Erik Seifert – Core

2 reviews for Erik Seifert – Core

1. 

   Sylvain Lupari – 2022-11-22

   This Erik Seifert‘s new opus listens to as a strange spatial journey. Mixing the soft melodious approaches of Vangelis to Jarrian rhythms, while visiting heterogeneous sound atmospheres of outer space flights, Core evolves as a long track segmented in 7 parts in a sonic flora to sci-fi smells, as if we were aboard a space shuttle which floats slowly among the astral cloudiness, the planets and the stars. A beautiful album filled with electronic rhythms which progress melodiously in Jean Michel Jarre‘s soils.

   An electric current sparkles on the opening of LHC, freeing a swarm of sound ions which floats in a cosmic mist, a little as the inside of an awakening spaceship. Everything is under the hold of gravity; melancholic chords of a misled piano to metallic strata of a sleepy synth, we are in weightlessness, in an intersidereal emptiness. A soft twinkling sequence appears from this astral void. She spins with the grace of a ballerina in a serene atmosphere, where the pianos forlorn keys accompany her shyly before a latent tempo turns up on the horizon. Around the 7th minute it bursts on slightly banging percussions and beautiful line of wave-like bass which spits pulsations to hybrid heavinesss in a musical context where the tempered rhythm crosses the ambient, but delicately musical, atmospheres on a synth to Arabic and waltzing layers. A beautiful track bursting of a spatial melancholy and which is melts to the noises of a space station gear.
   According to the introductory protocol of LHC, ALICE releases itself from the mechanical influence with a suave tempo which waves delicately on a subtly stroboscopic structure. Hyper delicious and extremely melodious, the synth kicks away beautiful languishing strata to melodies of people from the sands. In the middle point, the rhythm becomes more caustic and jerks on a delicately anvil approach, pursuing his melodious destiny on more hammered percussions, which injects a heavier tempo.
   The journey continues with ISOLDE and its slow atmospheric evolution which depicts skillfully the movements and the everyday life of cosmonauts moved away from their homeland. A very cosmic musical piece where the synth spreads its analog tones, among solos and synthesized melodies that shape a slow temporal waltz.
   AD continues the exploitation of ISOLDE‘s galactic atmospheres. With the difference that the atmosphere is heavier, with its threatening synthesized streaks which scan the environment, such a laser eye among choirs condemned to perpetual space. Around the 4th minute, the synth harmonizes solos which get lost under pulsating bass and well feed percussions, drawing a languishing rhythm in a sound universe rich in heterogeneous striking which encircle an insistent sequence coming out of nowhere, of which synth solos embellish themselves pretty well out of the eye to scanning resonances. Another track very well structured.
   SPS and ATLAS are 2 tracks in the purest Jarre tradition, Calypso and Chronology areas. Tracks with amphibian consonance which move on nervous rhythms, great awaken percussions and a hatched girdle sequence which mislays, from time to time, towards more atmospheric passages. A hoochy koochy track, no doubt about it!
   The dragonfly sequence of Wunderwerk is a pure hearing delight. Arpeggios to charming jolts which cross slamming percussions of which resonances throw to Moon Machine mood, exit Jean Michel Jarre. Another great track, provided with a slightly stroboscopic rhythmic structure where the ambient rhythm embraces lazily a synth to steams of a solitary sax and catchy rhythms in a sci-fi atmosphere, here is the result of Erik Seifert‘s 5th opus.

   An album high in tones and in skin-tight paces, worthy of a dance floor for fans of twiddle dance, where melancholy transcends the rhythmic simplicity. CORE; a cd for fans of Jarre, even Vangelis, Chronology and Direct areas.
   The best EM melodious album of 2009.

   2010. Sylvain Lupari

2. 

   Erik Seifert – 2022-11-22

   Das Thema Cern begleitet mich schon sehr lange. Es began im Jahr 1989, als ich fr die Fernsehproduktion Steins Fernsehen als Ton- Maz Techniker arbeitete. Damals drehten wir einen Imagefilm ber den Elektronenbeschleuniger. Wir waren ca 2 Wochen in der Schweiz und es war berwltigend was es dort unten alles zu sehen gab. Als ich das erste mal 160 m tief aus dem Fahrstuhl ausstieg, hatte ich das Gefhl in einem James Bond Set zu stehen. In einer riesigen Halle waren 3 stckige Detektoren untergebracht. In alle Richtungen zweigten Gnge ab. Es war atemberaubend!

   Schon damals interessierte ich mich fr elektronische Musik a la Jean Michel Jarre, Tangerine Dream oder Patrick O’Hearn. Ich stellte mir vor wie Musik die das Thema Cern hat, sich anhren mute. ber die Jahre reifte eine Idee, die aber mit meinem damaligen Equipment nicht zu realisieren war. Bis zum Jahr 2004, als ich mein Studio komplett auf digital umstellte und mir auch der Computerspeicher keinen Strich mehr durch die Rechnung machte. Ich wute, da ich viel mit Sound Effekts arbeiten musste um den technischen Aspektbedienen zu knnen. Ich wollte die Energie, die Power, und auch die technische Schnheit der Anlage in meiner Musik wieder finden. Des weiteren hatte ich vor dem Projekt aber auch einen Soundtrack hnlichen Charakter zu geben. Es sollte bombastisch klingen durfte aber unter keinen Umstnden den Synthetischen Klang vernachlssigen. Ich arbeitete mit neuen Synths, wie dem Omnisphere, Evolve oder dem Elements Plugin. Ich stellte eigene Drumsounds her und setzte FX Sound als Drums ein. Wie bei keinem anderen Album benutze ich eine Unmenge von Effekt Plugins. Manchmal bis zu 8-9 Plugins in Reihe. Ich benutzte eine Reihe von Soundlibraries wie Soundstorm