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REVIEWS
 bersarin quartett
"bersarin quartett"
After two contributions to the highly successful Electronica Unplugged compilation series on the Aerotone netlabel, Bersarin Quartett is prepared to take the world by storm with its debut release. Contrary to its namesake, Quartett is merely a one man show -- a "Thomas" -- who at this point in time remains mysterious and would rather let the music speak for itself. An attached press release informs the inquisitive listener that Thomas likens his music to "imaginary fictional filmscores" (as opposed to the "real fictional filmscores" or "imaginary factual filmscores"), which puts him directly in the company of four trillion other electronic/ambient artists with soundtrack ambitions. I'll gripe at small redundancies and cliches in the press release, because there's really nothing about the music itself that I can fault; no, quite the contrary, it's one of the best you're likely to hear all year.
If I were to attempt to transcribe a brief history of electronic music, from its earliest experimental days to its current saturation and blood-letting into pop and indie rock genres, one of my main disappointments would be in the gradual yet persistent deterioration of compositional space. Such a development is surely predictable in any form of music that starts with experimental roots: slowly the artist's fascination moves away from the sounds themselves and instead to the application and utilization of these sounds and, more generally, techniques into broader contexts. Once the novelty of a new sound diminishes, once we become accustomed to noise, its familiarity to our ears causes us to lose appreciation for the more subtle qualities within a compositional piece. History has shown that the artist's natural response to this phenomenon is to try to create an increasing sense of wonder and spectacle in his music. As the magic of one trick or skill wears off, more effort and attention is paid to creating and/or finding instances that are more dramatic and sensational than the last. In short, the response to declining interest has consistently been to increase the quantity of sounds available, directly leading to many travesties such as cluttered soundscapes, badly layered tracks, utterly confusing mixes, noise abuse, and so on and so forth.
And so, compositional space is sacrificed, almost across the board. Post-rock bands reach for the increasingly epic, electronic artists seek the more chaotic, ambient musicians drone with life-threatening fervor. Layers become increasingly complicated and crowded; textures are torn and blurred beyond recognition. On some level, this process does advance the current state of contemporary music, as progression is made by baby steps, albeit mostly from trial and error and less from vast comprehension of one's trade and mastery of his art. However, as a result, we as listeners devalue the importance of sounds and the relations between them, the presence of space, and its invaluable contribution to the listening experience. Perhaps so much so that whenever we are greeted by a piece that takes the road less traveled and, instead of trying to knock our socks off with dynamics and emotional appeal, opts to tantalize the senses on a more fundamental, subconscious level, many simply label it as boring. But such a naive categorization of music must only reveal a personal struggle to grasp the underlying forces guiding music and demonstrates a lack of knowledge about a few of the more refine aspects of this art form.
It's safe to say that Bersarin Quartett has a profound appreciation for space. Thomas exhibits a clinical treatment of his art which most immediately reminds me of the meticulousness of The World on Higher Downs' Land Patterns. Great detail is given to every single sound that occurs throughout the album; every stroke of the cello, every percussive strike, every initiated drone, every last digitally processed sound doesn't escape the speakers without first understanding its relation to the surrounding sounds. Opener "Oktober" is a great example of Quartett at work. The beginning sequence highlights string instrumentation folding ever so perfectly into a sample before being gently introduced to the track's percussion component. "Oktober" escalates with the slightest incline, increasing in volume but not intensity. Even as the hectic beats threaten to capsize the track, Quartett keeps things flowing smoothly by giving it enough room to expand without compromising his devotion to distinctive sounds and falling prey to a congested, bloated track.
There's much irony in Quartett's work. Irony in the sense that, although conceptually his work is not one that strives to be enjoyable, it is very much so. It's not a work that seeks to be accessible, but again, it is. It's not an album that needs to exert its dominance by excelling across a large set of genres, but it does anyway. Thomas is a musician who has discovered how to have his cake and eat it too, and he sure inhales it on Bersarin Quartett. This apparent contrast between intention and realization also manifests in the tracks themselves; Thomas frequently taunts the listener with the feeling that a breach of the integrity of his sound sculptures is imminent by methodically building up layers to near exhaustion of his sonic space. "Oktober" sets this precedent, as near the two-thirds mark you're almost positive that it's reached its turning point, but it hasn't. Similarly, "Und Die Welt Steht Still" (an early contender for top ambient track of the year) sounds as if it's destined to swell beyond control and shatter the spatial relations established by Quartett. Likewise, "Inversion" follows a similar path by uniting several layers in a coup de grâce that is prematurely cut short at the artist's hands and retreats to the academic style that dominates much of the album.
In fact, this line is eventually crossed in the closer "Mehr Als Alles Andere" when Quartett slides into two minutes of electronica fueled frenzy, which simultaneously tips his hats to those that paved the way for this album to be possible, as well as fully highlighting how different this album is than said precursors and 99% of other releases of its ilk. Though some may believe that this last track does compromise the previous fifty-plus minutes of soul purifying music, I'd be hesitant to say he's finally jumped the shark at the end of the long treatise. If anything, "Mehr Als Alles Andere" only silences the critics who may say his music lacks substance and is merely the work of existential soundsmithing by drawing a definite example of established electronic techniques. And there's more: surely the juxtaposition with the rest of the album only highlights the artist's original intent. Coupled with the sly outro of pad and string engagement, Thomas' commitment is clear: always on the form, never on the gimmicks.
As mentioned, Bersarin Quartett pulls from a vast knowledge of music's history to make its grand statement. There's many ambient and electronic influences present, along a wide cross section of subgenres, but also jazz, classical, folk, dub, and even some of that stubborn post-rock make appearances. Styles don't bleed or melt into each other as is often accustomed (see Kiln's Dusker), but rather we see them contrasted and intermingled. Bersarin Quartett is less like a melting pot of ideas and much more like a tossed salad -- all pieces retain their original functions, but still manage to fit together with very little effort to make something more interesting than the sum of their parts. In this manner, Quartett is able to play differing genres off of one another to get some interesting results. "Die Dinge Sind Nie so Wie Sie Sind" exemplifies this point, opening with a shy ambience and later transitioning into a jazzier segment that sounds fit for elevators all across the world. Separately the pieces are nothing more than isolated compositions, but when placed side by side, Quartett is inviting the listener to unravel the theoretical framework of the album where so much of the content is derived from. Indeed, as disjointed as the genres may seem when placed next to each other, both clearly abide by Thomas' use of space in the album, and it is in this light that the pieces achieve an entirely new coherence.
Of particular interest is the concept of minimalism within the context of the album. While certainly there are quite a few tracks that exhibit this historically abstract methodology (mainly those with heavy ambient influences), I doubt many listeners will feel slighted in the least over the amount of instrumentation seen over the length of the album and the arrangements therein. There's a sense that the album could have ventured into more minimal territory to its own detriment; also, superfluous use of instruments often leads to excessive tracks that are in dire need of self-editing, but this is not the case. Thomas resolves all potential conflicts before they ever arise, which shows not only a highly tuned compositional ear, but also a strong critic and editor of his own work. To witness something this focused and convincing in a debut work is quite astonishing; many go their entire careers without having such insight and accurate perception of their own work as does Thomas. But, again, this is all the more evidence for the great control and execution witnessed across a variety of facets throughout Bersarin Quartett.
Albums of this caliber, you will find, have no specific mood requirement. While many ambient artists are shackled to a singular theme or mood that permeates through an audio recording and guides the listener through the experience, a select few are able to transcend this limitation and create more universal music which is independent of time, space, and body, merely existing and satisfying all whom happen to connect with it in any way, shape, or form. Naturally, this yields a multi-dimensional album which, dedicated listeners will discover, has infinitely many possible paths to discover, each just as enjoyable as the last. This last major topic is crucial, for the openness of Quartett's sound is essential to allowing the listener a welcome mat to experience the album on his own terms. Thomas' meticulous style could easily have gotten the best of him and produced a work that was short on interaction and predominantly closed to a larger audience, but, alas, instead we're given a heaping feast of material to consume.
It's rare that I'm able to give an album my fullest recommendation without trepidation. The difference between individuals is so great that it's improbable that a single CD can reach out and be meaningful across a large demographic. Bersarin Quartett is one such album. There's nary a misstep, every potential danger has been avoided and smoothed out to present the optimal audio experience for your dollar. The only real criticism I can offer is that perhaps it's too perfect. Something this good can't possibly be real.
8,5 / 10
Sonic Seducer
Langsamkeit schleicht durch das Debüt von Bersarin Quartett, das sicherlich zu den unaufgeregtest aufregenden Platten des noch jungen Jahres gehört. Mit stimmungsvollen Ambient-Sounds und ruhiger Electronica schwebt man während der zehn episch-emotionalen Tracks über nächtliche Klanglandschaften, die trotz überwiegend synthetischen Ursprungs niemals kalt und gefühllos wirken, sondern mit Wärme und entspannter Gelassenheit den Hörer davontragen. Zwar ist das Münsteraner Projekt nicht der erste Entdecker der Langsamkeit - Bohren und der Club Of Gore haben mit ihrem urbanen Slow Motion-Jazz großartige Werke abgeliefert – aber „Bersarin Quartett“ füllt die Lücke, die Bohren durch ihre immer seltener werdenden Alben und Auftritte aufgerissen haben. Als Soundtrack zu Filmen, die noch nicht gedreht wurden, bezeichnet Bersarin Quartett die eigene Musik. Und tatsächlich eignen sich die Soundscapes, die wie der Opener „Oktober“ noch mit einem trippigen Beat unterlegt sind, bevor auch dieser in den weiten Flächen zerläuft, perfekt dazu, es sich vor der Cinemascope-Leinwand des eigenen Kopfkinos gemütlich zu machen. Was dort erlebt werden kann, hängt zum einen von der Entspannung des Selbst, zum anderen vom eigenen Drogenkonsum ab. In jedem Fall ist es aber großes Kino!
ox-fanzine
Kopfkino-Musik aus Münster, die von den Machern selbst als "Imaginary Fictional Filmscores" beschrieben wird - orchestral anmutende Stücke zwischen Soundscape und Electronica, die der Verwendung in einem noch zu drehenden gefühlvollen Autorenfilm harren. Dass die zehn Kompositionen deutsche Titel tragen ist dabei nicht weiter von Belang, denn instrumental sind sie alle. Und so sitzt man hier vor der Anlage, blickt aus dem Fenster auf die vom Wind geschüttelten winterlich kahlen Bäume und merkt, dass man zehn Minuten kein Wort getippt hat, so hat die Musik einen in ihren Bann gezogen. Mission erfüllt, genau so sollten solche Soundtrack-Sounds funktionieren, die da anknüpfen, wo handgemachter Post-Metal aufhört, jenseits aller Ambient-Kitsches und ohne nervige Beats.
Keine Angst. Auch wenn man hier den Namen des ersten Stadtkommandanten Berlins im Namen findet, handelt es sich nicht um eines dieser angesagten Berlin-Dinger. Genau gesagt, handelt es sich noch nicht einmal um ein Quartett. Denn dahinter steckt der Münsteraner Musiker und Graphiker Thomas Bücker, bisher vor allem unter dem Namen Jean-Michel in Erscheinung getreten. Auf dem jungen Dortmunder Label Lidar setzt er mit seinem Bersarin Quartett auf die großen Gefühle. Auf dem Cover sieht man ein kleines Mädchen, das sich schützend die Hand vors Gesicht hält und trotzdem gebannt in Richtung einer Lichtquelle schaut. Der Film ist also gleichzeitig faszinierend und erschreckend. Und Bückers Stücke sind allesamt kleine Scores für genau diese Filme, die imaginär in unseren Köpfen ablaufen. Voll mit Bildern und Erinnerungen. Voll mit kruden Verweisen und kühnen Behauptungen. Voller Mut und dem unbedingten Willen zum Happy End. Und voller Gewissheit, das die Realität das Produkt des eigenen Geistes ist.
ondefixe.net
Ayant connu l’an passé une éclosion concomitante avec A darkness du suédois Jasper TX (déjà croisé chez Lampse, Miasmah ou Kning disk), le label Lidar Productions s’assure un décollage tout en douceur. Quatre saisons auront été digérées avant que Lidar ne signe un contrat avec Bersarin Quartett. Mais pourquoi donc s’appeler ainsi quand on est le fait d’un seul homme (un certain Thomas B originaire de Dortmund) qui a l’ambition d’un orchestre symphonique plutôt que d’une section réduite à l’état de quartet ? Seul cet énigmatique personnage connaît la réponse.
Sur près d’une heure, on assiste à un ballet de cordes amples et symphoniques, parfaitement produites (presque trop propres), hautement cinématographiques (on pense pas mal à Angelo Badalamenti), et variant leurs compagnons de route au gré des humeurs.
Ainsi ces cordes se parent-elles d’un écrin dub-trip-hop moderniste en ouverture (Oktober), ou d’esquisses mélodiques tracées au hautbois et au piano Rhodes (Geschichten von interesse qui nous renvoie vers les travaux d’Helios). Plus loin, elles s’accommodent parfaitement d’un piano élégiaque façon Harold Budd (St Petersburg). A moins que ce ne soit celui de The dead texan (ressemblance troublante sur Nachtblind)...
Lorsque les volutes électroniques et étoilées gagnent du terrain, c’est aux rénovateurs d’un certain néo-classcisme que l’on songe, (les âmes de Julien Neto, Ryan Teague ou Marsen Jules occupent les recoins d’Inversion et Es kann nicht ewig winter sein), voire à Stars of the lid quand de délicates nappes synthétiques se croisent et se décroisent à profusion (Und die welt steht still).
Etonnamment, le faux quartet dévie même vers un post-rock jazzy, un peu à la manière du Kammerflimmer Kollektief (Die dinge sind nie so wie sie sind), ou d’un post-rock tout court mais planant, dopé aux guitares réverbérées (Endlich am ziel).
Pour mettre un terme au film sonore, l’allemand nous balance son titre le plus électronica : cyclothymique à souhait, Mehr als alles andere alterne onirisme cristallin et symphonie piquée de glitchs et crunchy beats.
Un bel exercice de name-dropping certes, mais on a connu pire en matière de points de référence.
de:bug
Egal, ob hinter diesem Projekt Menschen oder Maschienen stecken, egal, ob Singular oder Plural, egal, ob tiefernst oder augenzwinkernd, egal, ob der Typ, wenn es denn einer ist, auch noch andere Sachen macht, egal, ob das Cover nun real sozialistisch und original oder gecovert und zitiert ist, das Bersarin Quartett macht den wohl schönsten und unpeinlichsten Musikkitsch seit langem. "Oktober" zu Beginn lässt doch alles anhalten, Meta-Ebenen fast gänzlich wegbrechen
und einfach nur genießen. Ich glaube, diese mal ambienten, mal downbeatigen Dinger sind das, wenn ein englisch sprechender Mensch mit Sachverstand anerkennend eben von Kitsch spricht. Der Rest ist einfach nur unaufgeregt schön.
perfectprescription
When Bersarin Quartett’s press kit arrived I found myself immediately taking notice. Normally I just throw the one-sheets straight into my recycle bin but this one stood out with its stylish black paper, striking artwork and unusual character set. I’d heard the name somewhere only recently - I thought it might have been DJ Martian’s blog but I couldn’t find anything when I went back to check - but I’d never got around to following it up. Not to worry, I had the album now and plenty of time to listen to it. And listen I did.
Press releases are, by their very nature, prone to hyperbole. The introduction to this one for Bersarin Quartett sounds far-fetched, almost ridiculous on paper but with the gorgeous opening swells of “Oktober” bursting from the speakers, the words ring perfectly true:
“With some albums, you realize within a few seconds that you have come across something really special. It is music that touches you straight away.”
If Bersarin Quartett had employed me to write their press release I could easily have produced the same opening paragraph. This is a truly special album of instrumental music, the kind that so many post-rock acts have aimed for but never quite achieved. It’s out on 13 February. 2008 is looking more promising by the day…
experimusic.com
Bersarin Quartett is the latest release from specialist experimental-electronica label, Lidar Productions. Little is known about the Bersarin Quartett apart from the fact that they hail from Münster and are possibly the creation of one man, named Thomas. This ‘lack of information’ shrouds the Quartett in a dark mysterious shadow and thusly adds an extra dimension to the Quartett’s offering. A further ‘dark and mystifying’ dimension is added via graphics with the album art showcasing a unique picture reminiscent of early 20th century Eastern-European theatre art. Of course the most important dimension is the music and the Quartett certainly live up to the image they have created through non-sonic communication. Across the 10 tracks on this 60 minute album, Bersarin Quartett create a murky, suspense-ridden and gracefully-arranged soundscape to a emotionally-touching movie that has yet to be written. Comparisons to artists like Murcof, Marsen Jules and Fennesz are inevitable but Bersarin Quartett’s vast range of stylistic approaches, disorientating arrangements and orchestral cinemascope aesthetic make them more than just stand in the shadows of their contemporaries.
The album starts off with the lush, sweeping soundscapes of ‘Oktober’, where a cinematic and graceful image is carved buoyantly into the minds of listeners. Each swell and decline of sonic-activity attempts to invoke a stirring sensation within the listeners body which sucks you further and further into the heart and soul of the music, whilst subtle and playfully-arranged, gaseous beats create an aura of enigmatic beauty. The angst-ridden, mournful strings continue on the following track, ‘Geschichten Von Interesse’ and are complimented by luscious keys, ominous aural-skree and glitchy micro-beats to create a soothing yet stirring Murcof-meets-Boards Of Canada style soundscape. Deep, reverberating drones, emotive-strings and thick slabs of dark-ambience fuse together in ‘Inversion’ to create a hypnotic score to a imaginary film. These sonic elements gradually become more intense and more distressing before briefly climaxing in a moment of Pendericki-esque psychosis. The rest of the track picks up where it started from, although the sound is more frail and turbulent.
On ‘St. Petersburg’, Bersarin Quartett unleash a magnificent epic. A real centerpiece of a track and a piece of work that Fernando Corona (Murcof) would be mighty proud of. Utilising a shifty combination of strings, keys and atmospheric drones, Bersarin Quartett craft a magical, micro-orchestral sound which is fizzing and buzzing restlessly. A smattering of thickly produced clicks and cuts then enters the fray and their out-of-sync tempos combine with large swathes of ethereal sonic-dust to create a really stirring and grand finale. ‘Und Die Welt Steht Still’ is the lengthiest track on the album weighing in at 8:51 and fully showcases the magical effect that sound can have on the listener. Ultra thick swathes of atmospheric-drone inset with micro-orchestral melodic motifs, steadily move to-and-fro across an endless astral soundscape. The soundscape starts to become slightly muffled and muted after a couple of minutes but this surprisingly sucks the listener deeper into the uncharted sonic-depths of the track. Magical, reverberating phaser-effects pass by listlessly as the sound starts to swell and by now the listener is totally consumed, lost in a warm and disorientating netherworld with the real world relegated to the depths of one’s imagination. Totally engrossing, this is sonic-ambience at its most powerful!
As the second half of the album approaches, the thick syrupy mélange of engrossing sound does not falter. The deep resonant drones on ‘Die Dinge Sind Nie So Wie Sie Sind’ are complimented by springy, jazzy percussion, the latter of which takes hold of the track halfway through. From obscurity, subtle yet stirring sound effects and a gorgeous melodic motif reminiscent of Bohren Und Der Club of Gore appear and proceed to create a warm and fuzzy, yet melancholy and contemplative soundtrack to a special moment that has long faded. ‘Nachtblind’ explores Bersarin Quartett’s more playful side as unhurried and thinly-veiled orchestral melodies give way to a forceful injection of effervescent beats and fizzing atmospherics. After the dense and shuffling soundscapes of ‘Endlich Am Ziel’ and the slow, creepy and fractured post-rock influenced sounds of ‘Endlich Am Ziel’ the listener is treated to what is possibly the strongest track on the album. Utilising many of the elements explored on previous tracks, Bersarin Quartett use this track to really explore their sound and in doing so manage to create their most full bodied piece of work. A pitching together of the light against dark, this is a mood-ravaged beast that explodes forth into a sublime piece of micro-techno. The sound utilises splintered sub-aqua drag-beats, progressive mutant-micro techno arrangements and purposely delayed heart-tugging strings. These elements are systematically interspersed with sprinklings of audio-turbulence and the whole package is wrapped up in a dark yet fragile, cinemascope aesthetic.
With their self-titled debut release, Bersarin Quartett have proved to be connoisseurs of a brand of electronica that requires much skill and delicacy to create. Developing and arranging intricately-layered soundscapes in a way that sucks the listener in and removes them from their physical location can only be undertaken by specialist producers and in a world that is chock full of fly-by-night, cookie-clutter electronica-lite artists, it is extremely refreshing to have the sounds of Bersarin Quartett seep from the over-worked speakers. With work of such quality, Bersarin Quartett will not be shrouded in mystery for long. Remember, you heard of them here first!
virtual nights
Wer am 26. Januar die Gelegenheit hatte, das Bersarin Quartett in der Pauluskirche in Dortmund zu hören, der weiß, was ihn auf dem nun erschienen Album erwartet. Wer nicht, der kann das jetzt nachholen: Benannt nach einem russischen Stadtkommandanten im Nachkriegsberlin, besteht das Quartett gar nicht aus vier Personen, sondern „nur“ aus Thomas Bücker aus Münster. Der aber produziert nicht gerade das, was man Kammermusik nennen könnte, sondern füllt mit seiner faszinierenden Soundarchitektur selbst so hohe Räume wie eben eine Kirche.
Andächtiger Ambient, mit natürlichen Streichern, verhallten Gitarren. Cinemascope-Sound und Score-Klänge wie bei Filmkomponist Cliff Martinez oder James Horner, dann wieder Erinnerungen an die frühen Releases von Aphex Twin, dann wieder groovig-jazzige Anleihen, die den musikalischen Stillstand (im schönsten Sinne gemeint) in neue Bewegung versetzen. Bersarin Quartett mit seinem gleichnamigen Album ist eine Ohrenweide für Klangästheten, für alle, die elektronische Musik in ihrer Gesamtheit kennen und schätzen. Bonuspunkt für das wunderschöne wie verstörende Cover!
norman records
(album of the week)
Some lovely modern classical/electronic stuff now with Bersarin Quartett. Opener 'Oktober' is a fine track that manages to bridge the gaps betwen hip-hop, classical and dub. A gorgeous track with lazy beats, lush strings and effects washes. Max Richter, Johan Johannsen, Sylvain Chaveau, Ryan Teague and Angelo Badalamenti all spring to mind. As far as this kind of orchestral stuff goes this really is as good as it gets. Phil has likened this to Arovane's Tides and Brian has mentioned Telefon Tel Aviv.There's some clever sound design going off and all. Track 6 even has some jazzy drums. There are haunting piano moments too Phil's just clocked the press release and informed me that this is 10 tracks composed for imaginary film scores. It does have a real soundtrack feel that just lets your imagination run wild. This is one you'll want to bang on all cuddled up with a glass of wine. I dont know what else to say other than this is simply lovely stuff. Digi-pak CD with fantastic sleeve on Lidar.
mapsadaisical
As this second release on the label comes out almost a full year since the first (the rather excellent Jasper TX album A Darkness), it is probably fair to say that Lidar Productions aren’t exactly out to flood the market with product. I’m sure they would say that they are concentrating on quality, not quantity, but so does every lazy fucker who can’t be bothered to put in a day of hard graft down the mill, me included. (”Quality, not quantity!”. “Umm, no, that is one grain of wheat. A good grain, granted, but I’d rather not starve, so I’ll have the loaf of bread”). However, records as delicious as the Jasper TX and this new self-titled Bersarin Quartett (sic, whatever that means) one don’t come around that often, so maybe, just maybe, they’ve got a point.
Bersarin Quartett wouldn’t be a quartet, even if they could spell it. They are but one man (a mere quarter of a quartet) from Munster and this is his addition to the ’soundtracks to imaginary films using classical instrumentation and electronics’ genre. The range of the record is notable: from the more conventional classical-sounding pieces through some crisp programmed beats and up through to some more abstract work. It begins with the dubby Massive Attack / Craig Armstrong feel of “Oktober”, and follows this with the sharply contrasting “Inversion“, whose startling cello and vocal drones skirt the boundary between Stars Of The Lid and Ligeti’s Requiem. After the further alien crescendos of “Und Die Welt Steht Still”, and the perky trumpet and drums finale of “Die Dinge Sind Nie So Wie Sind” (a bit post-rock, even), the album’s closing tracks career from processed Morricone guitar up to something busier, perhaps an orchestral off-cut from Autechre’s Amber. So, never mind the quality, feel the width, perhaps? Well, except for the fact that this record is just shot through with so much quality.
So that makes it 2 years, 2 fine releases for Lidar. A great start for them, and a great start for 2008. Bersarin Quartett is released on February 13th on Lidar. Listen to more on Bersarin Quartett’s Myspace page.
kindamuzik
In American Beauty spreekt Ricky Fitts de memorabele woorden "Sometimes there's so much beauty in the world I feel like I can't take it, like my heart's going to cave in." Dat, in een notendop, vat de emotionele sensatie van Bersarin Quartett samen.
Een album zo voorstellen klinkt dramatisch, maar de gradatie 'mooi' doet geen recht aan deze debuutplaat. Die term gebruik je voor zaken waar je naar luistert, terwijl Bersarin Quartett hint naar hoe je zou willen dat je leven voelt en klinkt. Dit album luister je niet, dit album leef je.
De man achter de act beschrijft zijn muziek als 'denkbeeldige fictieve filmmuziek', en dichter bij de werkelijkheid dan dat kom je niet. Geholpen door immer uitdijende galmen, repeterende melodieën, ingenieuze drumritmes, tot de verbeelding sprekende geluidseffecten, klassieke instrumenten en oneindig diepe melancholie lijkt Bersarin Quartett wel de dirigent van een orkest. Een orkest dat bestaat uit leden van The Kilimanjaro Darkjazz Ensemble, 1 Mile North, Kangding Ray, Biosphere, Murcof, The Cinematic Orchestra, Marsen Jules en Tipper.
Het resultaat is een rijke collectie associaties, weergegeven via vergeelde foto's, 8mm-video's en monochrome dia's. Bersarin Quartett houdt namelijk alle opties open voor de luisteraar. De muziek biedt hooguit vage contouren van scenario's, zodat iedereen zijn eigen imaginaire films mag regisseren tijdens het luisteren. Wat de uitkomst ook mag zijn, het resultaat zal veelvuldig bekeken en beluisterd worden.
Musique Machine
Sometimes descriptive terms fall short in describing an artist's music, in the case of Bersarin Quartett "imaginary fictional filmscores" doesn't. The group from Münster, Germany makes darkly melancholic music that meets the requirements for late night, urban moodscapes.
So yes, references to Stars Of The Lid, Ulver's Perdition City, Bohren & Der Club Of Gore and Cinematic Orchestra are fully justified. A morose string theme, drenched in a warm reverb gets company of a beat and electronic sounds that remind of Aphex Twin's Ambient Works. It remains unclear how many people are involved in this project, although the name of the band of course suggests four. By the bandpicture that is supplied I'm lead to think this is more a group of people lead by one man named Thomas. Not something I have derived from the picture alone of course but from the biography. Whereas the drums in the first track came from a computer, the beat in the second track (Geschichten von Interesse) seems to come from an organic source, a human drummer perhaps, like I suspect the strings also are not from a can, but a real quartet, which may explain the bandname.
Inversion, the third track, largely consists of ambient electronics and cello, but the then a short crescendo makes you look up from the pleasant lull you have comforted yourself in. I remains a brief interruption as the album continues in the warm, mysterious mood. The beats of the opening tracks also weren't a promise as for the most part the music remains beatless, which suits me fine as I often find somewhat the gratuitious use of hiphop beats to hip up things but to my ears often cheapens things. Same with spoken word samples from movies, another genre cliché from which Bersarin Quartett luckily refrains. Und der Welt steht Still slowly builds into a lush drone, which is pleasing my ears much more than beats and samples. On the other hand the more jazzy approach of Die Dinge sind nie so wie Sie sind, where the drums return, works out fine.
An excellent debut album, great for nocturnal couch consumption, closing your eyes and dreaming away. I can also imagine it working well in your portable device while traveling, seeing the cities pass you by in the night. Slickly produced without becoming becoming empty chillout fastfood, Bersarin Quartett does what it promises and does it well and a recommendation for everyone into the bands I mentioned earlier.
(Rating: 5 out of 5)
cuemix magazine
This is cinematic music for your ears and brain you haven’t heard for such a long time.
Orchestral and melancholic music, full of emotions and atmosphere. But Bersarin Quartett is more than just a head movie music. It bridges the gap between moody cinematic music and experimental chamber music. This album is bewitching! It’s a fantastic melancholic journey, but the mood it disperses won’t bring you down. Melancholy as a kind of positive lifesaver. The beauty of the soundscapes done by Thomas aka Bersarin Quartett are full of bittersweet promises. Promises of a world where the quiet moments and the beauty counts, not the profit, hectic and speed. This music could be written on a lonely island or onboard of a spaceship looking on our planet. Time becomes a new unit and feelings become more weight. This is a real great album that owns a special atmosphere and a nonesuch orchestral sound.
Wonderful tracks with wonderful titles that leave the listener with a feeling of freedom and contentment.
A wonderful perfect 10.
sputnikmusic.com
Let's get a few things out of the way before this review begins. First, Bersarin Quartett is not a quartet. It's one person who goes by Thomas. He's from Germany. Second, while some of his music uses synth strings that recalls the Kronos Quartet on Requiem for a Dream, his music hardly ever sounds like a string quartet or anything with four members. It is, at the same time, much more grand and much more sparse. So when you listen to this album (and you WILL listen to this album), do not expect anything from the name. Release any preconceived notions based on its implications.
Bersarin Quartett's debut album paints with colors of deep hues, rich with vividness. No matter what sound he uses as his brush, Thomas sweeps across the canvas, covering the whole thing with one stroke. Opener “Oktober” sets the mood, perhaps the most string-centric song on the whole album, through gorgeous, open sections that sandwich a percussion-led section that grooves despite its stilted nature. While the song grows in volume, it never grows much in intensity, letting the mood and ambiance do all the work.
From there, it seems as the album might be another “pretty electronica” album based in chamber classical music, albeit a very good one. But as “Die Dinge sind nie so wie sie sind” (roughly translated, things are not as they seem) notes, Bersarin Quartett has something different in store. One of the longer songs on the album, it begins much in the manner that one might expect, with lush chords and distant piano strikes. But it grows. This time not only in volume but also in intensity. A cymbal swell brings in a rhythmic ostinato that implies that the song might head into a jazz jam session. Ambience swallows that thought and leads to something more funky. It's clear that this debut album is a genre-bending work of art. What sets Bersarin Quartett apart from other albums of its kind, however, is the way it blends genres. Instead of throwing them all together at once, Thomas lets each style stand on its own. The classical of “Oktober” and “St. Petersburg” stands next to the ambient electronica of “Inversion” and “Nachtblind.” This is not fusion. It is juxtaposition.
Even more remarkable than this ability to juxtapose genres is the ability to do so with such perfect minimalism. While not initially apparent because the chords are so full, the sounds so rich, there is hardly ever more than one melodic idea floating around at one time. At its most complex, the music consists of some washing ambient noise, chords, and some sort of percussion. In “Und die Welt steht still” (and the world is standing still) the second half of the song is so simple- a chord just grows and grows and grows to the point of nearly blowing the speakers, causing cracks and buzzes. At any moment, the music could implode on itself, and the next moments give that effect. Quickly, the sound fades away to reveal a layer of strings, that same melody that the growing chord swallowed. That layer never actually stopped playing.
The layers within this music, entirely independent to stand on their own yet helpful to develop the next idea, allow the music to accompany all moods. Unlike so many electronica albums, Bersarin Quartett has a universal appeal due to its many influences (“Endlich am Ziel” might fit onto an early Sigur Ros album while “Geschichten von Interesse” might do better with The Cinematic Orchestra) and colors. Closer “Mehr als alles andere” (more than anything else) breaks many of the standards the album holds for itself by showing that he can blend the genres he distinctly separates throughout the album while still introducing something completely new. The strings and electronica come together, brought to a climax with a breakbeat, a sense of intensity the album never knew. Still, it works as a closer, bringing the album to a definite sense of finality. It is perhaps the resolution of all the false builds and all the tension created throughout the rest of the album. Make no mistake, Bersarin Quartett is an incredible release in the electronica world, but one that fans of many other genres will enjoy.
(4,5 out of 5 points)
dmute.net
Premier album éponyme de Bersarin Quartett. On ne sait pas grand chose de cet O.V.N.I sinon qu'il ne s'agit pas d'un quatuor mais d'un seul homme. Un mystérieux allemand, répondant au nom de Thomas. Mystérieux ? Oui, parce que le bougre débarque de nul part, et décide de donner du fil à retordre aux pauvres chroniqueurs qui, comme moi, cherchent désespérément un petit bout d'information à gratter sur Google. Alors, à quoi m'ont mené mes recherches, si ce n'est de savoir qu'il s'appelle Thomas et qu'il habite quelque part en Allemagne ? Et bien d'abord, je pense que ce mec est dégarni sur le devant de son crâne et qu'il porte des lunettes. Du moins, c'est ce que j'ai cru deviner de la seule photo que j'ai pu trouver de lui sur MySpace, aussi distincte pour tout avouer qu'un cliché pris d'un téléphone mobile à la résolution d'un timbre-poste, un soir sous un de ces réverbères en forme de boule orange. Je sais aussi que ça fait un moment que notre ami Thomas prépare sa galette. On trouve des traces de deux de ses titres (St. Petersburg et Es Kann Nicht Ewig Winter Sein) éparpillés à droite à gauche dans diverses compilations, la plus ancienne remontant à 2006. Au bas mot deux ans, donc, que Bersarin Quartett squatte en gestation sous son réverbère orange.
Pour en venir à sa musique, Bersarin Quartett se trouve quelque part entre l'ambient symphonique d'artistes comme Murcof, Julien Neto, ou Hecq (pour son album Night Falls) ; l'electro-jazz expérimental de The Kilimanjaro Darkjazz Ensemble ; le nu-jazz de The Cinematic Orchestra ; le post-rock ultra-planant d'Hammock ; le modern classical de Kronos Quartet ; voire même les travaux de Clint Mansell. Ca fait beaucoup de choses, je vous l'accorde. J'espère que vous ne vous êtes pas mis en tête de ranger vos MP3 dans de petits dossiers classés par genre car celui-ci risque de pas mal vous emmerder. Seulement, je veux encore croire au bon sens de l'humanité ; croire que nous ne sommes qu'une infime poignée d'abrutis à s'être lancés dans de pareils projets et s'attarder dix minutes sur un album pour savoir si on le range plutôt là ou plutôt là.
Bersarin Quartett n'aurait pas dû s'appeler Bersarin Quartett ; il aurait dû s'appeler Bersarin Orchester. C'est plus bateau, je le conçois, mais ce n'est pas quatre musiciens que j'entends ; c'est tout un ensemble. Il y a cinq ans, j'aurais mis ma main à couper que tout a été enregistré avec des musiciens en chair et en os. Quand on voit ce que l'on peut sortir aujourd'hui de logiciels comme Reason ou des plug-ins de Spectrasonics, on n'est plus sûr de rien. Il est indéniable en tout cas que l'acoustique des instruments est particulièrement réussie. A côté, ceux utilisés sur My Downfall de Venetian Snares ont un gout affreusement synthétique (payez lui un orchestre nom de Dieu !). A cette couche symphonique particulièrement savoureuse viennent parfois se blottir de petits glitch discrets du plus bel effet, parfois rien. Quelques rythmiques brossées par une batterie jazz ; quelques notes étalées sur un piano ou sur un synthé ; des guitares ; des échos de hautbois, de trompette et de saxo charmeur ; une basse aux rondeurs élégantes ; et bien sûr les cœurs de cordes, toujours omniprésents.
L'album de Bersarin Quartett se déroule avec raffinement et intelligence. Nous ne sommes qu'au milieu de l'année, mais je pressens déjà qu'il sera pour moi le nouvel artiste le plus prometteur du cru 2008. Ne passez pas à côté de cet album ; vous pourriez bien rater une perle.
etherreal
Après un album de Jasper TX il y a tout juste un an, voici la deuxième sortie du discret label allemand Lidar. Discret n’est pas vraiment une critique puisque doucement, le label pose ses marques, travaille ses choix, et trace son chemin avec pour ligne directrice, un son, une épure, et des émotions.
Bersarin Quartett est un mystère, ou semble vouloir l’être. Le dossier de presse ne donne que le prénom de l’artiste, Thomas, allemand. Il s’agit là de son tout premier album, et il mène ce projet en solo contrairement à ce que le nom laisserait à penser. Un premier album qui a mis du temps à voir le jour puisque ses premiers morceaux figuraient déjà sur quelques compilations depuis deux ans, mais à l’écoute de l’album ce délai ne nous surprend pas. Le son est absolument impressionnant, propre, léché, à se demander s’il ne s’agit pas là du travail d’un producteur perfectionniste. Le son est clair, limpide, de quoi satisfaire tout amateur de musique électronique. Pourtant l’acoustique y tient une place capitale puisque l’on se rapproche assez souvent du néo-classique avec ensemble de cordes (Oktober), violoncelle menaçant, voire même terrifiant (Inversion), piano ou encore clarinette. Avec une finesse et une subtilité impressionnante, l’électronique s’immisce, de manière un peu facile par superposition de nappes, plus habile en travaillant sur des sonorités proches d’instruments acoustiques, ou plus franchement, que ce soit par l’ajout de claquements rythmiques, ou d’explosions électroniques sur Geschichten von interesse, sans parler des classiques grésillements et craquements.
Si le style au croisement de l’electronica, de l’ambient et du néo-classique n’est pas si nouveau, l’Allemand va lui un peu plus loin, en particulier dans son utilisation de la batterie. Lourde et downtempo sur Geschichten Von Interesse, lorgant plus tard vers un jazz contemplatif (Die dinge sind nicht so wie sie sind) appuyé par quelques cuivres, douce et chuintante quand les balais viennent délicatement frotter les fûts (Es kann nicht ewig winter sein), d’une utilisation plus classique sur un Endlich am ziel très post-rock avec ses guitares métalliques.
L’album pourrait se résumer à un seul titre, le dernier. Certainement le plus electronica, il débute avec quelques bleeps aériens, se voit accompagné de cordes mélancoliques à souhait avant d’être marqué par une rythmique à la fois écrasante et entraînante. Comme si cela ne suffisait pas, quelques chœurs voluptueux en rajoutent encore au niveau émotion et envoûtement.
Mais ce fameux Thomas garde tout son mystère. Alors on fouille internet de fond en comble, on fait des recoupements et là... la révélation. Cet étrange Thomas s’appelle en fait Thomas Bücker. Il n’est guère plus connu, mais c’était pourtant l’un de nos gros coups de cœur en 1999 alors qu’il sortait son premier album, Marshmallow Rooms, sous le nom de Jean-Michel. On vous aurait bien dit que Bersarin Quartett arrivait malheureusement un peu après la bataille, après Murcof notamment, mais cet album est en fait une suite, une évolution assez logique de son projet Jean-Michel, par ailleurs toujours d’actualité. L’artiste a sa patte, sa façon d’agencer les éléments et joue avec nos émotions
(9 out of 10 points)
Many references have been made to Bersarin Quartett's self-titled debut. Some have called it cinematic, while others refer to it as ambient electronics. My vote lies split between the two versions as the music produced is really neither. Though it does share certain elements of both - sprawling open spaces on "Inversion" [which at times allude to someone like Tangerine Dream] and pure ambience of "Nachtblind", the release has an added element. There's a definite factor of story-telling woven in every one of the ten tracks on the release. It may be melancholic and full of gray sky landscaping, their music is overflowing with one element I need to get cozy with music of this type - warmth. It's this wool blanket warmth that invites me to revisit Bersarin Quartett's debut time and again.
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bersarin quartett
"bersarin quartett"
lidar002
jasper TX
"a darkness"
lidar001
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