nEW fREQUENCIES is a new studio project of Robert Schroeder, that, exactly like his D.MO publications, is a planned release as a series. The German musician occupies, since the 80's, nationally and internationally, the foremost popularity beside bands like Tangerine Dream, Jean-Michel Jarre, Klaus Schulze and Kraftwerk. He celebrated his largest success with the project Double Fantasy. After a seven year creative break, Robert Schroeder could convert his comeback successfully with Lambert Ringlage's label Spheric Music in 2005. Since than, he has published regularly, new productions such as SphereWare, Taste It or 30 Years After.
Now, Robert Schroeder offers a new series project that is the result of passionate studio work with PC and keyboard. nEW fREQUENCIES Vol.1 is Schroeder’s 10th album release on Spheric Music and supplies something other music, than no one knows or expects from Robert. The music prefers particularly analogue sounds and is sequencer based, it is however, also more rhythmic and with higher BPM values. This „spicy” electronic music, Schroeder would like to publish in the future, additionally as his own series, within his regular solo productions.
nEW fREQUENCIES Vol.1 offers electronic sounds of the newest generation. On this album you can find dancable tracks and also experimental and spherical tracks. Voice samples and galactic soundscapes round the overall view to a postmodern music production. A specified studio project, that is different in composition and production sound to the standard. Whoever likes Schiller, Massive Attack or Faithless, will also like nEW fREQUENCIES.
nEW fREQUENCIES extends horizon and blood veins and is music for clubs, discos and at home - for dancing, chill out and enjoyment … much pleasure.
Best tracks: 1, 5, 7, 8, 10, 11
Please read the excellent album review by Sylvain Lupari
from gutsofdarkness.com & synth&sequences.com
Robert Schroeder has the merit of always keep his public on alert. Album after album, and this since his 2005 comeback with “Brainchips”, the German synthesist disconcerts his fans by producing avant-gardism releases. Albums, I think in particular of “Sphereware” and “Taste It”, where Schroeder explores and innovates its musical creations traced from new technologies, but while respecting its paths musical who, needs to remember, always rocked between the Synth-Pop (Double Fantasy) and a
EM as well sequenced as cosmic. With “New Frequencies Vol. I”, Robert Schroeder investigates the world of virtual keyboards with PC's, shaping a musical world that goes beyond sonorities boundaries that Schroeder created until today. Voted as the best album in Audiophile Pop category, New Frequencies Vol. I is the first of albums series, contrary to the D.MO, where Robert Schroeder pushes his musical explorations out of conventional Space Rock limits, diving into Space Synth-Pop, with an album filled of ambivalent rhythms, but amazedly powerful, with solid percussions, subtle and strange voices samplers, as well as synth to hybrid and still wrapping surges but a lesser cosmic.
“Rhythm Dancer” opens this Schroeder 21st opus at great start with synthesized waves which hem in loops on a liven rhythmic and slightly rattlesnakes sounding percussions where digital sound effects are multiplying, faithful to sounds multiplicity that reigns in the complex musical universe of Schroeder. The rhythm is ambiguity and explores various structures on hatched keyboards keys, howling of synth and avalanches of drums which break out on a cadence already well fed in tones.
“The Reason Why” offers a more chipped structure on synths to sinuous waves and jazzy tones. A title which floats in a very dense synthesized envelope, but of which the rhythm is constant and supported by a good line of bass and sequences which pulse heavily on tablas percussions Earth, Wind and Fire alike synths. I Like It explodes from its opening with a rhythmic to rattlesnake's extremities and a synth of which metallic strata shell his cosmic and psychedelic elements beneath suave voices sampling. Here, as on the whole album, the synth is dense and extremely varied, diversified in tones of all kinds, but remains so dreamlike with smooth waltzing strata. We are far from a cosmic EM with sequences which develop slowly. Everything on New Frequencies Vol. I swarms of a livened up and groovy musical life, like “Twitter my Mind” and its slower rhythm, notches by hip-hop or break-dance disc scratches, good and loud percussions on a synth to ethereal strata that waltz in spite of a cosmos dogged between the dream and the reality of dance floors, quite as “From Heart to Hearth” whom on the other hand offers a more tangent cosmic than “Twitter my Mind”. Falling Down is a small jewel of rhythmic duality with a synth which spins in loop on a heavy tempo of wave-like resonances and where the hybrid cadence is crowned of heterogeneous tones which hammer an already complex tempo. Some groove in a cave with a star-studded ceiling and cosmic draughts. A splendid track that sticks to the ears on the first listening quite as the superb Caribbean Nights and its tempo fed of heavy resonances and of good innovative percussions.
The sound experiments on indecisive and hybrid cadences continue with the enigmatic “I Feel so Good” and percussions which imitate the call of ducks and its synth to frenzies unwinding of old hippies still on acid. “A Night in Space” is the only unctuous moment of “New Frequencies Vol. I”. And still there, even suave and languishing movement is filled with a rich and experimental sound fauna, making of “A Night in Space” one night which is really cosmic and dreamlike with its layers of synth which coil up such of anorexic hoops which cook up under metallic percussions, in the shade of sulfurous solo of a melancholic synth. An automated voice stammers a robotics text on “RockNtronic” opening. The tempo falls. He is heavy, sinuous and slightly syncopated, taking more forms and strengths as he investigates the hidden recesses of its structure which remains always ambivalent between its synthesized captivating strata, its synth to incisive solos and its heavy percussions. “Oxidation” concludes on an undulating rhythm, a little as on Rhythm Dancer, but with eroded reverberations which circulate in loops, in the shade of juicy synth solos. Between Moonbooter's progressive Synth-Pop and Art of Noise' abstract originalities; Robert Schroeder pilots a sound sea to externalities very different from EM of Berlin School style. Sounds, powerful, incisive, chipped, syncopated and twisted sounds! In short, a sound range of the most complex, punchy and printed by originality which couples to beautiful melodies, among them the superb A Night in Space and others tracks where nervous structures and bouncy beats abound of
beautiful ambient and wrapping strata, creating a surprising and charming duality.
(by Sylvain Lupari from gutsofdarkness.com & synth&sequences.com)
Other albums from Robert Schroeder:
(1979) Harmonic Ascendant
(1980) Floating Music
(1982) Galaxie Cygnus-A
(1984) Computer Voice
(1985) Brain Voyager
(1998) D.MO Vol.1
(2005) brainCHIPS (instrumental)
(2008) D.MO Vol.2
(2009) Taste It
(2009) 30 Years After
(2010) New Frequencies Vol.1
(2010) Cream, Cygnus-A
(2011) Club Chill Vol.1
(2011) Bochum Live 2011
(2012) D.MO Vol.3
(1987) Double Fantasy "Universal Ave"
(2006) Food For Fantasy "The Secret Of Dreamin"
(2008) Food For Fantasy "Fruits Of Fantasy"
(2010) Food For Fantasy "Fresh Food”