Fusion

Some of these recordings were taken during the time of the pandemic in a garden house at friends‘ homes after canceling a planned stay in New York. This is also what the hymn at the end of this album stands for!
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Giro arises from a small motif on acoustic guitar, rolls forward as a driving rock song … with a surprising middle part. The animated music video of this songs you find here.
The Grove starts as a sustained blues rock riff and develops a bit surreal.
Blackmagic performs a funky heavy rock dance.
In The Puppet Groove, a puppet animation movie score created from a rock scheme, a band „sings“ about their experiences with a music producer. German impro pianist Bernd Budden contributes the voice.
Trash-Agil is dedicated to the wacky chatter of buzzword-using careerists.
And in Glory Of Kleingarten two guitars „sing“ the praises of a garden house.

Even though it’s mostly guitar-dominated songs, real pianos show up once in two recordings here.
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The name Iseran as a synonym for difficult racing bike passes in the French Alps is more reminiscent here of the chorus part when crossing the high points.
The Lick is a motif played by guitar and keyboard at first in unison that later develops into a „dialogue“ between the two. The „Coffee Walk“ music video of this song you find here.
Good Morning Manhattan was written during the first phase of exploring New York on the piano. Later it becomes rockier and even finds support here and there by horns blowing.
In Starbucks, too, a competition between keyboard and guitar develops at some point.
Camorra is a „go-for-it“ guitar rock piece.
In Ice the piano plays the leading role at first, before it becomes rocky and later conciliatory.

In this album, more synth and sequencer sounds are added. A mix of prog-rock and jam pieces, partly with „guitar-keyboard battle“ passages.
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Carnevale sounds like a passing guitar caravan.
On Sweden Percussio, an originally percussive funky riff was underpinned with sequencers.
Dr. Funk meets a ponderous „Mr. Elephant“ in this recording.
Groove No. 4 comes as a spontaneous improvisation of guitar and organ over a recurring chord scheme.
Pörpulum starts with a driving rock riff before segueing into prelude-like keyboard cascades.
The D ballade is the quiet finale, with the bass taking over the melody over an acoustic guitar.

Compositions created as part of the cross-media project „Tillmann“ planned together with Cologne bassist Michael Müller. A mix of rock, prog rock and ballads.
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Shuf-17 consists of several parts, alternating between shuffle grooves, keyboard themes and marching guitars.
Huckleberry is a driving guitar motif supported by synth sequencers – calmer in the middle and with „full orchestra“ again towards the end.
The ballad New York had no name in 2001, when the bass and drum tracks were ready in September and the towers were still standing. Only afterwards the guitars were recorded under the impression of the events.
Planned as a film score, Hamster features white Indians dancing around the totem pole of a big stock exchange.
In Duisburg, which starts with guitar-bass-unisono-riffs and after balladesque part changes again into a heavy part, the old Roland drum tracks were kept for nostalgic reasons.