Artist:Hans-Joachim Roedelius & Tim Story
Album: Inlandish
Year: 2008
Genre:Neo-classical, Ambient, Electronica
Country:Germany - United States
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The orchardist
Inlandish is the second collaboration between American neo-classical composer Tim Story and Hans-Joachim Roedelius of legendary German groups Cluster and Harmonia.Hans-Joachim Roedelius born 1934 in Berlin, nurse, physiotherapist, masseur, escort of the dying, composer, writer, poet, foto-collage-artist, producer, curator.Foundermember of the artslab "Zodiak" in Berlin(1968) and groups such as : "Human Being","personare","Kluster","Cluster", "Harmonia", "Friendly Game", "Aquarello" and "Tempus Transit".
On Inlandish Hans-Joachim Roedelius and Tim Story explore musical and personal memories. Their exuberant reimaginings of ideas set forth by Cluster freely alludes to the entire history of electronic music. Roedelius is acknowledged as an artist of unique expressive power. His piano themes ground each of the 12 works, above which Tim Story integrates a wonderful jumble of atmospheric pads and thick synth leads as well as electronic buzzes, clicks and groans. Viola, oboe and cello also inhabit a few tracks and tinge each unique vignette with elegance and tenderness. The experience is an adventurous exploration, delivered as if in intimate, personal touch with the listener.
emotionally ambiguous mesmerising soundscapes
"Back In Stock. A sequel to the acclaimed Lunz project, this follow-up finds Hans-Joachim Roedelius and Tim Story shedding their original collaborative moniker in favour of recording under their own names. It's great to hear the Cluster and Harmonia veteran in such fine form (he'll be 74 this year), making effortlessly graceful ambient music that still sounds like it's at the very forefront of the genre. Inlandish is bound to prompt comparisons to Ryuichi Sakamoto or Harold Budd for the glowing, meditative piano pieces at the heart of the record, but the kind of electronic treatments and additional instrumentation reaches beyond any single theme, with some compositions simply augmented by ghostly strands of cello, while others more fully embrace digital manipulation, as on 'Serpentining'; a melding of melodic piano and humming circuitry. Of course, there's some great synth work on the album too, particularly when it comes to the vintage krautrock tones of 'Beforst', a piece wonderfully redolent of Roedelius' past. Excellent.(boomkat.com)"
