Melody!!! There's nothing to say that a synth music album can't be cosmic, rhythmic and tuneful too!

All to often, people can confuse melodic content with something that has a twee tune on top of an insipid rhythm and set to an uninspiring backdrop - THIS superb CD is just the opposite! With 12 tracks over more than seventy-eight minutes of music, you will indeed find acres of space synths, loads of powerful driving rhythms from electro-percussive instruments and sequencers - and lashings of melodies and oceans of stirring string synth passages allied to an occasional NASA-like sample or two.

But what makes '8th Nerve' work way better than any other CD of its kind that I know - and I've never been one for the more overtly melodic end of the synth music spectrum - is its sheer breadth of arrangement, depth of sound, brilliance of composition, attention to detail, and, above all, a warmth that comes only from musicians who absolutely adore what they're playing. There's no reason why any synth fan, from those of Jarre & Kraftwerk to Schulze & Tangerine Dream, should not find this album anything but absolutely riveting and a total joy to hear from start to finish.

The rhythms are beefy and solid, decidedly 'synth' but with just a nod towards chill-out, while the string and textural synth backdrops are pure cosmic bliss, and over all of this are flowing, driving, drifting and multi-layered rivers of melodic delight constantly moving and rising up, the whole being way greater than the sum of the parts.

In essence, it's a class act - I defy anyone with a love for good solid chunky and easily accessible synth music not to get a real kick, and hours of listening enjoyment out of this CD - It's got that certain something - something you can't readily define - The 'X' Factor if you like, that makes it so much more than just your average synth music album - Of its kind, I don't think I've one heard better!

Andy Garibaldi (CD Services)

Sadly all of the earlier RS CDs are now sold out. The GOOD news is that they have just released a brand new album and it tops all their previous works. Powerful sequences and wall of sound electronics surge from one track to the next. At 78:46 playing time it's a real dose of classic Teutonic electronics in the Berlin School tradition. (Packaged in a deluxe, tri-fold color Digipak)

EUROCK

At last, a new Rainbow Serpent album! And what a triumphant return it is. Even though there are twelve tracks listed they all form one wonderful continuous piece of music. 'Audioframe' is certainly an impressive start. Very deep bass rumbles give way to an exquisite rhythm with just a hint of Eastern promise in the backing. Near the end we descend to lush deep pads over which dreamy sonic swirls move like the wind blowing a light mist. Seamlessly drifting into 'Mindmachine' the pace quickens again as rhythm, melodic motif and chugging sequence all combine together to provide an excellent foot tapping, body moving number which gets even more insistent as the track progresses. This would have been an awesome track if it hadn't been spoilt slightly by some irritating vocal effects that come in just before the sixth minute and return for another short reprise in the last minute (for me the only negative comment I can make about the album). Thankfully each time they only last for a few seconds.

'Radiotrip' is another highly syncopated number. Subtle little melodies nestle into the middle of the mix attracting the attention first one way and then another. There are some radio commentary type samples but they work well amongst the music and are not overdone. All pulsations depart as we enter 'Winterlandschaft'. Initially it had the feel of some of the more atmospheric moments from Johannes Schoelling's 'White Out' but then takes on a chilled, gently rhythmic blissed out feel. Melodies are used sparingly but this makes them even more effective like light shinning off ice-coated mountains. As the track progresses it even becomes quite Schulzian. 'N-Tropical', appropriately, does have warmer tones to it. Again it makes use of subtle melodies but this time they are quite uplifting, even happy. Then in complete contrast we get the very moody and atmospheric 'Edge of Reality' full of cold sounding cosmic winds and metallic percussion. The mood does soften somewhat a minute in as things become even spicier but then we keep returning to quite ominous, even spooky passages.

Strange rhythms start up as if aliens were emerging from beneath the planet surface taking uncertain steps which gradually become more confident as the rhythm itself gains added momentum. It's a track which develops wonderfully throughout its duration, rapidly moving between one sub section and the next. The sequences really begin to roll again as we enter 'Third Ear'. A strident melody makes an entrance as further rhythm is added. Another lead line, this time on acoustic guitar (courtesy of Christoph Rinke) is a welcome introduction and sounded like a cross between Robert Schroeder and Daley & Lorien. What a superb melodic track this is.

'Planet Audio' like the earlier 'Edge of Reality' has a brooding atmospheric beginning. More radio style samples, this time on a cosmic theme and a steady rhythm become the main focuses of the track. 'Retropolis' increases the pace, its energy erupting from the speakers. 'Pibgorn' is also rhythmic but a lot subtler with breezy flute layered over the top. The pace is, oh so slowly, increased as we progress creating that hint of tension. 'See- Not Have' is a gentle track with soft pads and touches of piano. In the second minute some 'squelchy' rhythms start to form which are then joined by more strident ones, developing into quite a groove with nice contrasted acoustic guitar melodies. This groove becomes even more insistent and foot tapping after the half way mark. It is really quite an optimistic track. This sense of optimism doesn't last however as we end with 'Noosphere' which turns out to be quite a dark atmospheric number.

To sum up I would say that, amazingly, Rainbow Serpent have managed to use modern production techniques to give the overall sound a contemporary touch but still maintain an organic feel so evident on many of their previous albums.

DAVID LAW

The twelve pieces included in this workd are pure electronic music, with the philosophy of exploring new sonic continents nonetheless without abandoning melody and rhythm. The style, electronic, agile and with a liberal use of sequencers, enters within the realm of Space Music, although with traits of innovative Pop and Techno. The melodies usually are warm, lively, in an atmosphere typical of a soundtrack for an adventure movie. Most noteworthy is the track "Radiotrip", where Rainbow Serpent take us to the most impressive and transcendental part of their music. In actual fact, this is a magnificient album.

EDGAR KOGLER

The 8th Nerve showcases Gerd Wienekamp and Frank Specht doing what they do best, mixing retro and modern synth elements with ease. "Audioframe" starts with a slow tempo and keeps it going, nothing fancy but it works well. "Mindmachine" is a very typical sound for them with a catchy beat and sequencer, although it runs a tad long. A few tracks fall into this category, but then again, some may want to just chill and get hypnotized by each groove. "N-Tropical" is full of bubbly energy, the tight bass and sequencing sounding like recent upbeat output by Ian Boddy. "Edge of Reality" starts as floating ambient and ends with tribal rhythms. "Third Ear" has great variety, starting with a synth-based acoustic guitar lead line. This stops abruptly and moves into a mellow string section with various cool sound effects. Then it kicks up a notch with synths and sequencing sounding a lot like Tangerine Dream from around 1981's Exit album. The acoustic guitar lead resumes, a nice counterpoint to the synth sounds. Also very good are mellow atmospheric numbers such as "Planet Audio" and "Winterlandschaft," both starting as relatively formless ambient selections that evolve into softly undulating rhythms and gentle soothing electronics. "Retropolis" has a jamming keyboard riff that cooks right along. "Pibgorn" is mostly about the beats, with ethnic synth touches. The 8th Nerve gets progressively stronger, culminating in the excellent grooves of "See - Not Have," a laid-back satisfying melodic closer, followed by the dark epilogue "Noosphere."

http://mysite.verizon.net/res7m910/reviews.html

This is now the eighth studio album from the German duo Frank Specht and Gerd Wienekamp (who is also responsible for production and artwork). It comes four years after their album "Voice Of The First Day".

Old times are revived as we listen to this ample 78 minute long disc: the twelve tracks contain musical reminders of Klaus Schulze (for example "Dig It"); influences from the "sequencer period" of Tangerine Dream; and also of Kraftwerk ("Radiotrip"). There are also lots of spacey sounds, or catchy rhythms and above all, admirable sequencer work.

A drawback, perhaps, is the 'recognisability factor', and that at times, the accompanying disco-beat style rhythm such as that in "Planet Audio" didn't make me want to linger too long (I ended up skimming the parts with superfluous metallic voices). All tracks - with the exception of the last one - move fluidly into each other, presenting a coherent whole. It's like an absorbing journey through space: wholly in the style of earlier releases by these two amateur astronomers.

A nice example of that style is the attractively structured track "See - Not Have" which begins with spacious layered sound, which gives way to fine rhythm, followed by beautiful, tranquil melodies, supported by a stronger foundation of rhythm and sequencer.

The last track "Noosphere" sinks away into no-man's-land with its vague and threatening 'soundscapes'.

The album is too varied to be fairly described as boring, and is nevertheless an absolute must for enthusiasts of the more rhythmic Schulze.

Menno von Brucken Fock

After a gap of four years since the fantastic Voices of the First Day the duo Gerd Wienekamp and Frank Specht -- better known as Rainbow Serpent -- returned with The 8th Nerve. It was worth the wait though. Across twelve continuous tracks, and about as much music that can be fitted onto a CD, they're on top form with their own brand of melodic sequencing long form electronic music.

What marks Rainbow Serpent as different from most electronic music artists is that melody is an integral part of their sequencing passages, and the arrangements have a unique style and lushness. What is not unique is their use of found or concocted spoken word passages.

Though the tracks segue to make continuous listening across the album, each one is distinct. The longest track "Mindmachine" starts off with the duo's trademark super lush chords and distinctive use of reverential amorphous chorales drifting hither and thither. It then bursts into a busy rhythmic passage featuring lots of electronics and vocoder style voiceovers.

The track "Planet Audio" breaks the mould a bit. Ethereal chorales and ghostly electronic washes and whistles lead up to a rhythmic section where percussion flits across the soundscape while shimmying drum effects come and go. All manner of sounds pass by, from ripping effects to otherworldly pads, and at times a Russian voice speaks about some kind of space mission.

At the heart of the duo's style appears to be the influence of 1980s Tangerine Dream. This is particularly evident on "Retropolis" where it's back to the classic Rainbow Serpent elements of uptempo percussive rhythm and sequencing shrouded in a silvery sea of pads and melodic sonic adornments.

The 8th Nerve is Rainbow Serpent's most polished and cohesive album to date, and consolidates their reputation, as far as I'm concerned, as the leaders of Tangerine Dream derived sequence driven music. Not every track is great but it all fits together well, and sonically it's fantastic.

Melliflua

Neben SPYRAs neuem Werk flatterte auch diese 7.CD des Duos RAINBOW SERPENT in meinen Player. Wieder in einem dreiteiligen Digipack mit tollem Cover, das wie die graphische Umsetzung eines Sonnenflecks aussieht (Frank Specht ist auch ein sehr guter Astrophotograph - was ihn mir schon jetzt sehr sympatisch macht).

Der Kontrast zu dem sehr ruhigem, fast statischem SPYRA-Werk ist recht groß. Zielt dieses eindeutig auf die 70er Jahre der "Berliner Schule", richtet sich RAINBOW SERPENTs "The 8th nerve" eher an den 80ern aus. Die Sounds klingen 'moderner', 'digitaler', Rhythmussequenzen und elektronische Drumparts sind ein integraler Bestandteil der Musik und allerlei Soundeffekte wie verfremdete Stimmen (z.B. Radioausschnitte mit z.B. der APOLLO-Mission in "Radiotrip" oder "Audio planet") bereichern die Klangwelten. Daneben beherrschen sie aber auch freie Klangimprovisationen, wie in den ersten Minuten von "Edge of reality" (mein Lieblingsstück der CD) und in "Noosphere".Wunderschön auch das Zusammenspiel der akustischen Gitarre Rinkes mit sanft schwebenden Synthesizersounds und verhaltenen Beats in "Third ear".

Erinnert hat mich diese CD sehr stark an Thief von TANGERINE DREAM. Allerdings klingt Rainbow Serpent fröhlicher und rhythmisch gradliniger. Neuere Stilmittel der elektronischen Musik fließen ebenso ein, wie ethnomäßige Anklänge.

Obwohl ich keine anderen Aufnahmen der Band kenne, macht diese CD einen gelungenen Eindruck. Für meine Klangvorstellungen etwas zu viel gradlinige Rhythmen, was aber durch die vielen Details in den Arrangements und Sounds wieder wettgemacht wird. Wie sagte Siggy in seiner Besprechung zu Voices of the first day: "federleicht, hell und voller Wärme" - dem kann ich nur zustimmen, allerdings sind auch ein paar dunkle Ecken hinzugekommen, die ihnen nicht schlecht stehen.

Andreas Pläschke

Plus j’écoute la musique de Rainbow Serpent, plus je découvre un duo audacieux qui mélange habilement les genres. Partant des bases de la Berlin School, tout en flirtant avec une techno atmosphérique, avec une approche très contemporaine et progressive, Gerd Wienekamp et Frank Specht propose en The 8th Nerve une aventure musicale qui va au-delà des standards établis avec une approche sonore des plus éclectiques. Près de 80 minutes d’une musique qui coule sans arrêts, avec une diversité riche en surprises sonores et en modifications rythmiques réparties sur 12 titres tous aussi étonnants les uns des autres. Audiogram démarre ce voyage musical sur un rythme lent. Un rythme en boucle, ourlé de vocales douces et zombiesques qui tanguent sur un synthé aux fins accords minimalismes triturés par des percussions électroniques aux frappes douces et bariolées.

Un mouvement langoureux nappé de belles et onctueuses nappes mellotronnées qui sont brièvement entrecoupées par des réverbérations métalliques. Une intro hypnotique qui progresse doucement vers des rythmes plus névrotique et hachuré avec Mindmachine et son approche à la Kraftwerk. Mais un Kraftwerk plus contemporain, dont les frappes rythmiques hoquètent sur des oscillations tranchantes, dans un univers vocable à peine audible qui nous suivra tout au long de The 8th Nerve. Le rythme s’accentue sur des percussions nerveuses et lourdes, embrassant légèrement une approche techno avec un synthé aux accords mordants dont les claquements percutent avec une étrange sonorité.

Présentes un peu partout sur ce brillant opus, des étranges réverbérations sillonnent la structure musicale la poussant vers un monde ambiant, avant d’exploser sur de lourdes percussions et des vocalises démentielles dans une finale d’une ethnie indéfinie qui se moule à Radiotrip et les voix robotiques de Kraftwerk. Un titre feutré d’une lourdeur vaporeuse qui roule sur une séquence vitaminée de soubresauts minimalismes et soutenue par les mouvements circulaires d’un synthé métallique. Des percussions nerveuses encadrent ce tempo hypnotique d’où s’échappe de belles grappes harmonieuses à la Schroeder, sur un synthé aux solos ciselés. Winterlandschaft nous entraîne dans les secteurs ambiants atmosphériques, avec une approche cosmique douce et sereine.

Des arpèges cristallins sautillent avec une clarté percutante dans un environnement circulaire où faibles percussions et mellotron déviant ceinturent une structure qui s’anime doucement, sans jamais éclater. Un bel élan de tendresse cosmique, tout comme Planet Audio, qui se poursuit sur le doucereux N-Tropical et ses accords xylophonés; un peu comme si nous serions dans le sable des Antilles. Edge of Reality poursuit cette quête atmosphérique avec un titre étonnamment envoûtant. Une intro atonique, truffée de riffs d’un clavier corrosif qui échappe des résonnances intrigantes. Des percussions éparses émergent de cette tranquillité stellaire, dessinant un rythme sans cadence qui pulse avec indiscipline, avant de retomber dans les douces pénombres spatiales. Un titre à l’image de The 8th Nerve, car on ne devine jamais l’évolution des structures musicales.

Third Ear vous charmera à coup sûr avec sa séquence croissante et sa guitare acoustique qui moulent une romance interplanétaire sur un synthé mielleux et des percussions abstraites, dans un univers sonore complexe qui cogite constamment entre l’ambiant et le doux rythme. La 2ième partie est plus mordante avec ses gros riffs qui percutent une douceur exécutoire qui séduit, autant qu’elle enivre. Un splendide morceau. Suivant les traces atmosphériques et métalliques de Planet Audio, Retropolis ouvre avec un synthé corrosif qui crache un venin ocré avant d’embrasser une rythmique hoquetante sur une ligne de basse ondulante, ornée d’un synthé aux boucles cosmiques et d’un clavier aux accords harmonieux. Un titre vivant qui se dirige vers le suave Pigborn et son approche synthétisée ethnique galactique sur percussions échotiques et tribales, enveloppée d’un mellotron lourd qui embrume à merveille les lamentations d’un synthé très lyrique, parfois poétique.

Un superbe titre qui débouche sur la merveilleuse intro cosmique de See-Not Have, qui doucement crescende sur des arpèges limpides, des riffs séquencés sobres d’un clavier discret, dégageant un tempo sensuel qui langoureusement se torsionne sur des solos d’un synthé sombre. Un beau titre musical qui se jette dans les nébuleux limbes de Noonsphere et ses grincements métalliques d’un univers éclectique qui est l’apanage de ce merveilleux effort d’un groupe à découvrir absolument.

Guts of Darkness (mercredi 7 octobre 2009)