Im Frühtau zu Berge - Flute
Mathias became increasingly fascinated with the flexibility and possibility inherent in keyboards and electronics and created experimental electronic music between traditional German and 'New Age' styles. Since the late 80's he has specialized in synthesizer drones and myriad forms of overtone music and explored their effect on the human psyche similar to the old Indian Nada Yoga by using his voice, tambouras, zithers, flutes, guitars, singing bowls, and some home-built instruments.
About twenty years ago, he met a friend who gave him some books by Alan Watts, the American philosopher, Harvard professor, Zen Buddhist, and psychologist. During this period Mathias resolved that his life and music would have one aim: to learn more about true spirit in life and music and reflect back his experiences to the public. Over the years his path led him from Buddhism to Sufism and the mystical side of Christianity. He also became keenly interested in the pagan North European ancestors Celts and Vikings and studied them intensively. More and more Mathias fell in love with the spiritual power in music, especially found in overtone and subharmonic chant, long deep synthesizer drones, and in North Indian raga music.
He was influenced by the famous singing bowl sounds of Klaus Wiese ex- POPUL VUH member and their spiritual power within made Mathias very interested in the 'spiritual-energy-flow' and 'real charge' in music. Following a concert near Frankfurt, was a year of creative intermission and collecting new inspiration by connecting with new musicians and labels. Recently Mathias has been collaborating with more and more artists and sideprojects. Can You still remember, on which occasion a drone — as a noteworthy sonic or musical event in itself — ever grabbed your attention?
Or else, some other musical key experience from your childhood? The sound of the ocean surf? Far away church bells? My brother wanted to take piano lessons, and later my parents offered the same to me as well. Which turned out the right decision, because when finally the wish arose to play keyboards I already was 16 and felt more clearly what I really wanted to do.
How did You like musical education at school: was it helpful and stimulating — or rather limiting or repressive? Making music for me started in the late seventies, with a self-built drum kit, followed by guitar and later a synthesizer. Any kind of music influenced me in some way, but I also drew lines; rock and electronic music always were present.
For many years, I used to listen for hours to music every evening, the choice depending on my mood. Somewhere there was a sense of making differences, then again everything happened at the same time. The old German electronic music and also the "Neue Deutsche Welle" that later came out of it always was too strenuous and experimental for my taste and rather got on my nerves e. I like Fripp though, especially his work with David Sylvian, for example.
Especially Hamel is one of my creative idols and sources of inspiration. The first album I came across was "Nada" and over time I bought the others as well. Otherwise different tracks from different albums, especially those with church organ and PPG synth. What had been the difference to other music that had influenced you up to this point? Somehow some of his tracks touch me so profoundly, that it just leaves me in total awe.
Before discovering Hamel, I only knew similar effects from improvised music.
This, together with the background that was provided by his book, made me realise that he was especially gifted. Or were you already familiar with the topics that he speaks about Asian music, meditation, ragas and so on , even before you came in touch with his work? Behrendts book "Nada Brahma — The World Is Sound" later was a welcome addition and further exploration of these topics. That idea just never came up. Until today, our friendship is purely on a personal level. Being together, and also his letters probably did, in some way, but there were no "insights" or "impulses" as a direct result of our actual conversations.
Our meeting in was disillusioning in a way, but I also received a lot from it. Michael Hoenig, as an example from the electronic scene , but it was rather through Klaus Wiese that I met interesting people. It was very personal, open minded and close.https://riemizisuslio.gq/rules-procedures/
Das neue Ständchenheft 2nd F Horn
I got to know Peter as a human being, beyond his persona of a well-known musician. Is that on any of your albums? On one of my albums…? Heaven help…! Sheer dilettantism — but also great fun! I thought my first multi-track recordings were OK, that was around They were a mail order bookstore specialized in U. New Age who also had discovered the music market and produced cassettes which mainly were sold through esoteric shops.
That way, for me spirituality and music were quite automatically linked from start. Because I already had a name, and also via connections, I was approached by different labels. At the moment the shocking truth is that production runs of copies are sufficient.
Could you pick four of your albums which are especially close to your heart and briefly tell us why these albums are important to you? Also "Himavat" set standards in the late nineties.
Schott Das Mundharmonika-Liederbuch
In the new millennium everything seemed to happen at once. At the moment I like "Harmonia Mundi" a lot; but I need time - 10 years at minimum — to really rate an album with hindsight. Do you have plans for further Nostalgia albums in the future? Where you already familiar with the novel by William Hope Hodgson, which the album is an adaptation of, before that project for info on the book, see link? If we had had better distribution and a record label who was willing to fund a tour, this album would have been a huge success, I think. It had never been completely out of print, though, if we count also the rather poor intermediate EC release.
Today I offer the album only as a digital release — which makes it basically available to an unlimited audience. All in all, "House on the Borderland" was something of a "chance project", which was released under the "Nostalgia" flag, but actually it was a deviation from the style of the first album. I think to be perceived as a "real" band and to satisfy a larger audience, we needed to go on tour, but we live too far apart from each other to do so.
Directly after the first release of "House on the Borderland" there should have happened some systematic promotion on the part of our producers, labels and music publishers, to make us stay on the scene. But I have no hard feelings because of that; all of the four albums had had their time, and were a joy when we recorded them. At one point there were also plans for a movie version of "House on the Borderland", with our music as a soundtrack, but I never heard again from that director, except for the usual "independent filmmakers — no money etc.
We will see what the future brings. Same thing with the Lanzarote concert - unforgettable regarding the huge effort that went into it, technical equipment, and professional organization. The Prague concerts were well prepared and organized, too. But I also remember a fan from those days, who promoted me in Spain. Sadly, he has passed away a while ago. San Sebastian happened in and Lanzarote in Many are confused by that.
They want to meet an icon. To them, you are always just your music. That made me quite sad. I started to realize how lonely real stars must feel, in spite of the fact that everyone wants to be like them. However, that thing could be sorted out later on. Fan mail and reviews have grown so much over the years that I stopped at some point to collect and memorize them. And why not? But every "You are the best! Would you like to tell us a little bit about him? Have you stayed in contact beyond your musical project? Were you already familiar with his music before you met him and if so, had it already been an important influence?
Already the term "ambient musician" doesn't do justice to who he was and what he did.
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He was a world musician, very much influenced by Eastern philosophy, a Sufi — and he had a very equanimous attitude towards music. He worked with sounds so very precisely, but at the same time he was rather negligent when it came to promotion, distribution and self management. Sometimes his ways were mysterious and incomprehensible.
We recorded several albums together, and each of us contributed his special sound. Being a Popol Vuh member was like living together in some kind of commune, and that way he had been part of the picture — that's how he called it.
I'm Fruehtau Zu Berge
In the days of love and peace everyone was part of it who just showed up. Together with Hamel, Klaus Wiese is my main inspirator. I met him via Aquamarin in Munich somewhere in , because both of us released albums there and were fascinated by each other's music. Or was it rather his music that conveyed such impulses to you? The things he taught me transcended music by far; it was about the wisdom of life, to discover the important among the unimportant, self-composure and equanimity.
Do you know him, and have you ever created music together at some point? Or has everything more or less remained the same, and only the name of the genre has changed from space music to new age, new age to ambient, ambient to psy chill - whatever over the years? Always new wine in old bottles or vice versa. Many people tend to glorify or romanticise such things — like I often do with the s and early 70s. Your American colleague Robert Rich described that development in an interview with the words: "Everyone is pollywog in the puddle now".
Does the growing number of ambient releases seem to be economically or artistically threatening to you? Do you see your own work losing significance or value? In my eyes this is simply criminal, and there should legal steps be taken against such things. Electronic equipment is so much less expensive today than 30 years ago!
I also appreciate that talented people can present themselves and their music easily to a world wide audience today.
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In the morning's dew towards the mountain
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