Tote Winkel (Deluxe Edition)
In spring 2022, Sankt Otten released their album Symmetrie und Wahnsinn, and now the next record is ready to enlighten our maltreated minds. Tote Winkel (Blind spots) is once again part of an album series with a geometric context, both creatively and musically. For the first time, an external studio was booked (Mühle der Freundschaft, Bad Iburg) and the pool of analog synthesizers and other sound generators there was dusted off. Sankt Otten came up with the master plan to first free the spirit of 50 years of German electronic music trapped in the antiquated keyboards and oscillator housings, then to dismantle it, turn it inside out and reinterpret it. Echoes of music from Düsseldorf are joined by sounds familiar from the Weserbergland, or mystical, sublime arcs of sound and, of course, the sequences typical of the Berlin School - whether side by side or interwoven. In a departure from the usual way of working, the majority of the tracks were created in the studio and in part from improvisations, which makes “Tote Winkel “ the most organic material we have heard from Sankt Otten to date. New York-based Rafael Anton Irisarri mastered Tote Winkel, as he has done on productions by Biosphere, Ryuichi Sakamoto, Tycho, Terry Riley, Fennesz and many more. As part of the series of graphic covers, this extraordinary die-cut artwork was also designed by Daniel Castrejon.
Tote Winkel is their 14th album of timeless (instrumental) music. The band has dedicated itself to the holy trinity of Krautrock, Ambient and contemporary Elecronics.
Original: $22.66
-70%$22.66
$6.80Tote Winkel (Deluxe Edition)
In spring 2022, Sankt Otten released their album Symmetrie und Wahnsinn, and now the next record is ready to enlighten our maltreated minds. Tote Winkel (Blind spots) is once again part of an album series with a geometric context, both creatively and musically. For the first time, an external studio was booked (Mühle der Freundschaft, Bad Iburg) and the pool of analog synthesizers and other sound generators there was dusted off. Sankt Otten came up with the master plan to first free the spirit of 50 years of German electronic music trapped in the antiquated keyboards and oscillator housings, then to dismantle it, turn it inside out and reinterpret it. Echoes of music from Düsseldorf are joined by sounds familiar from the Weserbergland, or mystical, sublime arcs of sound and, of course, the sequences typical of the Berlin School - whether side by side or interwoven. In a departure from the usual way of working, the majority of the tracks were created in the studio and in part from improvisations, which makes “Tote Winkel “ the most organic material we have heard from Sankt Otten to date. New York-based Rafael Anton Irisarri mastered Tote Winkel, as he has done on productions by Biosphere, Ryuichi Sakamoto, Tycho, Terry Riley, Fennesz and many more. As part of the series of graphic covers, this extraordinary die-cut artwork was also designed by Daniel Castrejon.
Tote Winkel is their 14th album of timeless (instrumental) music. The band has dedicated itself to the holy trinity of Krautrock, Ambient and contemporary Elecronics.
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Description
In spring 2022, Sankt Otten released their album Symmetrie und Wahnsinn, and now the next record is ready to enlighten our maltreated minds. Tote Winkel (Blind spots) is once again part of an album series with a geometric context, both creatively and musically. For the first time, an external studio was booked (Mühle der Freundschaft, Bad Iburg) and the pool of analog synthesizers and other sound generators there was dusted off. Sankt Otten came up with the master plan to first free the spirit of 50 years of German electronic music trapped in the antiquated keyboards and oscillator housings, then to dismantle it, turn it inside out and reinterpret it. Echoes of music from Düsseldorf are joined by sounds familiar from the Weserbergland, or mystical, sublime arcs of sound and, of course, the sequences typical of the Berlin School - whether side by side or interwoven. In a departure from the usual way of working, the majority of the tracks were created in the studio and in part from improvisations, which makes “Tote Winkel “ the most organic material we have heard from Sankt Otten to date. New York-based Rafael Anton Irisarri mastered Tote Winkel, as he has done on productions by Biosphere, Ryuichi Sakamoto, Tycho, Terry Riley, Fennesz and many more. As part of the series of graphic covers, this extraordinary die-cut artwork was also designed by Daniel Castrejon.
Tote Winkel is their 14th album of timeless (instrumental) music. The band has dedicated itself to the holy trinity of Krautrock, Ambient and contemporary Elecronics.
