When Synco finished I tried to get into Frank's solo work but it failed to do anything for me. A little while ago however a customer said I should try him again as he had come along way recently. And he was right. This and another of his CDs I purchased were both excellent. The title of the CD says it all really as if you are into the Berlin School you should check it out. We start with the twenty-five minute 'Berlin in the Evening'.
A simple four-note sequence starts proceedings. It comes and goes, each time becoming more complex. Another sequence can be heard low in the mix in the second minute. It builds and builds becoming the more interesting of the two but also combines well with the original sequence as things start to settle down, taking off in the fifth minute with the introduction of a steady rhythm and soon after a playful lead line. A rather satisfying yet quite complex groove is developed. There are some subtle ethereal pads in the background but really the main focus is the sea of pulsations. In the tenth minute another heavier rhythm enters and there is now so much going on it is hard to take it all in.
Three minutes later things calm down a little as we ride on the back of a single sequence. By the sixteenth minute very subtle rhythm again comes in. We hold a very similar pattern for quite some time until with about three minutes to go things become much more rhythmic again taking us virtually to the end. A lovely shimmering sequence and restrained rhythmic loop get 'Berlin at Night' underway. It becomes quite hypnotic. Around the sixth minute the original sequence intensifies and another comes in to join it. It's excellent, mesmerizing stuff. Three minutes later a heavier rhythm is deployed but it doesn't detract from the wonderful sequence which continues well after the rhythm departs, eventually starting on a slow fade only finishing with the end of the track. 'Berlin in the Morning' starts with pads. A lead line comes and goes like the first twinkling rays of the sun as they rise above the horizon. It isn't long however before another sequence / rhythm combination is deployed. It sounds like Klaus Schulze especially in the lead line department but the whole package is fairly reminiscent of the great man. It's the best track on the album, every element complimenting each other perfectly. Sequences make a tentative entrance at the start of 'Berlin at (old) day(s)' but it takes them a minute or so to settle down into a couple of separate layers, bouncing and morphing around each other very nicely. A lovely lead floats over the top whilst the pulsating backing becomes more complex but also exciting. In the fifth minute the pace is quickened still further. Little Schulzian touches similar to 'Drive Inn' are added as is a bass beat. It's another cracking track. (DL)