Tag: Ulrich Schnauss (Page 2 of 2)

2016 END OF YEAR REVIEW

17 December 2016 /

tec2016review-mopho

What In the World…

2016 will forever be remembered as the year when a significant number of cultural icons and popular musical figures left us; David Bowie, Prince, Isao Tomita, Pete Burns, Colin Verncombe, Keith Emerson, Don Buchla and Leonard Cohen were just some of the names who sadly departed.

But despite sadness that loomed, the year did produce some good music, particularly in the second half of the year.

GARY NUMAN launched an ambitious Pledge Music campaign and released some excellent collaborations with JOHN FOXX & THE MATHS, JEAN-MICHEL JARRE and TITÁN. But with his retrospective tour of material from his three most popular albums taking up much of his year, his new crowdfunded album did not meet its planned October release deadline.

jarreyello2016

Meanwhile Jean-Michel Jarre had an excess of material and issued the second volume of his ‘Electronica’ project which also featured YELLO and PET SHOP BOYS, plus a third instalment to his classic opus ‘Oxygène’.

YELLO and PET SHOP BOYS also released new albums to a positive reception, proving again that partnerships featuring personnel over the age of 60 can still create music that is fresh and relevant.

Incidentally, one of YELLO’s young vocalists FIFI RONG continued to maintain her artistic profile with successful campaigns for her releases ‘Forbidden Desires’ and ‘Alone’.

2016 saw two concept albums emerge in ‘The Ship’ from Brian Eno, a solemn art piece with poignant anti-war messages and ‘Awake But Always Dreaming’, a very personal musical statement by Hannah Peel on the traumas of dementia. It was a busy year for Miss Peel with her also contributing her voice to BEYOND THE WIZARDS SLEEVE and JOHN FOXX & THE MATHS, as well as showcasing her own Mary Casio side project.

WRANGLER released a new album ‘White Glue’ which exuded a less rigid format compared to its predecessor ‘LA Spark’ and collaborated with Johm Grant at the Rough Trade 40 live celebrations, while the prolific Neil Arthur issued another new BLANCMANGE album in ‘Commuter 23’ while also launching a new side project NEAR FUTURE with BERNHOLZ.

The Manchester veteran Eric Random issued ‘Words Made Flesh’, the second album of his recent return to the music while Rusty Egan finally presented ‘Welcome To The Dancefloor’ which despite its title, was actually a collection of classic styled synthpop. After many years of trials and tribulations for the co-founder of VISAGE, the long player featuring Midge Ure, Tony Hadley and Chris Payne who co-wrote ‘Fade to Grey’ exceeded expectations.

Space travel and synths were just made to go together, so JØTA and VANGELIS conceived projects covering The Cold War space race and the more recent Rosetta probe respectively. Meanwhile, WHITE LIES again showed they are as synthy as they are guitary on their ‘Friends’ album, and even started to sound like A-HA!

Fellow blog Cold War Night Life released ‘Heresy: A Tribute to RATIONAL YOUTH’ which featured PSYCHE and MACHINISTA as well as the Canadian trailblazers themselves. Meanwhile Ireland staked its claim as a new territory for synthpop talent; CIRCUIT3 ‘siliconchipsuperstar’ and EMBRACE THE CRISIS ‘Black Heart’ were good examples of what was on offer from the Emerald Isle.

Over in the UK, VILE ELECTRODES, SPRAY and ANALOG ANGEL all released new albums. There were long awaited long players too from SHELTER and SINESTAR, but these suffered when compared to respective acts from Sweden, Johan Baeckström and PRESENCE OF MIND.

So again, Sweden still proved it was special with SILENT WAVE exhibiting degrees of potential. But it was REIN in particular who was causing a stir within the ranks of EBM, while the country’s best kept secret KITE toured North America and Asia. However, neither of these two latter artists figured in the line-up of Gothenburg’s Electronic Summer 2016 festival.

The Nordic region saw the welcome return of VILLA NAH with the album ‘Ultima’ after a five year absence, while TRENTEMØLLER made the case again as to why he is still the perfect producer for DEPECHE MODE with his new long player ‘Fixion’. However, Norwegian acts APOPTYGMA BERZERK and ELECTRO SPECTRE ensured the Swedes, Finns and Danes did not have it all their own way.

Greece was still the word with LIEBE, KID MOXIE and MARSHEAUX all presenting brand new releases, while Sarah P. maintained her profile with a series of inventive promo videos highlighting the ongoing issues of equality for women within the music industry. Embracing the same issue on the other side of the Atlantic, I AM SNOW ANGEL immersed herself in setting up the FEMALE FREQUENCY collective while also releasing her own music.

2016 was a good year for female acts with EMIKA, KALEIDA, ANI GLASS, THE HEARING, KITE BASE, HOLOGRAM TEEN among those making a positive impression. There was also ‘SVIIB’, the final album from SCHOOL OF SEVEN BELLS and the emergence of CHRISTINE & THE QUEENS, while LADYHAWKE remembered what a good album sounded like with ‘Wild Things’.

Over in LA, NIGHT CLUB developed on the promise of their EP trilogy and got a bit heavier on their debut long player ‘Requiem For Romance’, ending up sounding not unlike Britney fronting NINE INCH NAILS in the process! After gestation periods of nearly six years, both EKKOES and THE MYSTIC UNDERGROUND finally released their debut albums.

Meanwhile the instrumental front, Texan couple HYPERBUBBLE provided some ‘Music To Color By’, Brussels duo METROLAND touchingly paid tribute to their late friend Louis Zachert with ‘Things Will Never Sound The Same Again’ and ULRICH SCHNAUSS went ‘No Further Ahead Than Today’. And MOBY offered a gift to profound relaxation with his free ‘Long Ambients 1: Calm. Sleep.’ download package.

PERTURBATOR James Kent - Photo David Fitt

PERTURBATOR’s ‘The Uncanny Valley’ became a flag bearer for the synth wave movement, along with the acclaimed soundtrack by SURVIVE members Kyle Dixon and Michael Stein for the absorbing Netflix drama ‘Stranger Things’. Less well-received though was ‘2Square’ by Vince Clarke & Paul Hartnoll with its banal experiments in electro swing. This was a supposed new dance sub-genre that in reality was just computerised jazz… nice! But one artist who did manage to pull off fusing synthpop and jazz successfully was DISQO VOLANTE.

New material from veterans MESH, AESTHETIC PERFECTION, ASSEMBLAGE 23, DE/VISION, IAMX, COVENANT and ROTERSAND kept the black clad European audiences happy, while Mari Kattman and BLACK NEEDLE NOISE added some trip-hop and rock edges respectively to their already dark templates. Expressing slightly less intensity were two surprise packages in Germany’s DAS BLAUE PALAIS with ‘Welt Am Draht’ and Canada’s DELERIUM with ‘Mythologie’.

But totally unexpected was ‘Silver City Ride’, a full length electro album from Marc Almond in collaboration with STARCLUSTER featuring his most synth laden body of work since SOFT CELL. The biggest surprise of 2016 was ‘Fly’ the soundtrack souvenir to ‘Eddie The Eagle’, the light hearted biopic of the bespectacled Olympic ski jumper; featuring new material by members of FRANKIE GOES TO HOLLYWOOD, SOFT CELL, SPANDAU BALLET, ULTRAVOX, ERASURE and OMD in collaboration with TAKE THAT’s Gary Barlow, this looked like a terrible idea on paper. But it was brilliantly executed and the resultant album was a largely enjoyable collection of retro flavoured pop.

Electronic acts actually got to headline the Glastonbury Festival in 2016, albeit on The Other Stage as opposed the main event; NEW ORDER and CHVRCHES wowed the crowds when they shared the bill on the Saturday night. There were rumours that KRAFTWERK and DEPECHE MODE might feature in 2017 but this was not to be, although both acts sent social media into overdrive when they announced major tours.

Among those accorded career spanning multi-disc boxed sets were ERASURE, MARC ALMOND, DEAD OR ALIVE and THE HUMAN LEAGUE. Somehow though, SIMPLE MINDS managed to milk a six disc variant of ‘New Gold Dream’ in the third of their classic album deluxe box editions; it was an amazing feat seeing as only ten songs were completed during the original sessions! The collection boasted no less than twelve takes of the aptly titled ‘Promised You A Miracle’; but the latest incarnation of the Glaswegians combo’ first big hit with KT TUNSTALL for their ‘Acoustic’ album proved to be one version too many.

Much better value for the money for the discerning music fan were the four ASSOCIATES double CD reissues, supervised by Alan Rankine and Michael Dempsey. Based around their first three albums and a ‘Very Best Of’ compilation, each additionally featured a plethora of rare and previously unreleased songs; they were a fitting tribute to the late Billy MacKenzie.

Nostalgia was very much a part of 2016, with HEAVEN 17, OMD and PETER HOOK & THE LIGHT all touring popular albums. And following the success in recent years of retro festivals such as ‘Rewind’ and the strangely named ‘Let’s Rock’, classic synthpop finally found itself part of the holiday camp circuit.

Part of the Butlins Music Weekender series, ‘Electric Dreams’ featuring OMD, HEAVEN 17, BLANCMANGE and Marc Almond almost went badly off-piste with the addition of GO WEST and THE ZOMBIES (!?!) to the programme. But the organisers pulled an unexpected surprise and booked modern synth acts like MARSHEAUX and AVEC SANS to support the bill.

avec-sans

Hardened retro festival goers are notorious for not embracing new music, but this ethos has to be welcomed and could provide an interesting new model for the future of event based entertainment. However, based on photographic evidence, the presence of inflatable pink flamingos and coloured wigs indicated the crowd atmosphere might have been no different to any of the usual nostalgia outings, but with a roof and central heating added!

Elsewhere, the second ELECTRI-CITY CONFERENCE in Düsseldorf boasted yet another impressive line-up that read like a ‘Who’s Who?’ of electronic music with JOHN FOXX, DANIEL MILLER and MARK REEDER among those taking part in talks. One of the highlights of the weekend came with Mr Foxx chatting about working with the legendary Conny Plank.

And while MARSHEAUX, KID KASIO and RODNEY CROMWELL in Norwich was not in the same league, it was a fine showcase for the best in independent synthpop.

Both events proved again that the best electronic music events are those actually curated by electronic music enthusiasts, something that is not the case with several other events.

In all, 2016 was not a vintage year for electronic pop. If there was a lesson this year, it’s been to cherish and appreciate great life’s moments where possible, especially with the number of music figures that have been lost in the last 12 months.

Things cannot go on forever sadly…

ELECTRICITYCLUB.CO.UK Contributor Listings 2016

PAUL BODDY

Best Album: PERTURBATOR The Uncanny Valley
Best Song: SOULWAX Transient Program for Drums & Machinery
Best Gig: JEAN-MICHEL JARRE at London O2 Arena
Best Video: BATTLE TAPES featuring PARTY NAILS Solid Gold
Most Promising New Act: VOX LOW

IAN FERGUSON

Best Album: VILE ELECTRODES In The Shadows Of Monuments
Best Song: ASSEMBLAGE 23 Barren
Best Gig: ASSEMBLAGE 23 at Denver Oriental Theatre
Best Video: I AM SNOW ANGEL Losing Face
Most Promising New Act: VOX LOW

SIMON HELM

Best Album: ERIC RANDOM Words Made Flesh
Best Song: RATIONAL YOUTH This Side Of The Border
Best Gig: Troika! featuring KITE BASE, HANNAH PEEL + I SPEAK MACHINE at Shacklewell Arms
Best Video: I AM SNOW ANGEL Losing Face
Most Promising New Act: ZANIAS

CHI MING LAI

Best Album: VILLA NAH Ultima
Best Song: VILE ELECTRODES The Vanished Past
Best Gig: JEAN-MICHEL JARRE at London O2 Arena
Best Video: BEYOND THE WIZARD’S SLEEVE Diagram Girl
Most Promising New Act: ANI GLASS

STEPHEN ROPER

Best Album: MARSHEAUX Ath.Lon
Best Song: RODNEY CROMWELL Baby Robot
Best Gig: GARY NUMAN at Norwich UEA
Best Video: MARSHEAUX Like A Movie
Most Promising New Act: DISQO VOLANTE

MONIKA IZABELA TRIGWELL

Best Album: APOPTYGMA BERZERK Exit Popularity Contest
Best Song: KID KASIO Full Moon Blue
Best Gig: SPEAK & SPELL at Islington Academy
Best Video: BLACK NEEDLE NOISE featuring JENNIE VEE Heaven
Most Promising New Act: JOHAN BAECKSTRÖM

Text by Chi Ming Lai
17th December 2016

ULRICH SCHNAUSS No Further Ahead Than Today

7 November 2016 /



The new ULRICH SCHNAUSS album marks a departure for the established German synthesist in that it is the first that he has created primarily “in the box”, ie it was produced mainly using software synths rather than the enviable collection of hardware equipment which resides in his London studio.

In spite of a different work ethic, all of the Schnauss trademarks are present and correct here; from the skippy / swung drum programming through to the euphoric/uplifting synth parts and the wall of sound Shoegaze elements.

First track ‘Melts Into Air’ doesn’t mess around and soon hits the ground running in optimistic “up” mode; full of major chords and detuned / wavering synths. At two minutes in, the track takes an unexpected diversion into slightly darker territory and continues in full-pelt wall of sound mode before reaching a more chilled out conclusion. ‘The Magic in You’ betrays a little of Schnauss’ Drum ‘n’ Bass roots, with its raised tempo and offbeat drum pattern. Also featuring a male vocal buried deep in the mix, the track recalls an electronic MY BLOODY VALENTINE.

‘Thoughtless Motion’ has an instrumental DEPECHE MODE vibe to it with some ‘Violator’-esque synth bass, analogue percussion sounds and a short burst of squelchy Roland TB303. The title track initially hinges around a selection of motorik analogue drum machine samples before lifting into an “up” bridge chord sequence. The track finally bursts joyfully into beautiful synthetic waves of sound after being joined by another distant male vocal low in the background.

With their fast interlocking synth parts and 32nd beat Christopher Franke-inspired sequencer work, the consecutive trio of ‘Wait for Me’, ‘New Day Starts at Dawn’ and ‘Negative Sunrise’ are the most TANGERINE DREAM-influenced tracks here; all give ample evidence as to why EDGAR FROESE introduced Schnauss into the band shortly before his passing in 2013. Musically, the former track’s main riff distantly recalls BRONSKI BEAT’s ‘Smalltown Boy’ whilst ‘New Day Starts at Dawn’ shifts between bell-like synthesis and ambient pad washes.

‘Negative Sunrise’ is not dissimilar to TANGERINE DREAM’s ‘Love On A Real Train’ with melodic musical shifts cycling around a central unchanging sequencer part; three minutes in and an uplifting synth part joins the mix. Closing track ‘Illusory Sun’ has pseudo military-style drum rolls to accompany its shifting synth pads; the last three minutes of the track are super hypnotic with melody parts swamped in reverb to produce another “epic” piece.

At approximately 50 minutes in overall length, ‘No Further Ahead Than Today’ doesn’t outstay its welcome, each of the tracks are pretty direct in nature and avoid the temptation with some ambient electronica to drift aimlessly, taking ages to actually progress anywhere.

As with much of Schnauss’ work, the emphasis here is on textural synthesis rather than the more direct melodic nature of (say) JEAN-MICHEL JARRE. If there is a criticism, some of the tracks sound a little ‘samey’ in places, but repeated listens are needed to reveal the contrasting elements between the pieces.

With ULRICH SCHNAUSS’ position in TANGERINE DREAM now secured, it will be interesting to see how a) he will influence them and b) how being part of this legendary band will impact upon his own music. Whatever happens, there is no denying that ‘No Further Ahead Than Today’ is the work of a musician who is at the top of his game and will provide nearly an hour’s worth of quality listening for fans of primarily instrumental electronica.

With thanks to Sarah Puttock at Waveform Press

‘No Further Ahead Than Today’ is released through Scripted Realities

Ulrich Schnauss has an in-store performance at London’s Rough Trade East on Tuesday 8th November at 1:00pm, entry is free

http://www.ulrich-schnauss.com/

https://www.facebook.com/ulrichschnauss/

https://soundcloud.com/ulrich-schnauss

Text by Paul Boddy
7th November 2016

ULRICH SCHNAUSS Interview

22 October 2016 /

Ulrich Schnauss has over several years gained the utmost respect in the circles of quality electronic music.

After starting out within the drum ‘n’ bass genre, his work evolved into that of instrumental electronica, remixing major artists including PET SHOP BOYS and DEPECHE MODE along the way.

The consistent quality of Schnauss’ output culminated in what could be seen as one of THE ultimate accolades in electronica with him being asked to join the legendary TANGERINE DREAM.

Ulrich kindly took time out from his busy schedule to speak openly to ELECTRICITYCLUB.CO.UK about his musical history, involvement with TANGERINE DREAM and his forthcoming album ‘No Further Ahead Than Today’.

Your Allmusic Biog states that Ulrich Schnauss is, and I quote, a “Slightly mysterious Berlin producer who merges the textural layering of shoegaze with rhythm-savvy UK techno beat mining”, do you feel this is an accurate character summation?

I’m never too keen on associating myself with particular genres – like most musicians I guess! However, undeniably the early 90s Shoegazing sound had a big influence on my music – and the same applies to UK techno and electronica. If someone would ask me, I’d just say that while I’m using electronic instrumentation, I’m trying to make music that tries to avoid fetishizing technology and communicates emotion instead.

You grew up in a small town called Kiel which is on the Baltic Sea, how much of an influence did this have on your music?

I’m sure it had some kind of impact – I remember talking to Andy Sherriff from CHAPTERHOUSE and he said that they tried to create beautiful music as a counterpoint to the ugliness of the place they grew up in (Reading in Berkshire).

It’s an approach I can relate to very much. if I’d grown up in a nice environment, I probably would’ve started a death metal band!

What prompted your move away from early dabblings with drum ‘n’ bass and your eventual transition into electronica?

As much as I loved D ‘n’ B throughout the 90s – towards the end of the decade, I had the feeling less and less forms of musical expression were tolerated. It was increasingly just about delivering fodder for the DJs so that they could fill the dancefloor. I’ve got no issues with dance music per se – on the contrary, however as a musician, it’s not particularly fulfilling if you’re being forced to work in a very restrictive framework.

Were you surprised by the amount of attention that your debut album ‘Far Away Trains Passing By’ gained?

Oh, yes – very much so; in fact even today I’m still surprised that many people seem to like my music. Particularly as I perceive it as quite out of sync with any sound that could be considered hip or trendy at the moment – and deliberately so!

What were the factors that made you relocate your studio set-up to London?

I just always wanted to live in one of those cities that give you the feeling of being in a place where the whole world is gathering in one spot – and that is certainly something that applies to London.

Where many producers of instrumental electronic music are happy to go the software route, your studio is jam-packed with a jaw-droppingly enviable collection of analogue synths – does this speed up or slow down the process of writing?

This has changed quite a bit in the last three years actually – for a very long time I insisted on sticking to hardware as I didn’t have the impression that software was able to match the depth and warmth hardware could provide. However, things have changed a lot recently – my new album is almost exclusively done using software which gave me the freedom to take my set up to a friend’s place in the countryside – which is where I recorded most of the album.

THE PRODIGY’s Liam Howlett was once quoted as saying that he became intimidated by having a big studio with tons of gear in it and the associated pressure to write successful songs using it, is that something that you’ve ever experienced?

To a degree – yes. For instance, I had an Oberheim 8 voice system – wonderful instrument, but it was a bit of pain always having to wait until it had warmed up and then tuning all 16 oscillators individually.

However, in those days when software simply didn’t match the sonic quality of hardware, I was always happy to pay that price… quite literally!

Is there a still a synth that is on your wish list that you feel would make your musical life complete?

There are interesting new instruments coming out on a monthly basis these days – I can’t say I’m missing anything particular. It’s actually more about finding the time to investigate the existing possibilities – currently learning to program Tone2’s new Icarus Wavetable synth for instance.

The influence of Shoegaze artists such as MY BLOODY VALENTINE and SLOWDIVE on your music is an interesting one as none of the original bands from this era were especially known for their use of synthesizers, what made you integrate elements of their sound into your work?

I’ve always had a particular interest in music that uses instruments in a way that disguises their heritage. One could say that shoegazing was about making guitars sound like synths – this approach (almost accidentally) created a new sound. It just seemed logical to see what happens if one would apply this the other way round – making synths sound like guitars.

Your solo live set-up seems very minimal in comparison to your mainly analogue studio one, are you reticent to take your synths out on the road?

It just wouldn’t make sense as well – my live sets are about re-arranging and re-mixing existing songs – I wouldn’t gain much from playing one line on a synth but being tied to a fixed structure from a backing track otherwise.

Over the last few years, electronic-based solo artists such as JON HOPKINS and NILS FRAHM have had good success with their music, how do you rate their work?

They are both people who totally deserve the status they’ve achieved and I’m generally very happy that the cultural climate is changing again in a direction that allows electronic music to be perceived in a way that’s exceeding the limitations of ‘DJ culture’.

How important is it for producers of instrumental synthesizer music to get their work marketed / featured in alternative ways eg sync / TV / advertising work?

It’s imperative I’d say. I couldn’t make a living just based on record sales and gigs – without syncs, it’d be over immediately.

You have remixed several high profile artists from COLDPLAY through to PET SHOP BOYS and DEPECHE MODE, do you have a favourite remix and why?

It’s always changing – at the moment I’d say my favourite would be a remix of a traditional Italian song ‘La Pagliarella’. I had nothing to work with besides an acappella – but somehow this provided an inspiration for a piece I’m still very happy with.

The world and its wife is going crazy for the ‘Stranger Things’ Netflix TV series and its soundtrack by S.U.R.V.I.V.E. – why do you think the sound and influence of acts such as TANGERINE DREAM and JOHN CARPENTER in the series has suddenly hit the mainstream public’s interest now?

I think the ‘Stranger Things’ soundtrack was very well done – secondly, it’s always good to see stuff you enjoy personally getting a wider exposure.

You have always cited TANGERINE DREAM as an influence, how did it feel to be asked to join the band in 2014?

Oh, that was probably the happiest moment in my musical life – and a complete surprise. Edgar invited me to Austria – I thought it would just be a friendly visit. But then he asked me to sit down at the piano and improvise – suddenly it dawned on me that this may be a little more serious than I had anticipated! Luckily he liked what I was playing and said “welcome to the club” once I had finished.

With the passing of Edgar Froese, were there any doubts as to whether it was the right thing to do in carrying on the band’s name without him?

Definitely – and from my perspective those doubts still do exist.

However, I believe it’d be a crying shame if the music Edgar, Thorsten and I had started working on for a new album would just disappear – and secondly, Edgar had expressed towards his wife Bianca that he’d appreciate if his vision for the ‘Quantum Years’ would be fulfilled.

How does the band go about choosing which songs to play from TANGERINE DREAM’s back catalogue?

I’d say it primarily requires an emotional connection between a song and the person who’s doing the major work on the respective backing track. To give you an example: I’m not sure if I’d be capable of coming up with a good enough version of ‘Streethawk’, but I recently worked on ‘Dolphin Dance’ and had a most wonderful time doing so.

The ‘Live at the Philharmony Szczecin – Poland 2016’ album has some superb re-interpretations of several TD classics. Between yourself, Thorsten and Hoshiko, how did you go about this process and how did you decided who played what parts?

It’s not that difficult to decide really – Thorsten is the better player so he’ll of course do the solos. I’m much more comfortable with pads and chords. Hoshiko’s contributions again are simply determined by her instrument, it’s range and colour.

How much of the rehearsal / preparation process is done in a room all together?

All of it – we usually meet in Thorsten’s rehearsal space in East Berlin and play there.

Are there plans for many more TANGERINE DREAM live dates?

Yes, quite a few things being worked on at the moment actually, nothing that I can announce at the moment though!

With your current musical workload, what percentage is TD and how much is dedicated to your own solo work?

At the moment it may be something like 55/45 in favour of my solo stuff – that’s a good balance. Who knows – if some TD related projects appear that require enhanced attention (soundtracks etc) I’d obviously adjust accordingly.

With the release of the upcoming album ‘No Further Ahead Than Today’, what can we expect from the album and will there be live dates to support it?

There’s a couple of London shows in November – more being worked on at the moment. As for the album – in part it’s a return to my core sound from about 15 years ago, but with the big difference that I used completely different instruments (‘in the box’ rather than hardware). I hope for the listener the result provides an interesting mixture of new and old – new methods of synthesis and a familiar sense of escapist euphoria!

ELECTRICITYCLUB.CO.UK gives its grateful thanks to Ulrich Schnauss

Special thanks to Sarah Puttock at Waveform Press

‘No Further Ahead Than Today’ will be released on 4th November 2016 through Scripted Realities

ULRICH SCHNAUSS has an in-store performance at London’s Rough Trade East on Tuesday 8th November at 1:00pm, entry is free

http://www.ulrich-schnauss.com/

https://www.facebook.com/ulrichschnauss/

https://soundcloud.com/ulrich-schnauss

Text and Interview by Paul Boddy
22nd October 2016

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