Deeper Ground on 12th position on the Psychedelic Waves Top 30 2020!! “Son of Ohm does an experiment that works out quite nicely. The same deep and atmospheric electronics as his other albums, but this time brought together into shorter, song based pieces, complete with the dreamy vocals more common to his Astral Son albums. Really lovely stuff.” (Jeff Fitzgerald)
Making electronic retro-kraut today has two opposite sides. The first is the technical ease provided by current technology. The one from the 70s was rough, complicated, very expensive and weighed like a dead man ….. but it was wonderful. And its genuine sound. That is why it is about emulating 50 years later. The second, less comforting, is that not looking like a monkey repeating your youth records, being original, turns into a nightmare that can lead to sick obsession. It has happened to me with Pluralis.
And I came to two conclusions: a) Do not beat your brain with moralistic ethics. After all, this should be done to enjoy. And b) Let your natural instinct work. If forced, the electronic truño will fall under its own weight like an overdose of Evacuol. I think that the Dutch Leonardo Soundweaver, aka Son of Ohm, has these two points also clear. I enjoyed listening to their first album “Syrinx”, as if I had discovered a lost artifact of my Teutonic heroes, in a dusty abandoned German warehouse. He names his music “Organic Electronics Retro Futuristic Music”. The Berlin School puts it later, do not fear. After all, little is carried. He has no problem showing his fan ideology. Like me. And indeed, his work follows a fidelity to the historical cause, which is worthy of all merit. In five years, he has nine more than interesting albums. Being two those that have appeared so far in 2020, “Deeper Ground” and “The End of Time”, very illuminating titles of the nothing positive panorama that dominates us around the globe.
In its debut, “Legend” (8’33) began the psychotronic adventure based on floating electronics, classical sequencing and hypnotic guitar strumming. Son of Ohm likes to recreate, but also to create. And for this he uses the best possible weapon: Melody and futuristic sense. Call it “cosmic Steampunk”, because it evokes a future past more in line with the idea of science fiction in the 70s. Much more beautiful than our reality. He revisits her with the illusion and inspiration of some Franke-Froese-Baumann, sounding just as enigmatic, mystical and dreamlike dimensional. Flawless his use of bubbly analogy.
“Syrinx” (8’52) captures the first second, with an old, simple and concise sequencer. Quasi – Andalusian melody might seem to us an essay by the first Independent Caliphate Imam. Moved to the hippie Berlin of the Cosmic Jokers, or the art exhibitions, where he was enlivened with the first electronic avant-garde music. Which is where it all started. Son of Ohm’s inventiveness is fresh and not overly studied. At least it makes that impression. It comes out spontaneously, which is how it works best. If this were a vinyl, I would finish the face with “Crystal” (5’06), another sequential delight in which in addition to playing, Leonardo has fun and relaxes as in the best session of a Yoga teacher. Beware, no trace of new age softness. This is pure “German” cosmic art. Retro rock evoking the best stage of those opening musics, which have given so much of themselves in subsequent decades. Another little gem in this “grandma’s chest,” full of vintage delicacies remodeled today.
“Mount Ohm” (8’05) sounds like Terry Riley surrounded by analogues – museum. To develop a cybernetic and organic swell of possible symphonic beauty, which supports comparison with Jürgen Dollase, Lutz Rahn or some Achim Reichel style guitar. Berlin sound in all its glory also brings “Monkey Mind” (7’44), without this being an obstacle for an almost commercial exhibition. It wasn’t for Ashra, and this is a similar case. The truth is that it has a really beautiful and magical melodic line. Son of Ohm performs very well by those parameters.
It ends with “Echoes” (7’49), an original sequential oil painting that could recall some of the most extraordinary parts of “Oxygene”. One would say that “Syrinx” is a flawless album, for eternal lovers of the Berlin heartbeat made with all the love and respect. I have worn it three times in a row, which is unusual for me. Sometimes being a big fan makes a great musician. This is the case. JJ IGLESIAS www.rockliquias.com
Son of Ohm on vinyl! Fruits de Mer Records is releasing this great album, double vinyl and double CD, featuring many artists, including Son of Ohm. with the song Pixies, from the album Paradigma. Here’s the official statement from Fruits de Mer:
“Over 200 minutes of music inspired by Tangerine Dream, Ash Ra Tempel, Popol Vuh and the German electronic music scene of the early 70s.One or two names that are familiar to fans of Fruits de Mer Records are joined by many artists that are completely new to the label, to recall one of the most innovative periods in music of the last 50 years, when Germany began to create its own sounds and artists explored new musical territories that took them in a very different direction to their contemporaries to the West; the music was remarkable – it still is – and those influences continue to be heard in so much music that is being created today.kosmische sounds, space rock without the rock, horizontal listening – however you want to describe it, this about as far from a mosh-pit as you can get.This is a combined double LP + double CD set – no music is repeated between the two formats; many of the tracks have been recorded exclusively for ‘Head in the Clouds’, many more are getting their first physical release; the set is only available as a combined package (making it a 5 LP box-set would have been ideal but in these difficult, cash-strapped times, we decided to show a little restraint…for once).more info here http://www.fruitsdemerrecords.com/clouds.html and pre-ordering details here http://www.fruitsdemerrecords.com/shop.html “
On August 7 is the release of “Dutch Electronic Masters”, a special album with contributions from 20 Dutch electronic musicians. It is a little something we did to support our friends from Underground-ÄxpÄrten. I made a new Cosmic track for the album, “Wonderwall”.
“Vintage synth layers, Kraftwerk’s sequences, hypnotic guitar loops, psychedelic moods. This with hallucinogenic herbs… and we are in heaven with this last album from Son of Ohm; The End of Time” New review by Sylvain Lupari at Synth & Sequences
I’m working on an album with only three mono synths (Moog & Reon), two sequencers and electric guitar. It started out as sequencer jams and I was very happy with the two-track recordings. Then I though hmm, maybe some electric guitar pingpong in the background? And I was very happy with the result. But it still nereed something so I recorded space effects. And indeed it sounded very good. So it was ready, four tracks of sequence-bliss. After a while I thought no, it still needs something. So back to the studio and I recorded melodic leads with Moog. And I am very pleased with the outcome!! So when the artwork is painted (working on it), the stars are in the right position and I’m still happy with the music this will be the next release.
With Son of Ohm I have produced seven instrumental electronic albums so far. Main instruments being synths, organs and electric guitar. Some albums are more synth & sequencer driven, others electric guitar & looper or a mix of things. Most of the albums were in some kind of cosmic space/electronic psych/experimental mode, pushing boundaries.
Deeper Ground is different altogether, it has vocals. The songs are very structured and were composed on polysynths. First I played the basic chord progressions and recorded them with a click track. I programmed Linn Drum samples for rhythm after that, providing an 80’s atmosphere. I had sequences running and a lot of melodic stuff, space effects, solo’s and basses were played on mono synths.
Vocals are on the first five songs. The last three are instrumental. No guitars or organs this time.
The new album ‘Deeper Ground’ is almost ready. It is something different. All eight songs were composed on polysynths, messing around with chord progressions. It was a very interesting process seeing the songs develop. The main idea was to create lush synthesizer-pop kind of songs, with only synths, Linn drum samples and some vocals. No guitars and organs. This principle I kept. Ofcourse the songs themselves pushed me into a different direction.
the first three songs were made I had to take a break. The new songs
that I made after some time had a different character. I liked it. They
actually had a very nice sound and feel. So I returned to the first
three songs and gave them the same vibe. Some songs I had to break down
So what we have now is five tracks with vocals and three instrumental tracks. I used to avoid a lot of chord changes because I like modal scale, so that’s new. The drum sound also makes it different. Apart from Astral Son I haven’t done much singing in productions. I used my voice as an additional melodic sound, with meaning ofcourse. Since I love analogue sound the album is packed with it. I’d say it is very warm and melodic as well.
At the moment I am happy with the album. I think it is one of the best things I’ve done. I’ve dedicated my composing and production skills to the making of an album that has the potential to attract a wider audience that normally would’t listen to electronic music. Only thing is that I’m confused and don’t know yet how to release because it isn’t instrumental electronic or psychedelic. So it will probably be next year!