M.an O.f B.erlin S.chool ist das Projekt von Detlef Keller, der mit diesem Album für ca. ein Jahr incognito an die Öffentlichkeit ging, um unabhängig von Namen und Erwartungen allein mit der Musik zu überzeugen. Insofern handelt es sich um ein Soloalbum im klassischen Sinne, wo ein Künstler eben genau das verwirklicht, was er unbeeinflusst von der Erwartung anderer musikalisch ausdrücken will.
Eines Nachts so gegen 2 Uhr sass der Künstler an seinen Synthesizern und ließ seinem musikalischen Ausdruck freien Lauf - der Recorder lief mit. Und plötzlich - wie "aus dem Nichts" war ein Track geboren, der sich entwickelte und sich nach Gesellschaft sehnte. Schnell war klar, dass daraus ein Album werden sollte. Auch der Titel stand fast von Anfang an fest - ein Album "aus dem Nichts" ist ein Glücksfall und dieser sollte Raum bekommen.
Am Rande eines Elektronik-Festivals fanden sich dann Detlef Keller und SynGate und begannen Pläne zu schmieden, die nun endlich Gestalt angenommen haben.
Thematisch entwickelte sich dann ein Konzept wie ein Lebenszyklus. Das Leben, das "aus dem Nichts" entsteht und in ungewisser Zukunft endet. Daran orientieren sich auch die drei Tracks mit den Titeln
1. Anfang - Entstehung
2. Mitte - Leben
3. Ende - Abschied
Ein Review von CDS aus Schottland:
Amazing 'Berlin School' album by a well-known artist in the genre who prefers to remain anonymous for this release, but whoever he is, the music is sensational!
M.O.B.S. is an acronym for MAN OF BERLIN SCHOOL, which is in turn a pseudonym for a project by a well-known artist who has a long history within electronic music, and especially music of the Berlin School tradition!
As he had often played this kind of music with other projects, but on this album the artist wanted to create a solo album that was completely unaffected by any expectations from the audience or other musicians. That's why the acronym is in place - he wanted the music to do the talking.
So how did this strange project come about? One night the artist was playing his synthesizer and the recorder was running, and, much as these things do, suddenly a track was born. From this came the urge to add another, then another, and before he knew it he had an album, the title of which: 'Aus dm Nichts' loosely translates as 'Out of Nothing' which is exactly what happened.
The album refers to life as a cycle in the universe. Coming from "nothing" it ends in an unknown future. This is what the three tracks stand for:
Not quite knowing what to do with his new work, happenstance came to his aid, and a chance meeting at a festival with the owner of an electronic specialist label, resulted in the release of: 'Aus dem Nichts'. Because of his status, both he and the label came to an agreement that it would be better to release the album incognito.
All in all, this is an intriguing project, and we're still clueless as to who M.O.B.S. is, however, the music is fantastic!
Who so ever this guy is, one thing is for certain, he is very MUSICAL and really knows his stuff.
All three tracks follow a different course where you are certain never to be bored by what you are hearing.
Each piece has subtle, but excellent melodic content and all with a beautifully flowing feel that will keep you riveted from start to finish.
'Anfang - Entstehung [Beginning - Development]' is a twenty-minute builder that opens is spacey atmospheric mode before developing into a sequenced rhythm that is simple at first, but as new sonic sounds are gradually added layer upon layer upon layer, the track expands into a vibrant, almost Schulze-like work with warn, expansive keyboard chords overlaid by gorgeous high-reg synth melodies that sound like they've arrived from the 70's in a time machine. The track chops and changes all the time and remains thoroughly engaging for the full twenty-minute duration -"Berlin Schoolers" will love this one!
'Mitte - Leben [Mid - Life]' is a beautifully flowing twenty-one minute track that seems to be based around several electric guitar improvisations (but I'm got certain it is a guitar!). The sequencer rhythms are again kept relatively simple, and when the drums join the rhythm section the piece becomes even more infectious with a subtle melody building slowly within and growing all the time. The centre section features an electric guitar (?) belting out a big heavenly melody line, soaring high above the clouds in a spellbinding groove alongside the sequencers. After that a different electric guitar (?) sound takes the track towards its conclusion, and it's all a bit Manuel Gottsching at this point, then for the final three minutes it becomes almost FLOYD/Gilmour-esqe with the guitar really taking off and flying high in a bloom of improvised melody - I love it!
'Ende - Abschied [End - Farwell]' is almost twenty-tow minutes of sheer heavenly bliss - and for me, this track is the real killer on the album! Opening is a sea of warm, symphonic string-synth textures that are almost Klaus Schulze 'X' like in feel, there are chord changes and understated melodic leads to die for, all overlaid by gorgeous rippling space synth touches that make it almost Jarre-like a times. There is a real feeling of heavy emotions built into this track as the keyboard textures swell and sway in beautiful motion!
At just past the four-minute mark this fantastic Mellotron choir (male/female) adds an amazing new layer, then a Mellotron flute melody spirals up from nowhere bringing jets of pure sunlight to the mystic wall of orchestral tones being generated by the keyboards. At just past the seven-minute point a slow, brassy lead synth creates a sombre melody to die for, and it's all a bit like PINK FLOYD's 'Shine On You Crazy Diamond-Part One' really, then there's a change at the nine-minute mark where a sea of stirring string synth are joined by a crystalline synth melody and more cascading and spiralling electronic Jarre-meets Schulze like sounds. The chords move up the scale a few times as the section builds beautifully with more electronic textures shooting here and there over the stereo spectrum. All this time the intensity is building in a fantastic wash of hypnotic symphonic sound the likes of which I haven't experienced for a long time in a synth music album. Another change at the
fifteen minute make sees the return of the heavenly massed Mellotron choirs to lead the track towards it's final few minutes of majestic electronic bliss, with the sequencer sounds still sprawling all over a panoramic picture that is awash with sonic colour. For the final few minutes a gorgeous guitar synth sound delivers THE most emotive melody line with added flute-like textures, all ending what is one stunning piece of emotion fuelled electronic symphonic music in real style.
This album is much more that your average "Berlin School" release - the musicality in all three tracks is strong and concise even tough the construction of the music is surely improvised. The fact that each of the three tracks follows a different path only adds to the fact that 'Aus dem Nichts' is a joy to listen to from start to finish. As to who it is…your guess is as good as mine, all I know is he is really good!
01. Anfang - Entstehung [Beginning - Development] (20:20)
02. Mitte - Leben [Mid - Life] (21:00)
03. Ende - Abschied [End - Farwell] (21:44)