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| Eloy Fritsch is the keyboard player for the Progressive Rock group Apocalypse and as a solo artist he creates cosmic Electronic Music. Atmosphere can be easily considered a classic of contemporary EM. The music is sweeping, |
Eloy Fritsch is the keyboard player for the Progressive Rock group Apocalypse and as a solo artist he creates cosmic Electronic Music. Atmosphere can be easily considered a classic of contemporary EM. | ||
| The closest comparison would be probably Vangelis. Not recent stuff, but more vintage period when he used lots of analogue instruments. Nevertheless, Fritsch has found his own style within melodic Electronic Music framework. The music is sweeping, majestic, and at times orchestral. It moves from clear melodic themes that are somewhat earthly (in the good sense, that is - and there's no wonder - in the first part of album Fritsch paints pictures of the lower layers of our atmosphere) to the more experimental out-there stuff in the middle of the album, only to return back to anthemic epicness by the end. This is, indeed, celestial music that moves slowly and at times seems to go completely out of control (during the more experimental moments) and at other times sounds totally composed (during the more melodic passages). | |||
Revision as of 10:26, 22 January 2006
Eloy Fritsch is the keyboard player for the Progressive Rock group Apocalypse and as a solo artist he creates cosmic Electronic Music. Atmosphere can be easily considered a classic of contemporary EM. The closest comparison would be probably Vangelis. Not recent stuff, but more vintage period when he used lots of analogue instruments. Nevertheless, Fritsch has found his own style within melodic Electronic Music framework. The music is sweeping, majestic, and at times orchestral. It moves from clear melodic themes that are somewhat earthly (in the good sense, that is - and there's no wonder - in the first part of album Fritsch paints pictures of the lower layers of our atmosphere) to the more experimental out-there stuff in the middle of the album, only to return back to anthemic epicness by the end. This is, indeed, celestial music that moves slowly and at times seems to go completely out of control (during the more experimental moments) and at other times sounds totally composed (during the more melodic passages).