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The Mind Over Matter master returns from another Indian adventure, and the resulting new music is an incredible fusion of Mellotron, space guitar, electric sitar and electronics. The energy level goes from spatial and flowing to high energy fusion jams that transmutate from one theme to the next with ease. Of all the German multi-instrumentalists today Klaus Hoffmann-Hoock is the most consistently creative and mind blowing musically. He has yet to make an album (among his 15 releases) that I don't like.

Archie Patterson USA

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Cosmic Hoffmann thinks with his hands. We can hear this on Electric Trick (69'19), an album of nine spacey works that each journey out of a distinctly unique region of the artist's mind. Using his guitar and effects Hoffmann cranks out prog-rock inspired melodies as equally well as he plays in the more dulcet and tranquil range of his instrument. On several tracks Hoffmann invites fellow German spacemusic-wizard Stephen Parsick to contribute electronics and sequencer tone patterns. Generating a different fascinating pulse for each piece, Parsick's infinitely repeating runs of electronic blips and beats provide a pumping machine-like foundation in one place, loping beat box rhythms in another and synchronized multi-layered arpeggios elsewhere. Co-existing with all this is Hoffmann's guitar. Leads snaking over and under the pattern or playing within it, his guitar's output wails in free psychedelia as perfectly as it does in measured precision playing. Hoffmann also brings to Electric Trick his ample talents as a Mellotronist, coaxing an amazing range of sounds and moods from this classic instrument. Somehow his performance always sounds like it is coming from the heavens. Above the clouds an ethereal choir sings on high, a beautiful flute tone plays somberly through deep reverberation and dreamy strings conjure up a most heartfelt elegiac atmosphere. Although Cosmic Hoffmann may have the cosmos flowing through his mind, his heart is always expressing itself in his music.

Chuck van Zyl / STAR'S END

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'Electric Trick' is the fourth opus of Klaus 'Cosmic Hoffmann'-Hoock, the man behind Mind Over Matter, an opus that combines heavy rhythms on furious sequencers with hypnotic loops, with quieter and more floating titles.

'Timeshift' begins with a spacey intro supplied with floating guitar chords. The six-cords of Klaus Hoffmann-Hoock is plaintive and intermingles with the modest breaths of a discrete synthesizer. A heavy and powerful sequencer seizes the furiously whirling rhythm on a spiral guitar that crumbles the atmosphere with looping chords, crossing lines of furious and fragile synths. A beautiful guitar/synth duet, animated by a sequencer which resounds heavily on a rhythmic bass and one synth with enveloping Mellotron layers that end in the atmospheric meanders which recall the muddy guitar of Pink Floyd during its psychedelic area, a furious and intense opening.

'The Gate of Bihar' shows the abilities of Klaus Hoffmann-Hoock on Mellotron. A moulding and gliding title in a dark and gloomy atmosphere, recalling sublimates time of Tangerine Dream with Phaedra.

Suave percussions and a loopy sequencer gimlet first keys of 'Sehr mystisch'. A heavy Mellotron blows on this hypnotic tempo which taps on dark multi sounds scratches with a mix of heavy and slow rhythm.

On a faster tempo 'Indian Bliss' continues on a same sequenced model in the form of loop. The rhythm is dark and punctuated intermittent chords of an ethereal and hesitant guitar, which fuses light complaints throughout the first half. In the second half 'Indian Bliss' takes a more atmospheric turn where Klaus' guitar furrows the atmosphere with an intense Mellotron.

'Space Pioneers' begins with vocal samples, recalling the countdown of a space shuttle. And as it's launching, the sound effects mix with the heavy and circular rhythm on loudness and powerful synths which throw strident layers. Static, the movement is suspended in gravity and surrounded by a deep sound swirl into which a Moog, the mighty Mellotron and guitars infuse strident striations that intermingle in a cacophony that takes a harmonious form, more and more - a heavy psychedelic-cosmic title.

Our ears need the calm and relaxing 'Floating in Time' to recover. Heavenly powerful, the Mellotron wraps a felted tempo in a lunar atmosphere where superb synthetic scratches decorate an astral blackness.

After the very atmospheric 'Nebelwald', 'Further Beyond The Galaxy' enchants with an electric sitar, which rocks a subtle drone that is metamorphosed in cosmic breath. The layers of guitar float in a solidified firmament, which becomes animated with a serpentine sequencer. Consequently, the rhythm becomes animated and embraces a psychedelic-cosmic phase with a nervous guitar, which fuses of superb solos, accompanied by an enveloping synth on a more and more agitated beat - a beautiful title on Electric Trick, which finishes in the arms of Morphine with the subliminal 'Carina Cygnus', again a soft title, lead by an enchanting Mellotron which recalls us that beauty can also be heard.

Whatever with Mind Over Matter or Cosmic Hoffmann, Klaus Hoffmann-Hoock unceasingly amazes with his unique sound made from deep and powerful Mellotrons, sprinkled by a guitar with sharp and strident chords - a distinct mixture, from the opposite of sonorities, which plunges the listener in a multi sounding psychedelic-cosmic world.

Though difficult to tame in one listening 'Electric Trick' is an imposing work which, from listening to listening, will charm you. Like me, you will succumb immediately for titles like 'Timeshift', 'The Gate of Bihar', 'Space Pioneers' and 'Further Beyond The Galaxy', which is already not bad for a first listening. Thereafter, you will fall for 'Sehr mystisch', 'Indian Bliss' and so on until you finally understand that being bewitched by Klaus Hoffmann-Hoock's music is simply inevitable.


Sylvain Lupari, 'Guts of Darkness', Canada 11/2006

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Klaus Hoffmann-Hoock's own Heart and Mind label has released five albums in the period 1999-2004: two under Klaus' own name (Heartbeat and Psychedelic Breakfast), one as Mind over Matter (the gorgeous On the Wings of the Wind) and two as his incarnation of Cosmic Hoffmann. The last two, Beyond the Galaxy (1999) and Shiva Connection (2000) were amazing samples of true electronic music, which has its roots in the Berliner Schule of the 1970s. In an age where electronic music has become marginalised, the Cosmic Hoffmann albums were very welcome. This third cd, another collaboration with the invaluable Stephen Parsick on vintage synthesizers, again hits the roof.

The masterpiece of the album is definitely The Gate of Bihar, with its threatening intro and its full Mellotrons. It was recorded in Holland at the E-Live Festival in September 2000, just as Further Beyond the Galaxy, which sounds as good as any of the classical Berliner Schule tracks. Just as on the previous Cosmic Hoffmann albums, Klaus has searched his music archives and has released two tracks he recorded in 1978: the quiet and short Sehr Mystisch and Floating in Time. The impressive Carina Cygnus is a valuable addition for Cosmic Hoffmann collectors, as it was recorded in March 1998 during the same spectacular concert in Lünen, Germany, where three of the tracks on the Beyond the Galaxy album were performed.

The 1999 live encore Space Pioneers includes Dutchman Ron Boots on Roland synthesizer. The quiet track Nebelwald has reminiscences of Klaus' Mind over Matter work. 2001 was an important year for Cosmic Hoffmann, as in July they made their debut performance on English soil. The track Timeshift was recorded during this gig at the Jodrell Bank Radio Observatory in Knutford. Finally, in 2003 Klaus, whilst riding on a bike along the nightly streets of Varanasi at the Indian River Ganges, composed his Indian Bliss.

All in all this new cd is yet another great album by Cosmic Hoffmann. It completes his first trilogy of classic electronic music albums and one can only yearn for more.

Perry Moree NL 9/2006

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This is the latest album by Klaus Hoffmann-Hoock. He also records as Mind Over Matter but under that name, certainly recently, he has been delving into more ambient realms. Recordings under the Cosmic Hoffmann name tend to bridge the gap between exciting up tempo numbers and more, er well, Cosmic music! As is often the case he is joined here on five tracks by Stephen Parsick from Ramp. Gentle guitar licks float above tranquil electronic tones forming a very peaceful start to 'Timeshift'. It doesn't stay like that for long though as ball breaking sequences and wonderful guitar riffs take over. These subside and are replaced by more conventional, rather Berlin School, sequences accompanied by splashing percussive effects and an Eastern Influenced lead line.

The guitar can still be heard low in the mix from time to time but it is the leads and superb sequence along with excellent mellotron that are now doing the business. With a couple of minutes to go we return to a similar feel to how we opened. This track was first aired at Jodrell Bank. 'The Gate of Bihar' begins in rather dark ominous fashion as vast thick pads rise and fall. All rather dramatic stuff. The Mellotron is an instrument that Klaus loves and is quite famous for and it is used wonderfully here turning the mood from foreboding to one of melancholy longing with something of an ethereal edge. Simply beautiful. Sequences return once again for 'Sehr Mystisch', falling into place alongside a shuffling rhythm, lovely solar winds and other cosmic effects. It reminded me a little of early Tim Blake. It's another absolutely superb track. The Blake like sequencer comparison is also evident on the next track 'Indian' Bliss' as it wouldn't have been out of place on 'Crystal Machine'. Lovely deep analogue pulsations rumble forward over samples of a busy Indian street. The sequence rises and falls morphing as it goes and the backing changes gradually from the city to the country. By the sixth minute all has descended to a swirling atmospheric section with little guitar licks and it is from this point that we enter a more sedate middle section of the album. 'Space Pioneers' begins with some pre launch commentary of a real or imagined first manned launch. We then get the blast off itself accompanied by engine sounds and whooshing effects before a space flight section represented by a whole host of swirling psychedelic rhythms and effects including more mellotron.

'Floating in Time' is so peaceful. Ideal for soaking up a few rays whilst floating on some gentle lake. 'Nebelwald' is also in atmospheric realms but this time the mood is very different as little touches of sound create quite an eerie feel. Delicately played electric sitar over soft drones give 'Further Beyond The Galaxy' an appropriately cosmic feel. The sitar (to these ears) sounds as if it is replaced by restrained electric guitar. It is all rather moody. Then in the second minute the album explodes again as excellent seventies style sequences surge forward, the guitar bouncing superbly over the top. The pulsations become even more intense, building up to wonderful manic peak before the layers of sequences are stripped back to just one around which weaves an Eastern influenced lead. What an absolutely fantastic track this is! We finish in completely spaced out fashion with 'Carina Cygnus'. It's a track that consists of lovely tranquil cosmic pads which will take your mind to the furthest reaches of our galaxy. Yet another excellent album from Cosmic Hoffmann.

Dave Law, Synth Music Direct, GB 2005

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Klaus Hoffmann-Hoock stays quite busy under his various recording names but it has been, unbelievably, five years since his last Cosmic Hoffmann release, Shiva Connection. Thankfully, the void has been ably filled by Electric Trick, another great blend of future and past, of cosmic spacescapes and psychedelic rhythmic pieces. From trippy "Indian Bliss" to rocking "Timeshift" to dreamy "Sehr Mystisch," the sounds shift with ease from 1978 to 2003 and back again, a quarter century seamlessly held together by the music. As on past Cosmic Hoffmann excursions, the crew includes Stephen Parsick and a guest appearance on "Space Pioneers" by Ron Boots. This track starts with space transmissions and voiceovers, then launches headlong into orbit in typical Cosmic style, wonderful stuff. "Floating in Time" sounds like you might expect, sweet vintage synths playing over the top of sonic drifts. Even spacier is the soothing sound of "Nebelwald," a pure floater much in the style of "Wanderers of Time" from the debut Cosmic disc Beyond The Galaxy. Speaking of that album, "Further Beyond The Galaxy" comes next, starting slow then really cooking as it jams along, propelled by chugging synths and rhythms. The beauteous "Carina Cygnus" brings us to a mellow close. The Cosmic Hoffmann sound is first-class retro, familiar and yet like no other.

© 2005 Phil Derby / Electroambient Space

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In der Elektronikszene ist Klaus Hoffmann-Hoock seit Jahren durch sein erfolgreiches Bandprojekt Mind Over Matter bekannt. Daneben frönt er aber auch noch einem weiteren Musikstil, der aus elektronischer Musik á la "Berliner Schule" gewürzt mit psychedelischen und spaceartigen Elementen besteht. Zusammen mit Stephen Parsick veröffentlicht er unter dem Namen Cosmic Hoffmann diese Art von Musik. Neun Spacetracks, deren Spielzeit zwischen 5:31 und 11:40 Minuten liegen, bietet die neue 69minütige CD "Electric Trick". Klaus spielt bei den Stücken Mellotron, Spacegitarre, elektrische Sitar und Electronics. Stephen bedient Synthesizer, Sequenzer und Electronics.

Auf der CD nehmen uns die beiden mit auf einen psychedelischen Trip aus Mellotron-Sounds der frühen 70'er kombiniert mit Klaus' spaciger E-Gitarre. Vorwiegend ruhig und spacig, wie in "The Gate Of Bihar" oder "Floating In Time", bietet das Album aber mit "Timeshift" und "Further Beyond The Galaxy" auch recht feurige rhythmische Tracks. Die Musik zieht einen dabei in einen atemberaubenden Strudel, aus dem man sich kaum befreien kann. Vor allem in "Further Beyond The Galaxy" entlockt Klaus seiner E-Gitarre diese unnachahmlichen, spacigen Sounds, die wir so an ihm so lieben.

Bei diesem Album stimmt einfach die Kombination aus Psychedelic und Elektronik. Ein faszinierendes Werk, das allen Freunden dieser Musikrichtungen nur wärmstens empfohlen werden kann.

Stephan Schelle 2005 MOONHEAD

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"Electric Trick" is the sixth CD of Klaus Hoffmann-Hoock aka Cosmic Hoffmann, featuring recordings made between 1978 and 2003. Stephen Parsick joins him on several tracks of what is described as a 70 minute vintage/psychedelic ride through time and space.
The album offers a nice blend of rich Mellotron textures, fierce analogue sequencing and space guitar, nicely kicked off by "Timeshift" and the choirs and haunting sounds of "The Gate of Bihar".
"Sehr mystisch" is a nice vintage floater from 1978, reminding of Ashra and other Berliner School mates from that period, while especially the second part of the Asian inspired "Indian Bliss" made me think of Hoffmann's Mind over Matter project.
Ron Boots contributed on the ass-kicking vintage space ride "Space Pioneers".
"Floating in Time" is a warm sounding, slowly evolving track with some nice soloing on top, before the listener is captured by the dreamy, lingering atmosphere of "Nebelwald". "Further beyond the Galaxy" shows powerful sequencing and guitar solos, before the album closes with the beautiful quiet sound waves of "Carina Cygnus".
Mission well accomplished, Klaus!

Bert Strolenberg
E-dition Magazine NL 2005

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Heard of the store "What Every Woman Wants"? Well we're going to call it "What Every Synth Fan Wants", because within the space of this one week, we have reviewed three outstanding new CD's - the fantastic new O-Head album, the amazing new Klaus Schulze CD, but we've saved the best for last with the new Cosmic Hoffmann release, because this really is just what EVERY synth fan wants — a dream album, especially for Mellotron fans and the sequencer hungry "Berlin School" crowd.

Just when you thought you could predict what the Mind Over Matter man Klaus Hoffmann-Hoock was all about, he only goes and makes an album with synth/sequencer wizard Stephen Parsick, and it's the most exciting partnership prospect in synth music for some time. Then he shows that he's way ahead of you by producing this incredible eight and a half minute opening track that powers along on waves of sequencers, deep resonant bass sequencers, soaring synth melodies, lush (real) Mellotron textures, early Tangerine Dream organ backdrops and ends it in a gorgeous atmospheric space synth cosmos - A track that practically sums up the 1972-74-era Kraut synth movement in one fell swoop.
If you think this might be a one-off, let me have you drooling at the prospect of more when I say that this is very much the era of music in which a great deal of this album inhabits, and even more enticing is the fact that, somewhat incredibly, Hoffmann's only gone and pulled-off a six minute Mellotron-dominated track that is the closest anyone's ever got to sounding identical to Tangerine Dream's legendary 'Mysterious Semblance At The Strand Of Nightmares' from the equally legendary TD album 'Phaedra'. The track in question is 'The Gate Of Bihar', and let me tell you, it's a composition that will have the most hardened Tangerine Dream fan foaming at the mouth in delight as the deep eerie slabs of Mellotrons (yes, there's a few of them!!) weave a totally magical spell round the room as you listen dumbstruck and in awe of what you are hearing — This is distinctly late 60's/early 70's "Trons" — and only "real" Mellotrons sound like this — Absolutely fantastic stuff!
The near six-minute 'Sehr Mystisch' is next, and it rides in on a more sedate but no less resonant, sequencer pattern, while distant "Tron" choirs and phased synth leads are heard spiraling and soaring overhead as a lead flute-synth line weaves a beautiful main melody line. All of that is set to an expansive backdrop that is right out of classic Ash Ra 'New Age Of Earth' territory — Hey, this is turning out to be musical heaven on a plate and I'm only finishing track 3!
The near twelve-minute 'Indian Bliss' is nothing to do with Indians and plenty to do with bliss - A gloriously full-sounding mix of cosmic synths and 70' style sequencers that blaze a spacey trail through the opening six minutes, only for a soaring electric guitar to join the fray, disappear and then leave THE most beautiful slice of cosmic keyboard / guitar music that is pure classic 70's sounding synth music to die for — and when the Mellotrons come in, well, you might just think you have indeed, died and gone to heaven!
The near seven-minute 'Space Pioneers' once again provides a strong bass sequencer rhythm, huge-sounding expanses, deep resonant synths and all manner of exciting overlays. As the swirling, phased mass and soaring lead/background synths all drive ahead with that classic 70's analogue style warmth, the whole track blossoms out into this glorious world of electronic wonder, where massed Mellotrons provide an ethereal backdrop for revved up sequencers to pass overhead as they race over the horizon and return again, refusing to go away for over six minutes of pure electronic music genius.
The five and a half minute 'Floating In Time' is yet another beautiful piece that wouldn't have sounded out of place on something like 'Phaedra', although here the melodies are much stronger than anything on that album, especially when the high-register Kitaro meets Vangelis style synthesizers are singing to the heavens. Then there's the huge-sounding drift that provides the main backdrop — It has way more intensity than anything TD had, and coupled with all these gorgeous lead melodies weaving their magical spells up front and in and around your head, it all becomes totally involving and captivating — this is absolutely stunning music, and then some!
Of the final 3 tracks, the eight-minute 'Nebelwald' is a classic slice of cosmic music that drifts in the air majestically, bringing a great sense of beauty and a real feeling of just being "out there". The nine-minute 'Further Beyond The Galaxy' is a massive sequencer-driven slice of pure 70's "Berlin School" electronica, complete with lead melodies, sweet soaring electric guitar (think Steve Howe on the 'Soon' track from Yes's 'Relayer' album) in the first half, then there's huge expansive backdrops, rocking-out, psyched-up electric guitar and sparkling keyboard melodies to join the sequencers in the second half.
The final seven minutes goes to 'Carina Cygnus', ending a totally mind blowing album on a real high as it goes out in a glorious sea of cosmic synthesizers, Mellotrons and string synths. Complete with deep bass textures and expansive synth panoramas, the track brings the album to one of the most exquisite of cosmic closures that you'll ever get the chance to hear.
'Electric Trick' is a total triumph — a faultless monster of an album that takes the 70's "Berlin" movement into the realms of sheer positive perfection and beyond - Album of the year without question... Just buy it NOW!

ND GB/ 2005

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Hallo, liebe Freunde der kosmischen elektronischen Musik!

Hergehört! Hier stelle ich euch eine Scheibe vor, die die Herzen, zumindest der etwas älteren Jahrgänge, höher schlagen lässt. Die neueste CD "Electric Trick" führt uns auf eine traumhafte Spacejourney durch die wärmeren Gefilde des Weltalls.

Das Cover ist durchweg in einem warmen roten Farbton gehalten und untermalt mit den rot-orangenen Lichtspuren auf einem schwarzen Hintergrund mit Sternen dieses Space-Feeling.

Im Folgenden nun die Stücke im Einzelnen:

Track Nr. 1: "Timeshift", 8:34: Gitarrenklänge, die einem von MIND OVER MATTER's "Journey to Eternity" bekannt vorkommen und Synthie-Flächen, die mich unweigerlich an Pink-Floyd-Zeiten erinnern, geleiten den Hörer geschmeidig in die spacige Thematik der Musik hinein und, ohne es zu bemerken, haben wir schon in unserer Phantasie voll auf Lichtgeschwindigkeit beschleunigt und nehmen Kurs auf ferne Galaxien. Ein flotter Sequenzer und eine teuflische E-Gitarre ergänzen sich und machen Dampf! Abschließend gibt es eine ruhige Gleitphase — die Pink Floyd-Orgeln — haach — mir läuft es eiskalt den Rücken hinunter!

Track Nr. 2: "The Gate of Bihar", 6:03: Dieses Stück ist sehr ruhig gehalten mit wechselnden Akkord-Flächen vom digitalen Mellotron, dem "Memotron". Dann erscheinen ganz tiefe und warme verhallte Klänge, die sich in verschiedenen Höhen überlagern. Das Ganze wirkt total surrealistisch. Und immer wieder die hohen und kühlen Mellotron-Klänge, die sich gleich einer Metamorphose in Chorgesang umwandeln. Das Musikstück ist ein Wechselbad zwischen warm und kalt. Echt prickelnd!

Track Nr. 3: "Sehr mystisch", 5:48: Ein feststehender Synthie-Rhythmus a la 70er Jahre geleitet uns weiter unaufhaltsam durch die Sternenwelten. Wunderbare leichte Melodien umkreisen die hypnotische Rhythmusmaschine — entspannt lehne ich mich zurück und gleite, gleite, g l e i t e...

Track Nr. 4: "Indian Bliss", 11:40: Ein anfangs leiser Moog Modular-Sequencerbass schwillt allmählich an, jetzt tauchen Originalklänge aus den Strassen Indiens auf: Stimmen, Hupgeräusche, fließendes Leben in der heiligen Stadt Varanasi am Ganges. Der Sequencer wechselt die Lautstärke und seine Klangfarbe: mal härter, mal weicher. Ich höre leise Zikaden im Hintergrund, eine E-Gitarre singt fern und verhallt ganz weit weg, alles scheint irgendwie zu schweben. Nun wird die Gitarre konkreter und wieder erkennt man typische Mind Over Matter-Klänge. Alles beruhigt sich allmählich, schwingt wohlwollend aus. Das überirdische "Memotron" lässt mit weitentfernten Geigen, Kirchenorgeln und Chören indische Glückseligkeit wie endlose Weiten im Weltall aufkommen...

Track Nr. 5: "Space Pioneers", 6:41: Diese Stück ist für mich das einzige frostige im sonst warmen Fluss der Musik: zu Beginn der gewaltige Raketenstart mit dem markanten Kommentar des russischen Startbeobachters. Für eine Sekunde glaube ich "Howling Wolves" wahrzunehmen. Die nun folgende Musik erinnert mich vom Sound her sehr stark an den Titel "Roof of the World" von der MIND OVER MATTER-CD "Palace of the Winds". Sehr dominant sind auch hier das Mellotron und Klaus' Space-Gitarre.

Track Nr. 6: "Floating in Time", 5:31: Ein sehr ruhiges Synthie-Klangband, welches durch den Wechsel von weichen Flöten- und fließenden Mello-Sounds gekennzeichnet ist.

Track Nr. 7: "Nebelwald", 7:58: Eine vibrierende E-Gitarre begleitet cool ferne verhallte Synthesizerloops. Die Klänge wecken den Anschein, kreisförmig um den Zuhörer zu rotieren. Man schwebt ganz, ganz weit weg...

Track Nr. 8: "Further Beyond the Galaxy", 9:27: Dieses Stück beginnt so ähnlich, wie das vorherige aufhörte. Bald kristallisiert sich eine Melodie heraus, die Klaus mit seiner typischen E-Gitarre vervollkommnet, bevor es richtig rhythmisch wird (ähnlich "Tonwelle" - Klaus Schulze)! Tolle Gitarren-Riffs jagen über treibende Sequencerläufe und treiben das Stück ordentlich voran! Hier erwacht Klaus zu seinem wahren Leben. Klasse!

Track Nr. 9: "Carina Cygnus", 7:24: Ein sehr ruhiges, warm fließendes Musikstück, welches in bester Steve Roach-Manier von weiten auf- und abschwellenden, sich unmerklich verwandelnden Flächen lebt. Völlig losgelöst schweben wir im All...

Die CD fällt unter die Sparte "Electronic, Psychedelic, Progressive.
Klaus Hoffmann-Hoock spielt:
Mellotron
Spaceguitar
Electric Sitar
Electronics

An seiner Seite steht (neben Ron Boots bei "Space Pioneers"), kein Geringerer als Stephen Parsick mit den Instrumenten
Synthesizers
Sequencers
Electronics.

Auf der Innenseite des Booklets schreibt Klaus Hoffmann-Hoock:

"Hallo, Spacefolks!
Willkommen zu der dritten Auflage von Cosmic Hoffmann's "Unheimliche Begegnungen der vierten Art" — einer weiteren musikalische Reisen durch Zeit und Raum.
Beginnend in 1978 mit den warmen Vintagesongs "Sehr mystisch" und "Floating in Time" nimmt uns unser Sternentrip voller spontaner Live-Musik geradewegs zum ätherischen "Carina Cygnus" in die Mit-Neunziger, zu jenem Teil des Spiralarms unserer Milchstraße, in dem ich zusammen mit meinem kosmischen Mitstreiter Stephen Parsick viele Konzerte bestritten habe. 1999 entstand der Song "Space Pioneers" spontan aus einer Zugabe nach dem längsten Gig, den wir jemals gespielt haben (3 ½ Stunden!). Gefolgt wird er von dem nicht weniger psychedelischen Song "Nebelwald", der von einer ziemlich spacigen Erfahrung in einem nebeligen Winterwald inspiriert wurde. Unser Flug führt uns mit "Further beyond the Galaxy" und "The Gate of Bihar" an das Ende des Jahres, in welchem Ihr kosmischer Kapitän und seine werte Crew einen kraftvollen Gig auf dem E-Live-Festival in Holland aufführten. Es war im Jahr 2001, als unser glühendheißes "Timeshift" das kosmische Feuer in Good old England's "Jodrell Bank Radio Observatorium" in Knutsford brachte. Gewürzt mit persönlichen Aufnahmen meiner nächtlichen Radfahrt im Jahr 2003 durch Indiens Varanasi bringt uns "Indian Bliss" mit seinen treibenden himmlischen Stimmungen sicher zurück zu Mutter Erde und zum Ende dieser elektrischen Weltraumreise.
Genießen Sie Ihren Flug und beobachten Sie weiter die Sterne!

Klaus "Cosmic Hoffmann"-Hoock

Liebe Leser, fünf- oder sechsmal habe ich diese CD schon abgespielt — und sie gefällt mir immer besser!

Technische Qualität:
Besonders fällt mir wieder mal die ausgesprochen professionelle Aufnahmequalität auf, die ja bei CDs aus dem Hause Heart & Mind immer schon unbedingte Voraussetzung war. Die CD besitzt eine sehr hohe Dynamik und Klangbrillanz. Die Original-Toneinspielungen sind gestochen scharf und wirken absolut realistisch! Die Stereo-Wirkung ist vorbildlich!

Musikalische Qualität:
Beide Musiker (Klaus Hoffmann-Hoock und Stephen Parsick) haben sehr gute Arbeit geleistet und die einzelnen Musikstücke sind optimal aufeinander abgestimmt. Meist gibt es ruhige Passagen, die von teils sehr rhythmischen und kraftvollen Parts abgelöst werden. Gerade die zahlreichen "Ton-Metamorphosen", wenn ein Instrument fließend ins andere übergeht, gefallen mir sehr.

Fazit:
Ich kann nur jedem empfehlen, der einen Fable für kraftvolle und schwebend-fließende Musik hat, sich diesen wunderbaren "Elektrischen Trick"-Trip, zu besorgen, die CD einzulegen, den Verstärker laut zu drehen, sich zurückzulehnen, die Augen zu schließen und­­­ zur großen Weltraumreise mit Cosmic Hoffmann abzuheben!

Viel Spaß beim Hören!
Mit bester Empfehlung

Winfried Wiesrecker - Schallwende