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Peter Frohmader

Progressive Electronic

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Peter Frohmader Musik Aus Dem Schattenreich album cover
3.94 | 12 ratings | 3 reviews | 0% 5 stars

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Studio Album, released in 1981

Songs / Tracks Listing

1. Holle Im Angesicht
2. Fegefeuer
3. Unendliche Qual
4. Krypta
5. Mitternachtsmesse II
6. Inquanok
7. Ghul
8. Pagan
Bonus titles:
9. Mitternachtsmesse I
11.Krypta II
12.Bass - Praludium


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Line-up / Musicians

Peter Frohmader / e-bass, e-double bass, e-guitar & electronics

Releases information

Nekropolis Musikverlarg 1998 LC 7651

Thanks to Philippe Blache for the addition
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Nekropolis 2Nekropolis 2
Spalax 2001
Audio CD$7.77
$7.45 (used)
Cycle of EternityCycle of Eternity
Cuneiform 1995
Audio CD$2.00
$5.95 (used)
Cuneiform 1995
Audio CD$39.99
$3.98 (used)
Cycle of Eternity by Frohmader, Peter (1995-03-29)Cycle of Eternity by Frohmader, Peter (1995-03-29)
Audio CD$83.30
Gazul/Musea 2003
Audio CD$16.79
$14.88 (used)
Eismeer by Peter FrohmaderEismeer by Peter Frohmader
Audio CD$57.32
Kanaan Live 1975Kanaan Live 1975
Green Tree Records
Audio CD$19.77
$17.99 (used)
Macrocosm by Frohmader, Peter (1995-03-29)Macrocosm by Frohmader, Peter (1995-03-29)
Audio CD$165.59
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PETER FROHMADER Musik Aus Dem Schattenreich ratings distribution

(12 ratings)
Essential: a masterpiece of progressive rock music(0%)
Excellent addition to any prog rock music collection(75%)
Good, but non-essential (17%)
Collectors/fans only (8%)
Poor. Only for completionists (0%)

PETER FROHMADER Musik Aus Dem Schattenreich reviews

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Collaborators/Experts Reviews

Review by philippe
SPECIAL COLLABORATOR Honorary Collaborator
4 stars What would you expect from a band called "Nekropolis"? With a very eloquent cover art describing the final ending and the disappearance of humanity throw creepy bones of dead bodies, you can imagine that the sound is everything dark, resonant, cavernous, haunting and ghostly. This infernal electronic manifest is a musical intrusion throw pain and agony, scary but so sublime in term of intensity and expression...the two first compositions are written for (very gloomy) double bass lines, menacing electronic effects and drum attacks. This marvellous, creepy and moody album by Peter Frohmader is one of the strangest things I've heard in popular music. Surely his most experimental if we remember the much more conventional "ambient" efforts of his last productions. "Unendliche Qual" is a hyper cavernous track, always with massive doom bass lines, agonised "almost heaven choir" ambient sounds and hammering drum parts. A proof that we can make a pretty dark and ass kicking album only with tremendous atmospheres. My favourite tracks on this one are the almost jazzy macabre "Mitternachtsmesse II" and the floating, repetitive and spacey like "Mitternachtsmesse I". A supreme and unique contribution, featuring discreet weird kraut experimentations.


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Review by Ricochet
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Starting off with the same idea another reviewer of this album used to express the strangest and most influential feelings this music has installed for any one bestowing to listen to it, I'll say that, indeed, a cover so horrific and unpleasant plus an entire concrete set of cryptic and sharp names for each composition (though certainly, in both cases, this is not the most creepy "view" in musical concept ever), in such a linguine and freely expressed way, lead to the music of this classic debut by Peter Frohmader to be of that particular novelty nuance, one impregnated very deep, sardonic and dementia, alluding much of the heartless and "dunkelheit" operatic music impressions. The best such artists usually express it as a meaning of life (and of death), plus an expression of authentic blossom and powerful industry. It is a habit of eloquent diversity and stunning receptiveness, true, if you comprise well the flawless orientation of a music that burns and shrivels you inside, nonconformist and nondeterministic.

As powerful, indecisive and macabre as this experiment will sound, it also reflects, however, not a flagellation of music and emotions, but a deep trance of systematic experimentalism and over-mechanized techniques, having in mind a blow of proportions, by which music to stun, some kind of visual transmissions (like lugubrous sounds leading to cryptic images, or so) to be achieved, plus a good rhythm of artistic provocation to be fulfilled, since the entire composition leaves little time for sensibility. In conclusion, you could do an entire monologue and fearful description towards Music Aus Dem Schattenreich, calling it the music of totems, the emblem of devilish concepts and the radical substance of inconsequential dark and formidable punching character - but the album is also a very good and connecting study of electronic devices and sound-fractions, space-fears and reverted environmentalism, under envious qualities of rock, electronic tension, sound and ambient, noise and acid culture, dark and deep breaks of flairs - a very impressive study as well.

Peter Frohmader cuts off from his projects of cold counter-fashion composition, cubism rock, unshapely jazz or rock vibrations (though the 70s full work could be a collector's avid pleasure as much as collecting the sessions of Nekropolis and collaborating compositions, within the official register, turns out to be) and comprises a sum of art, weird ethic and stabilized avant-torrential influences within mechanics and comforts of electronic, synthetic and psych-epileptic improvisations. The strength of the Nekropolis projects is equal to the strength of collaborations with big artists like Pinhas or Artemiev and to the strength of Frohmader playing solo. So is the balance between him being an electronist, a sound-machinist, an avant-garde sketcher or a personality of diffuse rock. Such a debut like Music Aus Dem Schattenreich becomes suggestive to a lot of Frohmader's visions and introverted terrific dreams of music, sharing only a unique strong message of its own, mostly condensed between music and the liable impression.

With a low-extended instrumentality, but a perfect eclectic precision, Frohmader makes out of this album a heart beating (expected to have said flesh-ripping?) caliber and a paradox of minimal music sounding so massive. The Nekropolis project, associated a lot with this kind of impact art, seeks out the same kind of illusion, under different, more powerful or more forgotten essential musical gestures. Outside the atmosphere of Nekropolis and of Frohmader's sting art, you can't find a conclusive association with the grandest and most known contemporary styles of electronic. It is even a thought of beatitude that, in the beginning of the 80s, when pressure made a lot of electronic art collapse or become the expression of harmony, Peter Frohmader comes, heartless as it is, with a music of fear, complex language and powerful exploration. In a weaker eulogy, these early experiments, this one included, fully reflect a personal and conceptual force of expression and clatter, within a chosen dark, deep, frantic and exhausting modality.

Music Aus Dem Schattenreich is an hour long impressive album, with lots of suggestive strange and hollow sound-movements. Going just one more time back to the cover and the concept of "hecatomb music", the music might be a suggestion for some visual art or some cuts of music, though nothing is specific - many Nekropolis experiments, including Nekropolis 2, are actually "soundtrack" compositions. Inside its shell, the album becomes an electronic furnace of instrumentality and arranged technique, with a spiritual aggression that mostly chills you down hard enough as to experience this powerful and incisive music. Frohmader, through 12 pieces, tries combinations of noises and sounds (no mechanical particular achievement), new ambiances and sorrow/minor harmonies, a background or a frontal experiment of electronic tonalities, plus some spacey, rhythm-rocked, shock-sequential or synth-minimalistic pasts of effective and well-sustained calibers. The general (and critical) style is, therefore, cold electronic music, spontaneous rock or avant-garde, wall-sound environmentalism and cosmic-fracture.

Four stars, it's Frohmader's classic and a, literally, work of treacherous emotions.


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Review by Guldbamsen
4 stars Road to hell

To better understand the music of Peter Frohmader, I think it best to start with his paintings that circle around the esoterically challenging - the cosmic and unfathomable. Experiencing the German art world of the 70s, Peter played in several avant bands - founding most of them, and thereby also developing a taste for the exact same thing that fuelled his paintings. Another world hiding in the shadows of life. As many of young people probably can attest to, sometimes we are much easier persuaded into the dangerous facets of our world, and I still think that is why so many people swear to metal and the life thrilling ventilating effect it has. With Peter it resulted in a deep fascination of the occult and brooding, and when he finally decided to make this debut album of his in 1979, all of this beautiful darkness suddenly came to fruition.

Nekropolis is like an electronic soundtrack to Dante's Divine Comedy. Divided into two acts, this instrumental opera of death guides the listener into the black scrublands of the human psyche. We start out in the dusky beginnings of night - the blackness slowly emerging with the simmering sways of synthesizers and understated hazy bass mumblings. Peter uses the whole spectrum of the instruments - meaning that he fully understands the counter-pointing effect of reverberating noises, and actually puts them centre stage. At first it seems odd and slightly out of place, because it feels as if they're recorded at the wrong volume. So the pounding drums become these tiny muffled matchbox rumbles - while the dark sinister breaths of electronics weave right up front in the mix alongside an incessant bass.

Then we enter the second stage of our journey, the one that fulfils the divine cycle as relegated by Dante himself - leading the way into the fiery realm of hell. Adding to the booming smouldering atmosphere, you get references to the expressive devils from old Tibetan paintings, and the music now takes a turn for the more aggressive. It feels like a vortex of gloom - a black inescapable hole that draws you in with long threads of ceremonial black mass music. It's like the music grows long hairy tentacles that reach far beyond the confines of your speakers.

Both of these chapters contain strung elements of what I'd personally call Gothic ambient. It swirls around you like an unpredictable dark cloud, and still it is what brings both atmosphere and meat to the proceedings. Like an invisible thin red line going through all of Nekropolis, it's there and then not really... Then you have something quite extraordinary filling up most of the remaining room here. Zeuhl. Maybe not in the strictest sense of the musical boundaries and invented stickers, but in the same way that a man like Igor Wakhevitch leaned on the shamanistic simple - the ritualistic in music, going back to a structure that seeks to hypnotise you by sheer rhythmic force - a secret chant, - Nekropolis does so too. It's more of a subtle vibe emanating from the background, but it's there. It becomes clearer and more tangible as you go along - finally culminating in the ending crescendos of hell, where the drums come to the fore and everything suddenly sounds more in tune with French bands such as Magma and Weidorje, than the electronic oozings of the Berlin School kids.

In many ways, all of this album leads up to this final eruption of sound - this mighty lava explosion, and when it finally happens, it's like a cathartic musical cleansing. You have finally reached the source of the fire, and effectively the end of your journey through the night.


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