Tracklist 01. Earthshine 02. Cosmic Highway 03. laZercowboys 04. Canopus Flight 05. Lost in Space 06. What's Out There? 07. Type 999 Borading 08. Some Form, Some Dimension 09. Callisto Ghost 10. Black, Deep and Vast 11. Super Type 999 12. Every Grain of Sand 13. Planet Home 14. Gaia
Release Date 20th June 2014
Press Release Meet the laZercowboys, a bunch of high-spirited astronauts who are hurtled into deep space after losing control over their technology… Concept meets catchiness on SaturmZlide’s second HANDS album, which soundwise features a gripping mixture of space atmospheres, vocoder voices, extraterrestrial grooves and, of course, tough industrial rhythms. “laZercowboys” is extremely club-compatible, but also a strong recommendation for home listening through its flawless production value - and its unique leitmotif. The intro “Earth Shine” sets the mood: Infinity, fear, unanswered questions – astronaut Raphael is the protagonist of this story who has to deal with exceptional circumstances. Helplessness threatens to drive him mad; a dark mood dominates his feeling of being “Lost in Space”. The trip is a fast-paced one, with the beats pushing and shoving along the “Cosmic Highway”. Raphael realizes he might already be aboard space cruiser 999, where in “Type 999 Boarding” rhythm’n’noise meets vaguely 90s style up tempo house sounds (speak of wormholes there!). Approaching “Canopus Flight” and the “Callisto Ghost” must be a true challenge, aggravated by heavy magnetic storms, or where those just nightmares? “Black, deep and vast” space lies before us, infinite blackness in sound and vision, but then “Super Type 999” propels the seeker onward (and just doesn’t it sound like an experimental cousin of an Underworld track?), and “Planet Home” is in sight – a two-faced 10-minute opus, where a banging rhythm submerges into lush ambience with the prog-reference that SaturmZlide wouldn’t do without. What matters in the end is the ultimate beauty of “Gaia”, and another genre hybrid, minimal electro pop with an industrial edge, a melod...
Tracklist 01. Rainlands 02. El Door Rado RMX 03. Powerplant 04. Bionic Ocean I (Blue Engines) 05. Interceptor 06. Girl Under Glas 07. World Time Crash 08. Half of the Planet (Spiritual Mix) 09. The Sky
Release Date 16th April 2012
Press Release “BeVor” is German for “before” - but just what does that mean in respect to this album? In some ways, this CD is rather an “after” - Hamburg’s Alexander Marco finally releases a full SaturmZlide album, after nearly two decades of musical activities in various bands, genres and styles, and after a well-received CD-R on Fich-Art in 2009. Anyways, Alex is an atypical musician, following a late vocation to the call of Industrial and Rhythm’n’Noise, who brings along the experience of his past musical endeavours - and lets them shine through in his compositions. “Bevor” is a somewhat enigmatic crossbreed of musical currents that make for a strong blend. The overall essence is the rhythm, no doubt about that, punchy and groove-infected, making this album a tight-knit unit despite the many different ideas which have been put into practice. So, let’s roll with it: “Rainlands” is a moody intro with tribal downbeats and a steady build-up. Then starts the Rhythm Noise section of the album with the club recommendation “El Door Rado Rmx” – a relentless noise groove and a commanding vocal sample do the job proper! “Power Plant” and “Interceptor” combine distorted rhythms with strong atmospheric breaks, while inbetween those “Bionic Ocean I” surprises with it’s beatless, experimental atmosphere. “Girl Under Glas” then adopts a different line: Hard beats with a broken edge and full-on modern electronica sounds, an update of the style you shouldn’t call IDM. “World Time Crash” and “Half Of the Planet” appear in similar shape with the beats more on the straight side though. The album then closes with a magnum opus, a nearly 25 minute suite in seven movements entitled “The Sky” that revisits all the styles and elements from the album and melts them with new ideas even more out of bounds, with a psychedelic atmosphere being the foundation stone upon which this monumental composition is erected. It starts with a straight rhythm track, plunges into atmospheric sounds; and then come in some guests: The 3rd part (“Drifting”) features the guitar playing of some Andreas Hellriegel, giving it a prog rock flavour, while the 4th part (“Timerider”) is a bouncing rhythm track, featuring Industrial veteran Philipp Münch. The following parts slow down considerably, p...
