of yesterday." Instruments by Oberheim, Arp, Sequential Circuits, Moog, PPG, Emu, Roland and others were put into service in the creation of Momentium.
The use of the instruments is evident by the smooth lush organic textures that are not possible on modern instruments.
All of the songs were created through live real time sound-sculpturing with the composer interacting directly with the tactile interface of the analogue synths and sequencers to make them live, breathe and come to life.
Then the individual tracks are then mixed in real time using an analogue mixing desk and a variety of vintage effects devices.
The composer melts the tracks into each other to create these beautiful soundscapes and rhythms.
Steve Roach was integral in the final arrangement and finishing treatments of Momentium.
JEFFREY KOEPPER Momentium (Air Space) • The sequencer. For many a synthesist worldwide, the ideal tool of choice whether in modes of composition, improvisation, or simply the right thing to strike up when the iron’s hot. Streams of repetitive, pre-programmed notes, endlessly undulating, seething, vibrating; 30 years ago, an entire reference point and "movement" within electronic music’s mainframe was built on the dull-black fascia of this piece of hardware, making instant percussionists and futuristic synth warriors out of way too large a segment of the population to be counted here. Post-70s, “traditional sequencer-based” music (that is, of the Schulze/Tangerine Dream argot) became cliché real fast—in lesser hands, the sequencer has been singlehandedly responsible for some of the most dreadfully mindless lathes ever cut. Relatively effortless programmability being the machine’s stock-in-trade has often run counter to the resultant sonic input; the casual knob twiddler sitting astride the module has tarnished so much of the sequencer’s reputation that what’s left of its value has been essentially rendered moot in many quarters. So the question is begged: what of Jeffrey Koepper, who splashes his equipment inventory across Momentium’s digipak backside loudly and proudly, working a tech-geek’s ardent fetish objects into maximum overdrive, the seqs enthusiastically sharing living space with a whole herd of Oberheims, Rolands, Arps, etc. Koepper’s new on the scene, record-wise—Momentium is only his second release, but it’s a whopper. Koepper wears his admiration (and obvious musicianly skill) for his sundry devices like a badge of honor. Unlike his European contemporaries, he’s neck-deep in love with his electronics and wants to take them places they’ve never gone before, using the principles of the past to catapult what the machines can do to shock the new. In other words, this is unabashed synth-sequencer music plain and simple, created sans pretension but keenly aware of history—and don’t forget the old maxim that those who forget history are doomed to repeat it. Koepper’s keen to foment what his analogue wizards are capable of. You might very well recognize motifs and languages spat out from a dozen nameless albums across the decades, but if a grindhouse guitar band can work the same tired riff ad infinitum, why can’t the able-bodied synthesist? Koepper does one better: he frees his mind so his ass can follow. The rhythmic thwack and pull of his duelling waveforms (cutting like scythes right from the opening “Byzantine Machine”) stimulate the pelvic as much as the parietal. Abetted both literally and philosophically by Steve Roach (who mastered the final product and provides some discrete textures and enhancements), Koepper knows how to make his machines rock: “Sequential Meditation,” all eleven minutes of it, is pure synthcore, the tense, slowly perambulating metallic patterns achieving an Escher-like fluidity that deftly mimics old-world fundamentalist trance music with equally hypnotic gravitas. Lock, load, and blast off. (DB)
- e/i magazine
If you take the best moments of TANGERINE DREAM, BRIAN ENO, ASHRA, KLAUSE
SCHULZE, STEVE ROACH, and MICHAEL GARRISON you would get no other
than the latest from Jeffrey Koepper. This is fantasic instrumental music of the
highest order that will take the listener on a journey full of exciting and spacious
audio adventures. If you long for a *GREAT* progressive/electronic/ instrumental cd,
this is it. One of the best in the genre to come out in a quite a long time!
Get this! It's GRADE A all the way!
jeremy morris jam records
"Momentium” is the second release of Jeffrey Koepper, who’s beautiful release “Etherea” was quite a success a couple of years ago.
Koepper’s musical adagio was and still is “to create the music of tomorrow with the technology of yesterday”, thereby referring to the bunch of vintage analogue instruments he applies for his music. As on the debut cd, the sounds on “Momentium” are lush, warm and organic, creating emotional evolving sound worlds which reach out to the listener in every track.
“Byzantine Machine” e.g is a great opener with lush vintage textures and sequencing, nicely continuing where “Etherea” left off.
Absolute highlights are found in the middle of the album by ways of “Sense of Time” (featuring tantalizing sequencing & fx’s) and the next track “Eternal Sea”. Both clearly demonstrate Jeffrey is pulling the best out of his gear. The icing on the cake of this recording comes from no other than Steve Roach, who was in charge of the final mastering and enhancements. Listening to these 67 minutes of analogue heaven is nothing but pure delight!
bert strolenberg - edition magazine
With the release of "Momentium", Jeffrey Koepper has done a wonderful job of blending analog synth stylings with contemporary ambient sensibilities. While many analog productions veer towards a more sequenced, vaguely inhuman sound, Koepper has been able to infuse his recordings with a more human feel, something a little more natural. The eight tracks on the disc show an excellent understanding of the use of sound to create environment and atmosphere, resulting in a very engaging and entertaining listening experience.
"Byzantine Machine" opens the disc, a majestic opener where thick analog pads play underneath crisp synth phrases and sequenced melodies. It's a very rich sound, very full with just the right hint of drama and strength. An excellent track to start the disc.
Track two, "Outside", starts with a more subtle beginning, a much more relaxed chill environment where slight melodies play over abstract tones and a series of sweeping pads. A wonderfully relaxed piece that makes me want to lie back in a chill out room and watch the world go by... Beautiful.
"Godspeed 2" picks up the pace with a nicely sequenced melody that dances around the soundfield while sounds drift throughout the track's space. Slight variations and volume changes build on ideas and draw the listener deeper into a web of tones and sounds. It's a wonderful piece that I've truly enjoyed exploring.
"Sense of Time" follows, a longer track than previous songs on the disc. It starts with a deep drone out of which a melodic synth phrase grows and develops, pulsing and moving like a living thing. Analog sweeps pass through the background and new melodies rise and fall to be replaced by new sounds. Certain sounds act as an anchor for the listener, sounds that remain constant throughout the piece, while changes in melody and time result in a constantly shifting soundscape. A lovely track that inspires further discovery.
"Eternal Sea" is another long form track, pairing steady synth pulses with wavelike drones. Change is more gradual in this track, more fluid and slow, with changes happening on a much more minimal level. I can't help but be drawn into this one, enveloped in its charms by the subtle ways that sound flows throughout the track.
"2600 A.D." is a very nice example of dark ambience with the suggestion of a post-apocalyptic wasteland created through a steady drone paired with repeated glitch-y sounds as if to imply a dark futurism. The darkness of this track leads directly into "Sequential Meditation" a much "brighter" track that by contrast suggests hope and possibility. Tones and phrases are more clearly defined and established in the soundfield and the listener is more able to connect with the piece as a result. The pair of tracks act as nice complements to each other, a nice study in differing but related sound environments.
"Awakening" closes the disc, a track that brings to mind an acceptance and awareness of one's surroundings, a feeling of becoming one with the environment in which we live. Pulse driven and sweep filled, it's a nice way to close the disc, a nice summation of the tracks that have come before it.
As stated earlier, on "Momentium" Jeffrey Koepper has done an excellent job of breathing life into his analog sounds resulting in a very organic and fluid disc that masterfully blends the organic and the synthetic. Without doubt "Momentium" is a fine disc well worth further investigation by both fans of analog keyboard work and mood based ambience. Highly recommended!
rik - ping things
rik - ping things