Remnants

	Thorsten Quaeschning´s Picture Palace music Remnants Original Soundtrack - music for ancient light and bluestone circles -

		- CD (PRICES INCLUDE SHIPPING) 17,-€ -
		- MP3-Download (320kBit/s 44kHz Stereo)/RAR-File-Complete - 11Tacks - over 60 Minutes - 9,00€ -


- - -
1. Portal Touch Stone Overture 2. Neolithic Spring Water Fall 3. Circular Earth Banking Security 4. The Rising Dolmen 5. The Gretchen Tragedy 6. Night Initiation 7. Farewell Moon And New Suns 8. Moon Dial 9. Blue Hour Glass 10. Giant´s Dance On Air 11. Walking The Burial Mounds ------------------------------------------------------------------ Recorded in 2009, 2010, 2012 & 2013 at Townend Studios (Berlin), Eastgate Studios (Vienna) Mastering: Bjorn Sjollruud Photos & Artwok: Grant Wakefield & Thorsten Quaeschning Produced by Thorsten „Q Quaeschning Music composed by Thorsten Q Quaeschning Thorsten Q Quaeschning Synthesizer, Piano, Guitar, Drums, Darbuka, Djembe, Modularsystem, Glockenspiel, Flute Kai Hanuschka: Cajón on Track 4 : The Rising Dolmen Juergen Heidemann: Soundstone on Track 11 : Walking The Burial Mounds please visit: www.ancientskies.info www.grantwakefield.com ------------------------------------------------------------------ Sky-Skan presents: R E M N A N T S Directed, Photographed, Edited & Produced by Grant Wakefield Music Composed, Performed, Produced & Mixed by Thorsten Quaeschning Executive Producer Glenn Smith - Sky-Skan Europe GmbH Additional Cinematography Lee Ford Parker Motion Control Systems Bryan Mumford Image Cleaning Amanda Davis 2k Widescreen DCP Version - Alex Hibbitt - Arts Alliance Media 4k Fulldome Version - Grant Wakefield / Sky-Skan Europe GmbH ------------------------------------------------------------------ Thanks to: Sebastian Schwind, Corinna Siefke, AnT, Thorsten Spiller, Sascha Beator, Edgar & Bianca Froese, Bernhard Beibl, Frank Ebeling, Andy & Salvador, Chris & Karolina Hausl, Sebastian Sadowski, Mirko Rizzello, David See, Djirre, Andreas Scherer, Jan"Stix"Pfennig, Angelique Pietz, Don, Stoppel, Tommy&Anke Betzler, Susanna Maria & Fabian Sellin, Chris Umbach, Helen Pfaff, Bernd Pfeffer, Colin Dodsworth, Thomas Wimmer, Iris Camaa, Julia Duchardt, Mark Schwarzmayr, Philip&Achim&Rita&Alex Klenz, Erik Jünge, Nelson Ribeiro, Julia Henkel, Kara, Töm Kainikara, Aurora Nova, Julia Sommer, Andreas Bernhardt(BB-Film), Hoshiko Yamane, Cliff Hewitt, Kalle, Guido, Sascha, Loophole-Berlin, Al(ex)tronicartworks, Uwe Zelt, Marian Kankowski(Kino i.d. Kulturbrauerei), Thorsten Feuerherdt & Markus Horn(Manikin Electronic), Marc Lingk(Timefreezer), Yusuf Sahilli, Hans Hermann Hess(Electronic Circus), Mario Schönwälder(Manikin Records), Vic Rek(Ricochet Dream), Schützler-Family, Helga Müller, Ron Boots, Juki&Babs, Ron&Pam Barrett, Stefanie Herfurth, Stefan Schulz, Bernd Kistenmacher, Forced Movement, TT Geigenschrey,Burkhard Rausch, Dieter Doepfer, Manfred Fricke(MFB), Frank Bornemann, Native Instruments, Andreas Schneider/s Laden & our Families
- - - ----------------------------------------------------------------------------------- Reviews: CDS / UK: Brand new hour-long album from TANGERINE DREAMs Thorsten Quaeschning, and its a classy production that EM fans everywhere will thoroughly enjoy! About the CD… Remnants is Thorsten Quaeschnings original score for the film of the same name by Grant Wakefield (more details on this below), and believe it or not, it is his first full film score, but when word gets round how good this one is, there will be more commissions for sure! I am here to tell you that this is one amazing album - a pure electronic music recording that categorises Quaeschning sound just perfectly - for me he is a composer/musician that lies firmly between two distinctive styles - VANGELIS and TANGERINE DREAM, gradually swaying the sound elements back and fourth from one to the other whist keeping the music distinctly one of his own. Using a range of keyboards such as Memotron (choirs etc.), synthesizers and piano, alongside a modular system, Glockenspiel, flute, guitar and drums, Quaeschning stretches the music from melodic & atmospheric to grandiose, epic & dramatic, often developing into the sound of purest Berlin School on the rhythmic side, with light and shade at almost everywhere turn. Now, I havent seen the film yet, but if Remants works half as well as a soundtrack as it does an individual electronic music album it will be doing very well indeed. Thorsten Quaeschning composed, performed, produced and mixed Remnants, with Kai Hanuschka (Cajon on Rising Dolmen) and Juergen Heidemann (soundstone on Walking The Burial Mounds) making guest appearances on two tracks. The CD also contains extra music than was not featured in the film itself and is a MUST for TANGERINE DREAM and VANGELIS fans alike! About the film… Presented in a pristine wide-screen digital print, Remnants explores the rise and fall of the Neolithic civilisation of Britain via motion controlled, digital time-lapse cinematography. In one of the longest cultural developments in history, from 3800 to 1000 BC the Neolithic peoples of Northern Europe constructed thousands of complex stone monuments. Their reasons for doing so remain largely a mystery to this day. Utilising highly stylised, motion controlled time-lapse photography, Remnants captures the essence and austere beauty of their amazing Megalithic constructions, suggests and reveals their purposes, and poses a question to our current culture. History has proven repeatedly that no civilisation can last indefinitely. Will we share the same fate? Shot in 4K resolution over the course of four years throughout the UK and Ireland. And finally… Please note that this album is a strictly Limited Edition release and will probably go out of print relatively quickly, so order sooner rather than later early to avoid disappointment! Remnants was released on 11th November 2013. ----------------------------------------------------------------------------------- Gutsofdarkness.com & synthsequences / Canada: I always believed that the artistic approach of Thorsten Quaeschning had influenced Tangerine Dream, in particular in the superb Sonic Poem Series. And as strangely as fabulously, it's a kind of a return of favor that we witness with this Picture Palace Music's last album which drinks literally of the nebulous ambiospheric and rhythmic paintings of Tangerine Dream at the top of its mysticism. Remnants is the last audacious sonic adventure of Thorsten Quaeschning's band. Audacious because the Q gang has to put in music a fascinating visual odyssey, and totally dumb, on the history of the ascent and the fall of the Neolithic civilization of Great Britain, such as puts in images by the film-maker Grant Wakefield. Navigating on a slow structure, where all 11tracks get tangled up in a long symphony filled by Gothic and druidism aromas, of 60 minutes which incubate its rhythms and its atmospheres in a box bubbling constantly of black emotions, Remnants offers all the magnificence of a group which is superbly at ease in its mandates which avoid the ease. It's with a silence which scolds that "Portal Touch Stone Overture" pierces the blank grooves of PPM's last thin slivery CD. Ethereal voices are floating there, as well as some rippling synth lines which make the bridge between the vaporous atmospheres of a black introduction and the fine line of sequences which makes its keys bounce in their shadows, stamping on a somber and delicately jerked rhythm that breezes from flutes of glass and absent choirs caress of their Mephistophelian charms. Subtly, the rhythm of "Portal Touch Stone Overture" passes of its delicate hatched gait towards wavelets of sequenced prisms which tap in the morphic sweetness of "Neolithic Spring Water Fall". The musical setting is well thought. And already we feel the level of emotionalism stepping up a notch. Riffs of keyboard à la TD fall and spread their Vangelis resonances which crystallize the harmonies ghosts roaming as lost spirits. The rhythm, sometimes absent and sometimes discreet, shows up the t ip of its sequences with black oscillations which plunge Remnants into its first phase of sound frenzy with the short "Circular Earth Banking Security" where we hear some strange rustles collided on the ramparts of heavy sequences which spin in dense foggy pads. Memories of the neurotic Curriculum Vitae 1 are feeding our desire to go farther. And bang! We fall into a universe of static rhythms à la Gert Emmens with "The Rising Dolmen". The rhythm is as well lugubrious as heavy. It floats with nice musical oscillations in the filets of sequences which flicker like dozens of fireflies trapped in a small jar for six, while the singings and the solos of synths are as suave as these long cosmic poetries from the Dutch bard. The transitions between every track are the strength of this album which sounds like a long track of 60 minutes. So the lapping of sequences comes back to rock the soft reveries of "The Gretchen Tragedy" and its flute which sings like a lost soul on a twinkling rivu let of sequences. "Night Initiation" is the meeting point between the beginning and the ending of Remnants. It's an interlude of ambiences with ethereal voices which hums in the winds of prism, a little as a somber mass of winds and voices blowing in a plain pierced by dolmens. The fragile structures of "Neolithic Spring Water Fall" come back haunting the very meditative "Farewell Moon and New Suns" which frees a snake of sequences from which the keys skip with transparency under a dense veil of ochred mist. Scattered percussions support the oscillations of this snake charmer of rhythms, while that quite slowly the contemplative melody does the job by conquering our hearing. Although ambient, the structure of "Farewell Moon and New Suns" is striking with its intense coat of mysticism where winds sing with the night elves. And we enter the sublimity with the heavy pulsating rhythm of "Moon Dial". Once again, the movement of the motionless sequences is as attractive as Gert Emmens' lunar rhythms. Except that the madness PPM surrounds these sequences which spit the blackness with paranoiac rustles and filets of ethereal voices. The movement negotiates subtly the redundancy with a fine rhythmic modulation which makes "Moon Dial" swirls on itself while other sequences flicker and hijack the rhythm towards a latent implosion where will roar very vindictive synth solos and solos of a rebel guitar. The rhythmic battle gets intensify and "Moon Dial" fires a phase of electronic progressive rock where the structure of sequences, the electronic percussions and the bites of guitars remind me the fury of Tangerine Dream in Near Dark. This is candy for ears! It's in the breathlessness of the tumults that the first notes of piano light the melancholy of "Blue Hour Glass". These notes dance in a strange harmonious choreography eroded by tremors, while other more evasive and more melodious notes give me the taste to listen again the magnificent and demonic Añoranza. It's dark and melancholic while being as well beautiful as intriguing. "Giant's Dance on Air" cuts out the vapors of serenity with guitar riffs which fail on the stampings of sequences pawing the ground of disorder and of a desire to shake the radiance atmospheres of "Blue Hour Glass". These sequences forge the structures of a lascivious rhythm which swirls in the wavelets of static prisms and the spirals of emotionalism where voices and arrangements embroider an intense dramatic painting and where the intensity explodes with strong percussions which bring Remnants to its rhythmic climax. And "Walking the Burial Mounds" to close this last Picture Palace Music's work with winds and voices which float such as vestiges ghosts of a civilization which has set alight so many stories. When the images take the shapes of music, it gives Picture Palace Music. It gives Remnants a wonderful musical odyssey where this duality between the rhythms and its atmospheres engenders so much delicacy as so much fury and where the poetry as well as the dramatic prose of PPM are of use as background to a movie which takes place as much in front of our eyes as in our head. And honestly; what of better than the very theatrical music (do you remember of the splendid Natatorium?) of Picture Palace Music to put better into cerebral dialogue the images of Grant Wakefield? Splendid! This is some great Picture Palace Music, poetic and theatrical which revisits its own roots. 2013. Sylvain Lupari / gutsofdarkness.com & synthsequences.blogspot.ca ----------------------------------------------------------------------------------- Musikzirkus-Magazin / Germany Picture Palace Music ist das musikalische Projekt von Thorsten Quaeschning, der bekanntlich seit mehreren Jahren auch Keyboarder der Berliner Elektroniklegende Tangerine Dream ist. Bei Picture Palace Music ist Thorsten aber Chef und einzige feste Konstante, denn er wechselt aus einem reichhaltigen Stamm von Musikern die Formation des Öfteren mal durch. Im November ist die neueste CD von Picture Palace Music unter dem Titel „Remnants beim niederländischen Label Groove Unlimited erschienen. Auf der CD findet sich eine Auftragskomposition für den britischen Fernsehsender BBC. Die Musik ist zum gleichnamigen Dokumentarfilm des Regisseurs Grant Wakefield entstanden. Ganz richtig ist das allerdings nicht, da mindestens drei der Stücke, die auf der CD enthalten sind („Blue Hour Glass, „Moon Dial und „The Gretchen Tragedy), vorher schon auf CD bzw. zum Download erschienen sind. Das Wort „Remnants bedeutet übersetzt so viel wie Überbleibsel. Und um Überbleibsel aus Uralten Zeiten geht es auch in der Dokumentation, die eine Gesamtlänge von gut 38 Minuten hat. Dort werden Berge und Felsformationen genau so gezeigt, wie von Menschenhand erschaffene Monumente wie etwa der Steinkreis in Stonehenge. Da eine Spielzeit von 38 Minuten für eine komplette CD für Thorsten aber nicht in Frage kam, hat er kurzerhand die Stücke auf gut eine Stunde Spielzeit ausgeweitet. Herausgekommen ist wieder ein Album voller herrlicher Melodien und rhythmischer Tracks, die begeistern. Elf Stücke mit Laufzeiten zwischen 1:15 und 14:31 Minuten Länge wurden zu einem Longtrack von mehr als 60 Minuten zusammengefasst. Das beginnt mit sanften Klängen, die hymnisch durch den Raum wehen im Opener „Portal Touch Stone Overture. Hier klingen Picture Palace Music auch eine Spur nach Thorstens Stammband Tangerine Dream, ohne aber die eigene Handschrift zu vernachlässigen. Traumhafte Melodiebögen und atmosphärische Sounds schließen sich in „Neolethic Spring Water Fall an. Dieser wird dann von der rhythmischen kurzen Bridge (mit 1:15 kürzester Track) „Circular Earth Banking Security in den nächsten Track „The Rising Dolmen übergeleitet. Dieser nimmt den Rhythmus auf und ergänzt ihn um melodische Elemente. Mystisch und wie aus der Realität entrückt wirkt dann „The Gretchen Tragedy, das sich durch seine nostalgischen Synthiesounds unter die Haut schiebt. Stimmungsbilder erzeugt dann „Night Intiation, das sacht und ruhig im Raum hängt und bei dem Thorsten mit der Dynamik spielt, denn der Sound schwillt zum Ende hin deutlich an. Ein unwiderstehliches „Farewell Moon And New Suns und das anschließende mehr als 14minütige „Moon Dial sorgen für Gänsehaut pur. Wer diese Stücke noch nicht durch die CDRs wie „Natatorium besitzt, muss hier zuschlagen. Sehr rockig beschließen dann das Stück „Giants Dance On Air und atmosphärisch mystisch das Stück „Walking The Burial Mouns das Album. Mit „Remnants haben Picture Palace Music mal wieder ein eindringliches Stück Musik geschaffen, das für eine Menge Gänsehaut sorgt. Ein Album, das man haben muss.