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New comer but highly skilled artist in the electronic-prog world. After one CDr entitled The Summit (Gneiss Things, 2007) Hauschildt published his first official CD Tragedy & Geometry (Kranky, 2011). The musical content offers a dense collection of tripped out and subliminal synthscapes, featuring intriguing experiments and delicately absorbing hypno-minimal patterns.

Similar artists in the archives: Manuel Göttsching, Günter Schikert, Richard Wahnfried...

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Kranky 2016
Audio CD$19.29
$14.36 (used)
Where All Is FledWhere All Is Fled
Kranky 2015
$87.00 (used)
Tragedy & GeometryTragedy & Geometry
Kranky 2011
Audio CD$16.98
$9.31 (used)
Kranky 2012
Audio CD$10.86
$14.14 (used)
Editions Mego 2013
Audio CD$8.12
$10.00 (used)
Where All Is Fled by Steve HauschildtWhere All Is Fled by Steve Hauschildt
Audio CD$50.98
Tragedy & Geometry by Steve Hauschildt (2011-11-15)Tragedy & Geometry by Steve Hauschildt (2011-11-15)
Audio CD$58.48
Sequitur by KrankySequitur by Kranky
Audio CD$42.52
Tragedy & Geometry by Kranky (2011-11-15)Tragedy & Geometry by Kranky (2011-11-15)
Kranky (2011-11-15)
Audio CD$668.27
Tragedy & Geometry by Hauschildt, Steve (2011-11-15)Tragedy & Geometry by Hauschildt, Steve (2011-11-15)
Audio CD$66.77
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STEVE HAUSCHILDT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
The Summit
3.00 | 3 ratings
Tragedy & Geometry
4.00 | 1 ratings

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Showing last 10 reviews only
 Tragedy & Geometry  by HAUSCHILDT, STEVE album cover Studio Album, 2011
3.00 | 3 ratings

Tragedy & Geometry
Steve Hauschildt Progressive Electronic

Review by colorofmoney91
Prog Reviewer

3 stars Tragedy & Geometry is basically very active (usually mid-paced) ambient music that relies mostly on thin sounding cascades of notes held together by soaring synth melodies. When most people think of ambient, they may think of never-ending drones that sound ethereal or angelic, and while this album does have that ethereal sound, most of the tracks on this album have some energetic character that alludes to Berlin school style of electronic composition and newer experimental electronic artists, except the spacey atmosphere is traded for more serenity.

Although this album's music is initially very soothing and engaging, it starts to get very samey and uninteresting just before the half-way point. Only a few tracks stand out to me, and those are "Batteries May Drain" which features Haushildt's serene ambient combined with an uptempo drum track that makes this sound like the most sophisticated synth-pop, "Music for a Moire Pattern" which is primarily an epic showcasing of Hauschildt exploring the glassy cascades of synth patterns for 11 minutes and gets quite hypnotizing, "Overnight Venusian" which adds considerable darkness to the sound that's been established on all of the previous songs on this album (finally some mood change), and "The Impossible Flower" takes the same glassy synths and adds an effects that makes them sound as if they were submerged in water giving this single track a strong aquatic feel (very video game "water level"). Even with four standout tracks, most of the album still sounds entirely samey and, while pleasant, feels more like a chore to get through than an enjoyment.

Tragedy & Geometry is a very soothing album that is as relaxing as it is beautiful, but lack of variety throughout makes this album a bit too long-winded (especially at over an hour in length), but what we have here is proof that Steve Hauschildt, performing solo and away from his group Emeralds, has a lot of potential. This is a good album, but I'm confident that Hauschilt can do much better.

 Tragedy & Geometry  by HAUSCHILDT, STEVE album cover Studio Album, 2011
3.00 | 3 ratings

Tragedy & Geometry
Steve Hauschildt Progressive Electronic

Review by Guldbamsen
Special Collaborator Retired Admin

3 stars Aquarium tales

If you wonder what music to put on, when nothing´s on the telly and you aren´t improving your oboe skills in the slightest -and just want some time to yourself happily spent watching the colourful flashes radiating from your neon fish shoals - then look no further. This outing feels like the perfect soundtrack for small rainbow coloured cichlids zipping about in geometric shape-shifting patterns inside the miniature sea world of your aquarium.

Steve Hauschildt is a new boy on the block - at least to me that is. He´s been a member of electronic artist Emeralds for several years, where he´s explored many facets to this bubbly genre. Noise, ambient, Berliner Schule and a bunch of other different approaches. From what I´ve heard in Emeralds music, this new album of his called Tragedy & Geometry sounds altogether different. Hauschildt draws his inspiration from many of the head honchos of the progressive electronic world. I hear some references coming from the early Klaus Schulze albums - although they are hiding pretty well beneath the somewhat modern surface this album exudes, but they are there. The track Peroxide is a perfect example of this, where the synths form into thick electrically charged storm clouds of sound slowly percolating these giant breadths of oscillating soundscapes. I´d wish the album had more of these dreamy oozing tracks, where everything just flows.

The main inspiration here however, is Manuel Göttsching, and it becomes remarkably clear just how much of an inspiration his genius chessboard album from 1981 is to Hauschildt. These micro-tonal hypnotic beats, moving in minuscule slightly shifting patterns - like big oceanic waves of mosaic sounds - are indeed what drives this album. It´s like watching images of spheres and blurry looking planets illuminated by stroboscopic lighting. When you listen to this album whilst looking at the laser infected cover, the music suddenly swarms around the room like a private Who concert(remember those laser green accompaniments they had back in the day?) with grandiose light show and all - only here with electronic music as your sonorous mistress. The longest track here called Music for a Moiré Pattern shows how elegantly Hauschildt weaves these micro-tonal eccentricities into one another, and as a result of this he succeeds in doing something that is terribly difficult. He makes it sound like he was the originator of this rather fluid electronic movement, -even if Göttsching commenced it with his Early Water recordings from back in 76.

This is a very smooth and delightful album, which, had it been released some 30 years ago and trimmed down a bit, - would have deserved a big 4 star rating from yours truly. As it is, perhaps too long and slightly meandering, I´ll keep the one star lying comfortably on the bottom of my trouser pocket. Still, I think some people around here, have forgotten how wonderful and captivating a 3 star record can be, and this is surely one of those. I love listening to this, and it keeps my concentration revitalized and blooming like no other remedy could hope to achieve- filling my head with bubbling images of these entrancingly swarming shoals of fish.

Thanks to Philippe Blache for the artist addition.

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