Squelchy, almost manic, sonic pulses move up and down the audio spectrum then gradually after the initial barrage settle down to wonderful edgy dark textures.

'Le Vant Dans la Plaine' is certainly an inventive track and we are only three minutes into it. Great crashing loping rhythms enter like the steps of a giant. Lovely swirling melodic motifs add a further sense of movement. It's all quite complex but also really beautiful. Throw yourself right into the gentle sonic vortex to get the most out of it.

We flow straight into 'Twelve Celli', sampled wordless vocal colouring serenely wafts from the speakers over string pads then solo cello and violin sounds. This is so tranquil and spaced out, having a very Schulze / Tiepold feel to it. A steady rhythm provides structure without damaging the lovely peaceful atmos until a more urgent sequence begins to make itself heard. Even so the beautiful cello never becomes the junior partner. The earlier references are now even more obvious. What a wonderful composition this is.

Another tinkling sequence starts up as we progress into 'Tangram' (no it's not a cover version!), cosmic twitters launching skyward. A second faster sequence joins the first along with a ticking high hat line. Things are given a little extra oomph as the drums come in. It's a bit like a Broekhuis, Keller and Schonwalder interpretation of Klaus' style (if you know what I mean!!!). Whatever, it's another wonderful bubbling track, just close your eyes and let yourself be taken along with it.

'Calais' is a relatively short piece starting off as quite a dark cosmic number but then developing into a blissful gently melodic track with ethereal wordless vocal colouring.

'En Passant' initially carries through with this mood, introducing just the faintest hint of melancholy. The subtlest of rhythms then a gentle caressing melodic sequence bubble to the surface. A new bass sequence rumbles into position, the original sequence stepping up a gear in response. We get a tranquil interlude in the tenth minute but when the drums re-emerge they come in flourishes and are deeper than before. There is quite a serene feel but with a sort of restless edginess on the fringes.

'Memories' (again not a cover version- thank goodness!) is one of the best tracks on the album; a fantastic short tender gently melodic piece which I wish could have gone on longer.

The final track 'Ruckblenden' again starts in an ominous dark cosmic mood but doesn't waste much time deploying the sequences (which have quite a disorientating stereo effect when heard on earphones!). Once more, Klaus Schulze is the obvious comparison. Rhythm and a high hat line fall into formation then yet another sequence, this time quite melodic, becomes the main focus. It's really quite complex but not remotely bludgeoning. Mellotron sounds complete a perfect package. An absolutely stunning track and fantastic way to finish off the album.

David Law

Sieben Stücke, die alle nahtlos ineinander übergehen, beinhaltet die CD. Mit einer Art elektronischem Motorengeheul geht es beim Opener "Le Vant Dans La Plaine" los. Danach folgen weitere Effekte aus jaulenden Synthies, metallischen Klängen etc., die den Anfang in einem recht experimentellen Licht darstellen. Das hat zu Beginn doch mehr von Klangmalereien und Stimmungsbildern, als von Melodieführung. Das ändert sich aber nach etwas mehr als vier Minuten, denn dann werden diese Bilder von einem Rhythmus unterlegt und eine flächige Melodielinie zeigt erste Konturen von Harmonien.

Im folgenden "Twelve Celli" kommen mir aufgrund des weiblichen Gesangs, der aus Samples besteht, die Inferno-Produktionen von Tangerine Dream in den Sinn. Zur Mitte dieses Tracks fängt durch den anziehenden Rhythmus, der eine hypnotische Wirkung auf den Hörer hat, und die Violinen-Samples von Thomas Kagermann die CD / das Konzert an, sich langsam zu entwickeln und einen in ihren Bann zu ziehen.

Das folgende "Tangram" erinnert vom Namen an Tangerine Dream, ist vom Stil aber doch um einiges entfernt und versprüht durch die glasklaren Sounds das Flair, das auch schon "The 8th Nerve" auf mich übertrug. Hier kommen Freunde Sequenzerorientierter Musik voll auf ihre Kosten. "Calais" versprüht einen Hauch von Schiller mit einer riesigen Portion Rainbow Serpent. Das Stück gehört zu den Highlights des Albums.

Und "En Passant" mit seinen fast 20 Minuten Spielzeit ist ein Sammelsurium der faszinierendsten Klänge. Ein Stück, das mich schon in Satzvey vom Hocker gehauen hat. Für mich ist dieser atmosphärisch dichte Track, dessen Fluss man sich bedingungslos hingeben muss, der Beste auf dem Album. Allein dieses Stück rechtfertigt den Kauf des Albums. Und "Memories" schließt mit seinen nur fünf Minuten ebenfalls an diese Qualität an.

Zum Schluss gibt es mit "Rückblenden" noch ein Schmankerl, denn bei diesem Stück agieren Rainbow Serpent zusammen mit Mario Schönwälder. Das Stück ist ganz in der Tradition der "Berliner Schule" gehalten. Er klingt verdächtig nach Tangerine Dream und Klaus Schulze der 70'er Jahre. Allerdings spendierten die drei dem Stück noch einen stampfenden Rhythmus, der ebenfalls hypnotisiert.

"Live@Liphook 2007" ist ein würdiger Nachfolger von "The 8th Nerve". Diese Musik ist gemacht, um süchtig zu werden. Wer sich einmal diesen faszinierenden Klängen von Rainbow Serpent hingegeben hat, der kommt nicht so schnell wieder davon los. Meine Meinung: Absoluter Kaufzwang!

Stephan Schelle, April 2008

I lost sight of the interesting German band Rainbow Serpent, aka Frank Specht and Gerd Wienekamp, after Arndt Maschinski's label Ardema Music (which released their music) discontinued back in 1999.

Fortunately, the band is still live and kicking', as they were able to re-release quite a number of their back catalogue.

Although their music always held a strong connection to the sound of classic Klaus Schulze and the Berliner School in general, the duo always were able to make their music sparkle in its own way as they were always in search for new sonics of modern electronic instruments.

The 71-minute "Live @ Liphook 2007" shows quite some musical progress. Although the album starts rather experimental with lots of seeking sounds, more structure is added as tribal drums/percussion show up with modern synth pads.

The 12-minute free form "Twelve Celli" shows an overall classic touch at its start with violin and female vocal samples. But they are shortly followed by space music flavours, which remind of Xolotl's "Procession", but then tribal drums, more string-textures and sequencing come in.

And then there's the very nicely rendered "Tangram", with fx's, multi-layered Berliner School inspired sequencing and sweeping soloing.

Another highlight is the 19-minute "En Passant", which sets out as a great spacious outing, to which a beat, delicate sequencing, fx's and melodic, airy textures are added.

Things slow down with the beautiful tranquil, melancholic sonics of "Memories".

The last piece on the album is the excellent "Rückblenden" (co-composed and written by Mario Schönwalder), which features great mellotron textures and synth pads over a sequencing pattern, which resembles Schulze's Moondawn-track "Floating".

Although the first track on this album is a rather tough nut to crack, I sure recommend this live album.

Bert Strolenberg

Wow, how in the world we were not paying better attention to the amazing duo from Germany!?! We've made up for it over the past 18 months listening to nearly the whole discography, but suffice to say for anyone looking for variety, great production, and genre crossing synthetics, Rainbow Serpent has got in equal measure. Their latest live album should be awesome.

Bradford Warner