Atom TM - Liedgut

From a contemporary point of view, Atom™’s “Liedgut” may be considered a romantic work. While researching his own past, Atom™ found himself in the austro-german time, space, thinking and feeling. Between Nietzsche, Helmholtz, Schubert and many other guidelines, Atom™ absorbed a universe striving for clarity and simplicity, where science and irrationality, ornament and mathematic purity were the key elements of a (still) oscillating social and mental order. “Liedgut” therefore oscillates between those poles: scientific exercises on Schubert chord progressions, digital waltzes and romantic lyrics. This research consistently lead him to the post-romantic works of Oskar Sala, Kraftwerk and others, who could be seen as direct heirs of the romantic movement. Upon completition of the album Florian Schneider of Kraftwerk contributed a spoken epilogue, commenting the leitmotiv of “Liedgut” in the track called “Weißes Rauschen” (“White Noise”). For Atom™ the phenomenon of “white noise” perfectly served as an analogue expression of the romantic dualism: scientificly defined on the one hand, it is described in a poetic manner, seeking for a more profound meaning on the other. “Wellen und Felder” (“waves and fields”), which directly connects to “Weißes Rauschen”, similarly refers to both scientific models and philosophic/poetic ideas. Consequently Atom™’s research does not stop here thus managing to convey “Liedgut” into the present.. Featrues hidden track with a contribution from Florian Schneider (Kraftwerk)

4...according to Paul Beeley.

‘Here it is, the latest offering in musical originality. Imagined, written and performed by one of Germany’s most original and inspired new bands “Atom tm”.


The Album, Liedgut, begins with the relatively short introductory track called Weißes Rauschen (white rushing). At first a little startling, but once you have adjusted yourself to the white noise, you can then settle back into what is a unique journey of sound. The journey beginning with what could appear as heavy rain beating down against the new grass of spring, the noise pounding unrelenting against the hard ground, yet a serene relaxing rhythm to it.

The scene is then set for the following four compositions, beginning with Wellen und Felder 1, A softer sound, again with the rain gently coming down on the green pastured fields, an ambient electronic rhythm being introduced part way into the song to represent the serenity of the scene, Wellen und Felder 2 introduces what can be perceived as the human element, noises that are distracting from the peace and tranquility that has been created.

Wellen und Felder 3 is a relaxed quiet track that illustrates a return to peace, now the rain has stopped and any distractions have also fallen quiet, Wellen und Felder 4 uses electronic beats to symbolise the distant sounds of an aeroplane or a helicopter but one that’s distant and almost involved in the ambient music which also returns half way through to reinforce an element of peace to the scene.

Überleitung, is the beginning of what seems to be a battle between the beautiful peace and tranquillity of nature and that of man made scientific crudity, to the vocal sounds drowning out the ambient background tones, to the mobile phone interference within the brilliantly titled track “Interferenz”.

Atom then offer the almost intergalactic presence of human nature in Interferenz 2, but then bring you grandly back to Earth with there suitably named “wave” (Wellen), this is an aural treat, that surrounds you with the sense of Oceanic space, of waves gently brushing around you. Middle composition 1-3, clearly represent the splashing of the water, of throwing pebbles into the ocean.

Atom return to the theme of the rain, with a gradual build up to a more torrential rain scene, however concluding the journey with a more connected feel between nature and science of our world, guiding you through the valleys and mountains (17. Berge und Täler), the greenery and freshness in the air as the rain beats down, suggesting that for a brief time the whole ambience of the scene can be savoured and one can get carried away (18. Im Rausch der Gegenwart 2).

The conclusion to the album is the pure combined tones of dripping water and the metallic vocal sounds of human interference.


http://paul-beeley.blogspot.com/

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