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[ home | music | journalism | biography | music samples | reviews | orders | news | press | email | links - German ] You might like to read what others say about Frank Gingeleit's music... ... about „Nightmares & Escapades“: Aural Innovations, USA - October 2002: „In summary, if you crave electronic music that demands your attention with its elusive complexity then you'll want to check out Nightmares & Escapades. There's too much going on to catch it all in one spin, as the music reveals more of its treasures with repeated listens.“ - full article Zoopa Loop, France - November 2002: „To the first listen, Nightmares & Escapades might sound quite classic showing either a calm or a turbulent side but with time, there is always something new coming into light. So this album becomes a great musical voyage which is deliberate as much as free, leading us from galaxies to new galaxies and ending at the astral gates of the unknown. Absolutely brilliant music for space explorers.“ - full article Stoner Planet, Sweden - February 2003: „En skön debutplatta med mycket unika idéer. Men också en bra debutplatta för Frank Gingeleit att bygga vidare sin karriär på.“ - full article Encyclopedia of Electronic Music, Russia - April 2003 (artist entry): „It is amazing that all sounds on this album were created using just guitar, guitar synthesizer and effects. The diversity of sounds is great. The album features atmospheric numbers (but always with an experimental edge) and grungy mechanic-like pieces (‚Industrualization of Mars’). Frank doesn't try to sound like anyone else, creating his own unique music.“ - full article Modern Dance, UK - July 2003: „All the material owes more than a nod and a wink towards the more experimental and early work of Klaus Schulze and the album as a whole works incredibly well on this level. The general feel is improvisational with masses of experimental and freeform electronics.“ - full article Syngate, Germany - August 2003: „Industrial Vanguard: Nightmares & Escapades - the 1st CD of the trilogy by Frank Gingeleit from Mannheim, Germany. Nightmares & Escapades is completely played on a guitar and guitar synthesizer. The whole trilogy is mastered at Peter Seiler's Triple Music Studio.“ - full article Chain D.L.K., USA - September 2003: „...experiments with beats, percussion sounds of differing origin and of course electronic sound layers hovering over the rhythmical structures.“ - full article Moderne Klangkunst, Germany - November 2003: „Halluzigene E-Gitarrenmusik, gespickt mit elektronischen Sounds und Percussions, flößt einem Frank Gingeleit aus Mannheim mit düsterem experimentellen Eifer auf diesem eigenständigen Klangwerk ein. Wie in Trance zupft und klampft er sich durch einen Nebel aus synthetischen Soundwänden und vermag es, den Hörer, ganz ohne Drogen, bedrohlich berauschend um den Schlaf zu bringen.“ - full article Sonic Curiosity, USA - December 2003: „Mechanical sounds mix with eerily resonant electronic textures, producing haunting harmonics that wash over the audience with their quirky disposition. (...) It is a troubled ambience, generating a dreamlike quality that implies enigmatic wonder.“ - full article Encyclopedia of Electronic Music, Russia - March 2004 (review): „You’d never guess from listening to this music that everything was achieved via triggering sound from a guitar controller. There are pad sounds, drum sounds, guitar sounds, abstract and unidentifiable sounds, so, as you can guess it, the music is not limited to just dist guitar or overdrive. (...) Overall, a great collection, especially if you are already bored with “ordinary” ambient Electronic Music.“ - full article ... about „Megalopolis“: Zoopa Loop, France - April 2003: „Based upon the desire to innovate, to explore and to make experiments, ‚Megalopolis’ is an astonishing record owing to it's contemporary musical research and avant garde ambience which establish his father Frank Gingeleit as one of the leading artists of the German electro scene.“ - full article Encyclopedia of Electronic Music, Russia - April 2003 (artist entry): „Megalopolis explores the possibilities of synth technology, as each track is a rhythmic (except the last one) onslaught of experimental sounds and atmospheres. We get pretty repetitive structure here and (sometimes) a VERY intense sound. For instance, check out ‚Adjust Your Clock’ - it will probably meltdown your speakers!“ - full article Aural Innovations, USA - April 2002: „The varied and exciting synth patterns will keep you wide eyed and on edge, clutching your seat as your spacecraft twists and turns at warp speed. Overall, fans of the German school of space electronica are pretty much guaranteed to enjoy Megalopolis, as Frank draws heavily on that genre while managing to keep his interpretation of the music fresh and exciting.“ - full article Modern Dance, UK - July 2003: „The opening track, Planets' Spring Dance, (...) is a classic. The title track has some of the most funkiest synth bass lines I've ever heard, hellishly hypnotic. The whole album is crammed with superb throbbing synths and magic washes of sound and color.“ - full article Syngate, Germany - August 2003: „Industrial Metropolis: Megalopolis - the 2nd CD of the trilogy by Frank Gingeleit from Mannheim, Germany. Megalopolis is completely played on a virtual analog synthesizer. Between the pure german metropolis style tracks 1 and 7 Frank Gingeleit played on the other tracks industrial leads over analog synths carpets.“ - full article Chain D.L.K., USA - September 2003: „...sounds (...) like a Tangerine Dream, Vangelis, Can record with lots of spacey synth sounds (...) and seven tracks of pure cosmic electronika. Sonic Curiosity, USA - December 2003: „While looped sequences define a cloudy atmosphere, auxilliary tones introduce a sense of expectancy that combines serenity with anticipation. A sense of faint urgency sweeps through the music, as riffs twirl and intermingle, merging into greater riffs of delicate structure.“ - full article Encyclopedia of Electronic Music, Russia - March 2004 (review): „The second Frank Gingeleit album sees a complete change of instrumentation from guitar synthesizer and effects to pure virtual analog synthesis. All pieces on this album were created using just the Yamaha AN1x synthesizer. The music is highly repetitious and at times approaches the territory of the so-called classic Electronic Music, i.e. Berlin School. “ - full article ... about „Toy Island“:Aural Innovations, USA - April 2003: Encyclopedia of Electronic Music, Russia - May 2003 (update of the artist entry): „Toy Island combines the sound that was heard on Megalopolis with modern rhythms (...) and further experimentation. I'm especially crazy about my favourite - "Toy Island Part 2". Love those tempo changes and liquid solos! My favourite work from Frank so far...“ - full article Modern Dance, UK - July 2003: „I know his first album is one to cater for more select listeners, the second should cover far more, and Toy Island even more so. Anyone who has a passing liking for Czukay, late Kraftwerk and Tangerine Dream will love this album.“ - full article Zoopa Loop, France - August 2003: „With "Toy Island" Frank has reached a new turning point in his career, this record exploiting all the foundations laid down throughout both of his previous releases by fusing them with a rhythmical framework which has progressively become more and more important in his work... The avant-garde term is not usurped here and thanks to "Toy Island" Frank is even giving it a new kind of respectability.“ - full article Syngate, Germany - August 2003: „Industrial Dance: Toy Island - the 3rd CD of the trilogy by Frank Gingeleit from Mannheim, Germany. Toy Island is played with the guitar and guitar synthesizer from 'Nightmares and Escapades, the virtual analog synthesizer from 'Megalopolis' plus a home keyboard, designed for dance music. The result is a kind of industrial dance music that ended with hot socks.“ - full article Chain D.L.K., USA - September 2003: „If you are in the world of avant-garde and experimental music (...), you should go ahead and give Frank's stuff a listen.“ - full article Sonic Curiosity, USA - December 2003: „ Lavish keyboards generate elegant riffs that spiral and swoop amidst auxilliary textures. Shrill tones embellish the flow, adding character and density. See-saw noises stimulate any flagging attention spans with their unpredictable disposition. Artificial sounds are imbued with a humanity that renders the songs a hybrid of man and machine. “ - full article Encyclopedia of Electronic Music, Russia - March 2004 (review): „The third Frank Gingeleit album sees him experimenting once again, this time adding a home keyboard designed for dance music to his setup of guitar synthesizer and virtual analogue synth. The result is pretty intriguing. You will find some already familiar elements wrapped in a rhythmical blanket which sounds modern, but you can hardly dance to it. In fact, the album is highly experimental.“ - full article |