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ROMAN FLÜGEL – ALL THE RIGHT NOISES

IN CHARTS

DIALCD38October 28, 2016
ROMAN FLÜGEL - ALL THE RIGHT NOISES | Dial Records
  • Fantasy (Original Mix)

    Roman Fluegel


  • The Mighty Suns (Original Mix)

    Roman Fluegel


  • Dead Idols (Original Mix)

    Roman Fluegel


  • Nameless Lake (Original Mix)

    Roman Fluegel


  • Warm And Dewy (Original Mix)

    Roman Fluegel


  • Dust (Original Mix)

    Roman Fluegel


  • Believers (Original Mix)

    Roman Fluegel


  • All The Right Noises (Original Mix)

    Roman Fluegel


  • Planet Zorg (Original Mix)

    Roman Fluegel


  • Life Tends To Come And Go (Original Mix)

    Roman Fluegel


Empty hotel beds. Again and again hotel beds. Occasionally in between objects and unreal and so real places, as well as people on dancefloors, between El Paso and Tisno. Then again empty hotel beds. Again and again. If you roam through Roman Flugels Facebook photo section, you find diverse hotel dormitories that serve the producer and DJ as a calming place. A place where no beats are banging and euphoric party energy is absent. A place where only heartbeats call the tune. The new album of the long-standing artist from Frankfurt seems to be made for those places. It spreads gentle minor tones and the bass drum kicks rarely. All tracks are resting in themself and conventional clubmusic is only distributed on the edge.To me the studio work is a welcome alternation from my DJ sets during the weekends. This time the opposition even goes so far, that I partially bypass obvious beats and even the classic 4/4 scheme is often avoided.” Flugel discloses and revers on tracks like “Fantasy”, “The Mighty Sun” or “Life Tends To Come And Go” – three tunes, that in a sense frame his album “All The Right Noises”. They represent the beginning and the open, in an infinitely sounding future disintegrating end. “In addition to the contrast of the weekend business, I focused on the freedom of structure. Nothing needs to function. Some tracks are simply recorded live and never got quantized. It is an attempt to dissolve the musical pulse, or blurring it at least ” he reports on the ambient veil, that covers his third album for Dial. Unlike its predecessors, who are partly dancing with jazz or krautrock, “All The Right Noises” narrates elliptical, avoids redundancy and acts like a musical “decoupage classique”, in which the listener feels as little as possible, that it is the music that absorbs and disembodies him.A charming longplayer, with whom Flugel newly conquers unknown places that promise nothing less than salvation. Words cant express their meaning and style descriptions are fitting only partially. Techno is perceptible. As well as Ambient and psychedelic. Even Library-Avantgarde a la Piero Umiliani can be felt in tracks like the ghostly pounding “Dust”. Then again nothing can be pigeonholed, as everything is far away from common electronic music styles. Styles that the 46-year old already expressed, manipulated and trimmed in his long career with projects like Acid Jesus, Alter Ego, Eight Miles Heigh, Sensorama or Soylent Green in order to enlist himself deep into the history of contemporary electronic music. “Withdrawal”, “reduction” and “energy” are now the keywords that immediately pop up in his mind, when he recollects the creative process of “All The Right Noises” in his 15 square meter studio. There he produced digital and analogue – depending on feeling and intuition – to arrange music that is suitable for the perfect story arc of his album. “Since the release of “Fatty Folders” I avoid to publish a loose track collection as an album. I tried to arrange something that is self-contained. For the new album I used fewer notes then usually. No unnecessary extras, no gimmicks. When I found the basic sound and produced it accurate, a meaningful track order appeared autonomous. Tension and relaxation are this time important parameters, as well as harmonious relationships he reveals and casually defined, what emotions his ten new tracks are able to evoke. Focusing on the above-mentioned reduction seems to have calmed him, too. Calmed from all the long weekends on euphoric dancefloors, which he visits since its first release in 1990 repeatedly and passionately to move them with his live and DJ skills.Once Roman Flugel disclosed in an interview, how relieved he felt as a musician, when he started producing music with machines. Now it seems that he emancipated himself from them. Because even if the machines made him arrange “All The Right Noises”: the music he produced goes beyond the structures of what is commonly traded as machine music. It works on the dancefloor, but actually it is more beneficial for that dreamy state of mind, that humans catch while bedding. And here we are again at Roman Flugels social media photo diary. Hotels beds, again and again hotel beds…..Empty hotel beds. Again and again hotel beds. Occasionally in between objects and unreal and so real places, as well as people on dancefloors, between El Paso and Tisno. Then again empty hotel beds. Again and again. If you roam through Roman Flugels Facebook photo section, you find diverse hotel dormitories that serve the producer and DJ as a calming place. A place where no beats are banging and euphoric party energy is absent. A place where only heartbeats call the tune. The new album of the long-standing artist from Frankfurt seems to be made for those places. It spreads gentle minor tones and the bass drum kicks rarely. All tracks are resting in themself and conventional clubmusic is only distributed on the edge.To me the studio work is a welcome alternation from my DJ sets during the weekends. This time the opposition even goes so far, that I partially bypass obvious beats and even the classic 4/4 scheme is often avoided.” Flugel discloses and revers on tracks like “Fantasy”, “The Mighty Sun” or “Life Tends To Come And Go” – three tunes, that in a sense frame his album “All The Right Noises”. They represent the beginning and the open, in an infinitely sounding future disintegrating end. “In addition to the contrast of the weekend business, I focused on the freedom of structure. Nothing needs to function. Some tracks are simply recorded live and never got quantized. It is an attempt to dissolve the musical pulse, or blurring it at least ” he reports on the ambient veil, that covers his third album for Dial. Unlike its predecessors, who are partly dancing with jazz or krautrock, “All The Right Noises” narrates elliptical, avoids redundancy and acts like a musical “decoupage classique”, in which the listener feels as little as possible, that it is the music that absorbs and disembodies him.A charming longplayer, with whom Flugel newly conquers unknown places that promise nothing less than salvation. Words cant express their meaning and style descriptions are fitting only partially. Techno is perceptible. As well as Ambient and psychedelic. Even Library-Avantgarde a la Piero Umiliani can be felt in tracks like the ghostly pounding “Dust”. Then again nothing can be pigeonholed, as everything is far away from common electronic music styles. Styles that the 46-year old already expressed, manipulated and trimmed in his long career with projects like Acid Jesus, Alter Ego, Eight Miles Heigh, Sensorama or Soylent Green in order to enlist himself deep into the history of contemporary electronic music. “Withdrawal”, “reduction” and “energy” are now the keywords that immediately pop up in his mind, when he recollects the creative process of “All The Right Noises” in his 15 square meter studio. There he produced digital and analogue – depending on feeling and intuition – to arrange music that is suitable for the perfect story arc of his album. “Since the release of “Fatty Folders” I avoid to publish a loose track collection as an album. I tried to arrange something that is self-contained. For the new album I used fewer notes then usually. No unnecessary extras, no gimmicks. When I found the basic sound and produced it accurate, a meaningful track order appeared autonomous. Tension and relaxation are this time important parameters, as well as harmonious relationships he reveals and casually defined, what emotions his ten new tracks are able to evoke. Focusing on the above-mentioned reduction seems to have calmed him, too. Calmed from all the long weekends on euphoric dancefloors, which he visits since its first release in 1990 repeatedly and passionately to move them with his live and DJ skills.Once Roman Flugel disclosed in an interview, how relieved he felt as a musician, when he started producing music with machines. Now it seems that he emancipated himself from them. Because even if the machines made him arrange “All The Right Noises”: the music he produced goes beyond the structures of what is commonly traded as machine music. It works on the dancefloor, but actually it is more beneficial for that dreamy state of mind, that humans catch while bedding. And here we are again at Roman Flugels social media photo diary. Hotels beds, again and again hotel beds…..

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