travelogue
II Wow, lots of things to say about this... I popped it in before even reading the info sheet and I immediately thought (I swear!) that these guys (or at least their vocalist) sound like the Legendary Pink Dots, but then of course I have learned that they sound like them 'cause the singer IS LPD's singer Edward Ka-Spel. In fact this is a collaboration project by Ka-Spel and Wolfgang Reffert (german musician and tour manager for Skinny Puppy and the Swiss trio Young Gods among others), who has been behind the Dark Star moniker for a decade or so. As a matter of fact this very record is a reworked re-issue of "Travelogue", originally recorded in the early nineties with the LPD, Italy's band Technogod and Gotz Adler (who also is on this re-edition). While omitting the last two songs of the original version, four new tracks have been added instead. The material is slow electronic wave music with a claustrophobic experimental vein and slow drum patterns. You can definitely still hear the echo of the eighties but also the ninetees are there. Songs like "Come To" (with the voice of Yorgos DK) might even sound a bit like Depoche Mode, but the rest of the album is less ebm/pop than that. There are more Joy Division/LPD-style beats with drum machines and industrial sounds and electronic synth-pads with a hard attack used to scan the beat and give it a musical entity (somehow Kirlian Camera style). When Ka-Spel sings it's obviously very hard to stop thinking about LPD... String pads and other layered sounds are used a lot too and even a distorted bass "Frantic Upstream" find place. Some lush distorted dark wave guitars are to be found too. There are also experimental pieces like "Solaris I" (which is one of the newer songs; '94-'97) with various sounds such as people playing pool in a bar, squeeking doors and pulsing electronic sounds. Electronic suites with more upbeat rhythmical structures and synthetic patterns ("Belvedere", also one of the four new ones). Of course all pieces feature special collaborations among which Volkmar Miedtke, Wolfgang Bear and the bass player from the german ironic-fun-punk outfit Die Ärzte (the doctors). The front cover is by French illustrator Moebius (from the cult comic book "The Airtight Garage of Jerry Cornelius"). |
travelogue
II C'è anche un po' di Italia in questo nuovo/vecchio disco di Dark Star, progetto nato nel 1988 dalla mente di Wolfgang Reffert, tour manager di numerose formazioni che transitavano sul suolo tedesco. E proprio in occasione della calata degli Skinny Puppy in Germania Wolfgang ebbe modo di incontrare Edward Ka-Spel (Legendary Pink Dots), che aveva il compito di aprire suddetti show e così prese forma il primo nucleo. In seguito venne in contatto con i nostrani (e mai troppo osannati) Technogod, allorché suonarono di supporto agli altrettanto imprescindibili Young Gods. A ciò aggiungete l?amicizia che lo legava con Gøtz Adler e la band è fatta. Tra il 1992 e il 1994 incisero (con il supporto di altri membri di Legendary Pink Dots) nove pezzi che andarono a costituire l'esordio: 'Travelogue'. Adesso l'album viene riproposto in una veste diversa, essendo state eliminate le ultime due tracce ed avendo inserito quattro nuove composizioni (risalenti al triennio 1994-97 e dove compaiono diversi collaboratori). Per essere un gruppo estemporaneo e senza obiettivi precisi vi assicuro che i risultati ottenuti sono ragguardevoli; magari il sound potrà apparire un po' datato, e d'altronde lo è, però ciò non va a inficiare il valore musicale delle canzoni, in bilico proprio tra i territori sonori solitamente pattugliati dai nomi di cui sopra (LPD e Technogod) e dove il suono elettronico viene visto sia sotto l'aspetto ritmico che in un contesto privo di battiti, senza tralasciare aspirazioni di ricerca sulle strutture e non ripulendo mai la superficie da quella patina di oscurità non invadente che traspare anche dal nome. |
travelogue
II Wolfgang Reffert's collaborative Dark Star project first released Travelogue in 1994 through Strange Ways Records/Hanseatic. While it is a bit of a shame that this CD re-release on Soleilmoon isn't a complete new album, it does include four new tracks in place of the first edition's last two pieces, and as extra nice a bonus the redone cover art is taken from the cult graphic novel Airtight Garage Of Jerry Cornelius by Möbius. Otherwise the track list is identical, and while much is of a variable quality, some of the songs on here are nothing short of superb. Reffert used to work as a tour manager for the likes of Skinny Puppy and The Young Gods in Germany and met both Edward Ka-Spel and Technogod as the respective supports acts in that capacity, and invited them to join Dark Star along with his long term friend Gøtz Adler. The basic tracks were recorded largely by Reffert, with the guests adding their unique stylings over a few years in the early Nineties. Unfortunately, this does mean that some songs such as "Opal", "Frantic Upstream" or "Come To" have a slightly dated feel to them, running along fairly standard digital drum machine and keyboard Industrial Dance-ish lines. There's a lot of programmed rhythms going on there, with some repeated vocal intonations from Yorgos DK on the latter two songs and some quite Funky guitar by Reffert and G-Frex and a load of squelchy/tinkly samples thrown into the groovy mix. They're actually entirely listenable, and drive along with a psychedlic tinge to the electronic post-Hardbeat/Rock mechanistic high-step beat. Likewise, the four new instrumentals have an air of tacked-on placelessness, being constructions by Reffert, Adler and sundry other musicians from the Freiburg area, plus Die Artze's bassist Rodrigo Gonzalez, in '94-'97. They're very much in the same style of trippy noises (the door creaks and pool ball clacks on the two "Solaris" tracks are especially good) combined with effective, complex programming which never fails to keep the drum machine or keyboard bass settings to mind. Still, they are quite engaging workouts with added synths and some comfortably swirling electronics to make the ride pleasant enough, reaching an extended delve into dynamic shifts between ambient and psychedlic noise on "Solaris II" for the conclusion. Where the real strength lies is in the Legendary Pink Dots collaborations, with Ka-Spel, The Silverman and Ryan Moore bringing their spiked-velvet touch to four tracks - the opening "Eject!" in wistful remembrance of camel trains and faxed goodbyes; "The Slice Of Life", which has that digital rhythm Reffert favours offset by some of his nifty sample stretching and ticking, while Moore brings up the bass to Ka-Spel's existentialist mantra. The results are really quite good, churned up and hesitant as they are. "Go Beyond, But..." is on an LPD/Dark Star instrumental tip, and does similar kinds of things in instrumental form with less impressive results, but with "Don't Look 'Til It's Gone", everything reaches a peak. This is one of Ka-Spel's most stunningly affecting lyrics, with a mournful sense of presaged loss delayed by immersion in enjoyment of what's available in the here and now, and is truly stunning and more than a little emotive. From a man who has provided some of the greatest insights into the chiaroscuro of the human state of being over the last twenty years, "Don't Look..." is absolutely the high point of Travelogue (I or II), helped along by Moore's searingly penetrating guitar klang and Adler's subtle bass. Bleedin' marvellous. |
travelogue
II J'avais
découvert en 1992 un album de Dark Star, "Headtrip",
qui m'avait agréablement impressionné. Officiant en
solo, Wolfgang Reffert avait réussi l'exploit de sortir un
disque électronique hypnotique et ambitieux. En 1988, étant
tour manager de Skinny Puppy et des Young Gods pour une tournée
allemande, il sympathisa avec Edward Ka-Spel (Legendary Pink Dots)
et les italiens de Technogods, tous deux en première partie
des formations précitées. De cette rencontre naquit
la collaboration entre Wolgang Reffert, Edward Ka-Spel, Technogods,
et un ami de longue date, Gotz Adler, et fut immortalisé sur
l'excellent album "Travelogue", aujourd'hui épuisé.
Nous pouvons ainsi remercier le label Soleilmoon, à l'origine
de cette réédition. Les deux derniers titres de l'original
manquent, et sont remplacés par 4 nouveaux morceaux, qui auraient
dû apparaître sur l'album suivant de Dark Star, qui n'a
jamais vu le jour. Si les premiers titres sont assez proches des travaux
de Legendary Pink Dots, agrémentés d'une texture électronique
complexe et saturée, les plus récents témoignent
d'une approche plus expérimentale. A noter également
l'utilisation d'un dessin de Moebius pour la couverture, aux décors
futuristes, délicieusement décalé. |
travelogue
II ~And
once again I find in my hands a jewel of audio work with virtually
no background information. Soleilmoon, that fine bastion of experimentalism,
has drenched me in music that defies conventions, and that has no
detailing. |
travelogue
II Après
un long silence de six ans voici Travelogue II, qui est en fait une
réédition retravaillée de Travelogue. Plusieurs
noms célèbres ont participé à cet album,
jugez plutôt: The Legendary Pink Dots, Technogod, et Gotz Adler.
Les deux dernières pièces de l'édition originale
ont été supprimées, mais en contrepartie il y
en a quatre nouvelles, ce qui représente environ une demie
heure d'inédit!
|
travelogue
II Another
in Soleilmoon’s reissue line: the first verion was released
in 1995, and is primarily a collaboration between the mysterious Wolfgang
Reffert and the Legendary Pink Dots, Technogod and Gotz Adler, recorded
between 92 and 94. Additional tracks were recorded in the next 4 years
by WR for a follow-up that never occurred. This release combines four
of those new tracks with 7 from the first album (2 were removed) -
the later tracks are added at the end, making ‘comparisons’
possible. |
travelogue
II Featuring
an array of collaborators such as Technogod and the contribution of
the voice and lyrical talents of Edward Ka-Spel, Dark Star (a project
from the German musician Wolfgang Reffert) is post-industrial rock
with a psychedelic twist that is not without remembering The Tear
Garden. Travelogue II, originally recorded in 1992 to 1994, is available
again through Soleilmoon featuring 4 new tracks; the last two tracks
have been omitted though. |
travelogue
II Dark Star is the project of German artist Wolfgang Reffert. Through his collaborations with among others Italian Technogod and Edward Kaspel from Dutch psychedelia-act Legendary Pink Dots, Mr. Reffert already completed some of the materials for the album back in the early nineties. Never released, the materials have instead been used to this exciting album titled "Travelogue II", which also includes some newer tracks from Dark Star. Because of the varied musical background of the Dark Star-contributors, "Travelogue II" is wide spanning when it comes to stylish expressions. Starting out with twisted psychedelic rock, "Travelogue II" gradually moves towards other galaxies as the expression turns to a kind of drone-like space rock. Having the sci-fi industrial touch of Chrome and the gloomy gothic sound of Sisters Of Mercy, the sound of Dark Star somehow seems retrospective, without turning stereotype. A great crossover-experience that needs a few listens...only to reward the listener. |
travelogue
II Dark Star is a project from the German musician Wolfgang Reffert. It is post-industrial rock with a psychedelic twist that is slightly reminiscent of The Tear Garden. Travelogue I was originally recorded in 1992 to 1994. In its original format it contained 9 tracks instead of 11 as on Travelogue II. The final two tracks have been replaced by 4 new tracks. Travelogue II retains its early 90s vibe. It begins with "Eject!", a collision of dirty electronics & noisy guitars over a beat-box along with Edward Ka-Spel drones; he's unique & abstract, as usual. Travelogue II navigates genres: the gloomy "Opal" finds its inspiration in krautrock a la Chrome; heavy industrial rears its head on the distorted "Frantic Upstream", while "Don't Look 'til it's Gone" is a colossal industrial & psychedelic blend from Hell with Edward Ka-Spel drawling twisted lyrics in the grotesque darkness; "Come To" is perfect dark-pop. The bonus tracks "Solaris I" & "Solaris II" are minimal collages of tapes & samples with mellotron instrumentation. Travelogue II should strongly appeal to The Tear Garden or Edward Ka-Spel fans. A great piece of fuzzy, dirty experimentation of industrial psychedelia with a cool cover artwork by none other than French artist Métal Hurlant Moebius from the graphic novel The Airtight Garage Of Jerry Cornelius. |
travelogue
II Enigmatic
dark-space-synth-rock emanates from travelogue II, a re-release of
a 1996 predecessor which adds four new tracks. Legendary Pink Dots
members and others contribute to W. Reffert's intergalactic soundvisions;
the distinctive voice of Edward Ka-Spel tops a few sci-fi-electronic
soundscapes, sometimes charged with rocking drum and guitar elements.
Wordless opal grooves along on a sludgy riff with haunting keyboarding
and celestial echoes. Yorgos DK sings lead in cosmically funky frantic
upstream. Overly repetitious phrases mar the slice of life... you
can only sing "big black hole" so many times in a row before
it starts sounding quite silly. |
Click HERE for a review from a Russian webzine: travelogue
II
|
Click HERE for a review from a Chinese webzine: travelogue
II
|
travelogue DARK STAR have travelled far to reach this album, but, in many ways, they haven't travelled at all. The overall sound hasn't changed since the "No Sign Of Intelligent Life" period - JOHN CARPENTER is still the major leaping off point here. But it's a sign of the respect we all have for Mr. REFFERT's efferts that he gets people like ED KA-SPEL involved in his projects. The legendary PINK DOTter himself puts his distinctive voice onto four of the nine tracks on this album to full effect. Other collaborators include TECHNOGOD, GØTZ ADLER and MARK CRUMBY who appear at various points on this, perhaps DARK STAR's finest album. There's a hell of a lot more going on in the music now, despite it's staying as deceptively simple as ever. The advent of 'songs' within the strolling pace of the music has elevated it several leagues and has opened it up to a much wider audience. All the elements are here - labouring slow, tortoise-paced rhythm structures; overlayering sustains; sci-fi atmosphere and a dehumanised ambience which is nevertheless warm and welcoming on this album. Some classic moments, some exciting passages - we have always given DARK STAR credit as having a unique style - and here he hasn't let us down. |
travelogue So ganz und gar nicht labeltypisch mit trivialem Schmalspur-Wave, sondern fern aller Konventionen im Vakuum zwischen Genie und Wahnsinn bewegen sich die musikalischen Errungenschaften des von den Space-Königen LEGENDARY PINK DOTS, TECHNOGOD, Götz Adler sowie Mark Crumby unterstützte und von Mastermind Wolfgang Reffert erstellte DARK STAR-Projekt. Ein "wahn-sinnig" machender Trip in imaginäre Welten ohne erkennbares Ziel, begibt man sich einmal auf seinen Weg, führt er nie wieder zur Basis zurück. Vom völlig aus dem Zusammenhang gerissenen Minuspunkt "Frantic Upstream" abgesehen, fasziniert "Travelogue" ob seiner minimalistisch erzeugten mystischen Kraftfelder. Wie sagt Edward Ka-Spel doch gleich: "Fall in my, roll in my big black hole!" Weil der Mann einfach recht hat, berau(s)cht Euch an dieser hypnotisierenden Vorstellung und folgt auf dem Weg ins Ich! |
headtrip This is yet another group I am glad to see making the break from cassette to CD - and not a moment too soon. Most of you may have heard something by DARK STAR by now - either the thirty second snatch of the SOFT WATCH #2 supplement, or the full- length track on IMPULSE #1, and should by now have the impression that not only the name is taken from the films of John Carpenter, but the music also has a certain sound akin to his creeping, relentless menace. The sound has changed & little here brightening up, it must be said, with the almost hippy guitar of GØTZ ADLER complementing & lightening WOLFGANG REFFERT's electronic-based instrumentation. The album opens with "Ixtlan", a piece built on a simple four note sequence, reminging once more of the music of early Seventies Electronic groups - degrees of TANGERINE DREAM and perhaps more so VANGELIS and a slower JEAN-MICHEL JARRE surround this gentle non-beat piece. Next comes "Sparkler" which moves into more familiar DARK STAR territory, yet it's only really the distinctive drum sound - never varying with a crisp snap to the snare - which remains the same. Around this the guitars & electronics swirl in bright, thin, colourful threads, all twisting along to the beat, keeping the atmosphere light. "The Phoenix Asteroides" comes next, again maintaining the thumping, smashing drum beat, yet this track is more minimal, made up almost entirely of synth sounds which cling to the basic framework like colourful decorations to a christmas tree. "Cactus Dance" is a slightly more up-beat-yet-moody piece which reminds me again of film music, yet is a lot lighter than Carperter's usual sound. The drum beat on this track is a little more complex, and the overall structure surprisingly brings RENTAL / LEER's "Day Breaks, Night Heals" to mind (there s a similar chant, way, way back in the mix)."33/4" zooms in on the tail of the previous track, again a bright little piece based on the usual snare/bass/snare/bass. . drum machine - it has a fuzzy guitar sound like a channelled gas escaping under force while various distant sounds - mainly electronic - add to the sound. "Curse" opens with a Reb yell, the precurser for a colourful yet moodily slow piece of music. This track is actually performed by a group called CHAINSAW which consists of Wolfgang Reffert along with Joe Gizmo, Glenn Hudsen & Bob Ries - almost indistinguishable from DARK STAR in sound. Next up comes "P2C2E" which again has a simple drum pattern (although a little less basic than some) over which the instruments play for a regular, rhythmic effect, rather than to create a 'tune', And, having realised the benefits of avoiding any recognizable motif DARK STAR find themselves masters of this style, easily pulling sounds together, and creating a 'feel' as an end result. "The Shadow Warriors" is their attempt at a theme - and it works! They keep the music simple & atmospheric. blended perfectly with the overall body of sound, and come up with a ripping little piece of music - strict tempo electronic Rock. "Desaster Area" keeps the same beat, the sane structure, but blends a lot of other sounds around it - all having the usual culminative effect on the atmosphere - and the title (deliberately mis- spelt?) gives a good description of the sound, which, rather than full of explosive violence, has a feeling that the ghost of some disaster still lurk, giving the sound a mildly chilling feel. The album closes with the title track"Headtrip", harkeriing back to films like "Assault On Precinct 13" - not the plodding, relentlessly oncoming menace sound, but the lighter, cold fanfare sounds - drifting electronics creating a proud yet inhuman tone. To be honest this is milder than I had expected - they have mellowed with time & their sound seems to have broadened out a little more - they have stamped their own sound out of old, borrowed, although wonderful music. You could listen to hours of this stuff it doesn't have to be familiar - indeed lack of familiarity adds to the chill atmosphere. Suffice to say, it's a treat for those of us who are already addicted to the sound. |
headtrip DARK STAR will be a familiar name to regular readers of IMPULSE. Their previous cassettes had me raving about them, and now for the first time, the sound of DARK STAR is available on CD! The opening track "Ixtlan" is a mellow, electronic piece with a spacey feel. From then on, it's noise and more noise. The familiar DARK STAR trademarks are all here. Slow, heavy Techno beats, throbbing bass, layers of electronic noise and guitars. Of all these tracks "33/4" is as upbeat as you'll get. No EBM here, slow-core Techno is the order of the day. "Curse" is credited to CHAINSAW, a side project of WOLFGANG REFFERT, the man behind DARK STAR, and the sound isn't a million miles away, maybe more guitary. One of my favourites here is "The Shadow Warriors", which seems to be a perfect mix of technology and guitars. Fabulous! DARK STAR are probably THE SWANS of Techno, which maybe not everyone will agree with, but the tension and violence found in early SWANS records had been electronically recreated here. If you haven't tried DARK STAR before - here's your chance! |
headtrip A perfect follow-up to their previous release "No Sign Of Intelligent Life", "Headtrip" continues the band's insistent exploration of cold, pulsating beat electronics and chainsaw guitar. Analogue synthesisers are used to conjure up a sweeping grandeur, while an unflinching pace reveals its strength with its ominous restraint. My favourite here (on a release that is pure pleasure for its entirety) is "Desaster Area" with its crashing guitars battling like a pair of behemoths in a black and white sci-fi film. JOHN BERGIN's "Trust Obey" serves as a good reference here. (And the statuesque bovine on the inside cover deserves special applause, incidentally). Highly recommended you not go without this one! |
headtrip Regressemos
por momentos ao ano de 1992, em que Wolfgang Reffert e Gotz Adler lançaram
este seu primeiro cd, após o lançamento de algumas cassetes. |
headtrip Frankly,
I am not sure are the pages of arteFACTed for the band like this... But
I don't care, until it's real underground. Dark Star fuckin' IS. Infact
it's even MORE underground than some of the bands reviewed here (look
the next review for example) though it doesn't play any kind of metal
despite the fact their flyers speak about "minimal techno metal"
(why?-Ace). It's rather "minimal techno version of J.M.Jarre".
And again the critics speak about such bands as early Kraftwerk, Ash Ra
Temple, Guru Guru or Tangerine Dream as their main influences. Well, they
know better... For me it's simplified version of any of the electronics
dinosaurs with the addition of alot of psychodelic "philosophy"
in it. LSD is one of the main inspirers of the stuff I think... This could
be released through Dreamtime Records if it was not so simple music(k)ally.
Anyway it's quite OK for the one way ticket to trancendellica... |
no
sign of intelligent life I thoroughly enjoyed this recording. JOHN CARPENTER is mentioned in the blurb accompanying this offering - I thought it was just because of the name DARK STAR - no way! - Although a little more rough around the edges (more fuzz, more feedback), this would easily fit onto one of CARPENTER's movie soundtracks, As relentless, chilling, brooding with as much creeping menace as anything the film-maker has come up with. They nod towards early CABARET VOLTAIRE (but lot my money are far more listenable) and, perhaps, the likes of FRONT 242 (although DARK STAR's music is a ltttle slower, more relentlessly plodding, as if Hell-bent on reaching a dark objective, as opposed to FRONT 242's manic Get-It-Over-With-And-Piss-Off -Home tempos). I'm much impressed with this. The tracks stretch the point occassionally but considering the longest track ("The Deadline") is over 14 minutes long, it's surprising how little it goes over the point where you think "wind down!". I for one will follow DARK STAR's progress with interest. I hope this particular Beast is slouching towards international recognizion. |
no
sign of intelligent life 'Play loud and use headphones' it says on the inlay. Well I've yet to try it on headphones but it sounds good enough to me just through the speakers. DARK STAR don't play around. From the first few seconds you know exactly what they're about. What we've got here is six tracks of slow, rhythmic techno. There's no vocals, but you hardly notice it. The music is moody and intense and has a dramatic quality that you just don't get on a lot of techno / electro records. It's quite hard to describe - the best thing to do is listen to their track on the cover tape and then buy a copy of this. Highly recommended. |
no
sign of intelligent life From
Germany, DARK STAR seem to embody the best moments of SWANS, but with
a friendlier, more ritualesque feel. All the tracks are prowling SH101
driven affairs, crackling with soft white noise and slowed rhythms. The
most outstanding track is the fourteen minute "Deadline", an
Industrial skank epic with plenty of percussion, swirling synths and the
odd CABARET VOLTAIRE sample. Also worth a mention are "Forbidden
Planet" and "Terra Incognita" with their looped organic
sounds and ethereal undercurrent of noises. An excellent cassette of laid
back tracks for skanking around the house to. |
