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    1. Albums
   

1.1. Albums - Solo
1.2. Albums - Collaborations with other artists

    2. Singles
    2.1. Singles - Solo
2.2. Singles - Collaborations with other artists
2.3. Remixes

    3. Special Works
    3.1. Music for radioplays
3.2. Music for theatre
3.3. Music for films

    4. A brief discography review with audiofiles included
 

 

 

    1. Albums
    1.1. Albums - Solo
   
 
 
Release: Nov. 1992
Artist: COSMIC BABY
Title: Stellar Supreme
Format: LP/CD
Label: MFS
Re-Release: 1994 CD / Logic
Re-Release: Nov. 1998 CD / T.O.O.M.
Download-Release: Jun. 2007
Info
 
Release: Apr. 1994
Artist: COSMIC BABY
Title: Thinking About Myself
Format: 2LP/CD
Label: Logic
Re-Release: Nov. 1998 CD / T.O.O.M.
Download-Release: Jun. 2007
Info
 
Release: Feb. 1995
Artist: COSMIC INC.
Title: Futura
Format: CD
Label: Logic
Info
 
Release: Okt. 1995
Artist: COSMIC BABY
Title: Stunde Null
Format: 12" EP/CD
Label: Time Out Of Mind
Download-Release: Jun. 2007
Info
 
Release: Nov. 1995
Artist: COSMIC BABY
Title: 14 Pieces - Selected Works
Format: LP/CD
Label: Time Out Of Mind
Re-Release: Dec. 2000
  "14 Pieces Plus 2"
  CD / Time Out Of Mind
Download-Release: Jun. 2007
Info
 
Release: Feb. 1997
Artist: COSMIC BABY
Title: Musik zu Andorra
Format: CD
Label: Time Out Of Mind
Info
 
Release: Sep. 1998
Artist: COSMIC BABY
Title: Heaven
Format: CD
Label: Intercord
Info
 
Release: Sep. 2006
Artist: HARALD BLÜCHEL
Title Die Toteninsel
Format: CD
Label: Time Out Of Mind
Info
 
Release: Dez. 2006
Artist: COSMIC BABY
Title: Industrie & Melodie
Format: CD
Label: Time Out Of Mind
Download-Release: Jun. 2007
Info
 
Release: Apr. 2007
Artist: HARALD BLÜCHEL
Title: caged
Format: CD
Label: Time Out Of Mind
Info
 
Release: Oct. 2007
Artist: COSMIC BABY
Title: works 1996.1 - somnambul
Format: MP3/AAC Download Album
Label: Time Out Of Mind
Info
 
Release: Oct. 2007
Artist: COSMIC BABY
Title: works 1996.2 - hundeherz
Format: MP3/AAC Download Album
Label: Time Out Of Mind
Info
 
Release: Sep. 2008
Production: Sep.-Dez. 1991
Artist: COSMIC BABY
Titel: Sternsprung -
Music For An Oceanic Radioplay
Format: MP3/AAC Download Mini-Album
Label: Time Out Of Mind
Info
 
Release: Apr. 2009
Artist: HARALD BLÜCHEL
Titel: ELECTRIC CHAMBER MUSIC
Format: CD
Label: Time Out Of Mind
Info
   
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    1.2. Albums - Collaborations with other artists
   
 
 
Release: Jan. 2004
Artist: BLÜCHEL & VON DEYLEN
Title: bi polar
Format: CD
Label: Tru Note/Edel
Info
 
Release: Sep. 2004
Artist: BLÜCHEL & VON DEYLEN
Title: Mare Stellaris
Format: CD
Label: Transglobal/Sony
Info
   
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    2. Singles
    2.1. Singles - Solo
   
 
 
Release: Sep. 1991
Artist: COSMIC ENTERPRISES
Title: Tao Nonstop
Format: 12"
Label: Low Spirit / White Label Rec
 
 
Release: Feb. 1992
Artist: COSMIC BABY
Title: Transcendental Overdrive
Format: 12" EP/CD
Label: MFS
 
 
Release: May 1992
Artist: COSMIC BABY
Title: Cosmikk Trigger
Format: 12"
Label: ESP (NL)
 
 
Release: May 1992
Artist: COSMIC BABY
Title: The GTO Remixes
Format: 12"
Label: MFS
 
 
Release: Sep. 1992
Artist: COSMIC BABY
Title: 23
Format: 12" EP/CD
Label: MFS
Download-Re-Release: Sep. 2008 / T.O.O.M.
Info
 
Release: Nov. 1992
Artist: COSMIC BABY
Title: Oh Supergirl
Format: 12"
Label: ESP (NL)
 
 
Release: May 1993
Artist: COSMIC BABY
Title: Heaven's Tears
Format: 12"/CD
Label: MFS
 
 
Release: Jan. 1994
Artist: COSMIC BABY
Title: Loops Of Infinity
Format: 12"/CD
Label: Logic Records
 
 
Release: Oct. 1994
Artist: COSMIC BABY
Title: Fantasia
Format: 12"/CD
Label: Logic Records
 
 
Release: Nov. 1994
Artist: COSMIC BABY
Title: A Tribute To Blade Runner
Format: 12"/CD
Label: Eastwest
 
 
Release: Jan. 1995
Artist: COSMIC INC.
Title: Futura
Format: 12"/CD
Label: Logic Records
 
 
Release: Aug. 1995
Artist: COSMIC BABY
Title: Cosmic Greets Florida
Format: 12"/CD
Label: Logic-US
 
 
Release: Jan. 1996
Artist: COSMIC BABY
Title: Kinetik
Format: 12"/CD
Label: Time Out Of Mind
Download-Release: Jun. 2007
Info
 
Release: Aug. 1998
Artist: COSMIC BABY
Title: Lucifer
Format: 12"/CD
Label: Intercord
 
 
Release: Apr. 1999
Artist: COSMIC BABY
Title: Sketches In Spring
Format: 12"/CD
Label: Intercord
 
 
Release: Sep. 2008
Production: 1990-1992
Artist: COSMIC BABY
Titel: Cosmikk Trigger
Format: MP3/AAC Download EP
Label: Time Out Of Mind
  Info
 
Release: Sep. 2008
Production: Sep. 1994
Artist: COSMIC BABY
Titel: Hommage à Blade Runner
Format: MP3/AAC Download EP
Label: Time Out Of Mind
Info
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    2.2. Singles - Collaborations with other artists
   
 
 
Release: Jun. 1991
Artist: ENERGY 52
Title: State of Mind
Format: 12"
Label: WEA
 
 
Release: Sep. 1991
Artist: FUTURHYTHM
Title: Braincooler
Format: 12" EP
Label: BMWW
 
 
Release: Sep. 1991
Artist: ENERGY 52
Title: Expression
Format: 12"/CD
Label: WEA
 
 
Release: Mar. 1992
Artist: FUTURHYTHM
Title: Sonic Mind Explosion
Format: 12" EP
Label: MFS
 
 
Release: Mar. 1992
Artist: FUTURHYTHM presents
VEIN MELTER
Title: Hypnotized
Format: 12"
Label: Planet Rec.
 
 
Release: Jun. 1992
Artist: VISIONS OF SHIVA
Title: Perfect Day
Format: 12"/CD
Label: MFS
 
 
Release: Nov. 1992
Artist: VISIONS OF SHIVA
Title: Perfect Day
Format: 12"/CD
Label: Fase2 (UK)
 
 
Release: Dec. 1992
Artist: FUTURHYTHM
Title: Butoh
Format: 12" EP
Label: Harthouse
 
 
Release: Apr. 1993
Artist: VISIONS OF SHIVA
Title: How Much Can You Take?
Format: 12"/CD
Label: MFS
 
 
Release: May 1993
Artist: ENERGY 52
Title: Café Del Mar
Format: 12"/CD
Label: Eye Q
 
 
Release: Jun. 1993
Artist: VEIN MELTER
Title: When You Feel It
Format: 12"
Label: Space Teddy
 
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    2.3. Remixes
   
 
 
Release: Apr. 1992
Artist: VOOV, NEUTRON9000, QUASAR, COSMIC BABY, MICROGLOBE, MIND GEAR, EFFECTIVE FORCE, FUTURHYTHM, GTO
Title: Tranceformed From Beyond
  (The worlds first Trance-Compilation specially sequenced and mixed by Cosmic Baby & Mijk van Dijk)
Format: LP/CD
Label: MFS
 
 
Release: Jan. 1993
Artist: EFFECTIVE FORCE
Title: Diamond Bullet
Format: LP/CD
Label: MFS
 
 
Release: Jul. 1993
Artist: DANCE 2 TRANCE
Title: Take A Free Fall
Format: 12"/CD
Label: Intercord
 
 
Release: Sep. 1993
Artist: SVEN VÄTH
Title: L'esperanza (Visions Of Shiva remix executed by Cosmic Baby)
Format: 12"/CD
Label: Eye-Q
 
 
Release: Jan. 1994
Artist: SOLITAIRE
Title: Chasing Clouds
Format: 12"/CD
Label: PHONOGRAM
 
 
Release: Feb. 1995
Artist: YELLO
Title: Dr. Van Steiner
("Hands On Yello")
Format: LP/CD
Label: Motor Music
 
 
Release: 1996
Artist: THE MOON & THE SUN
Title: Sirius
Format: 12"/CD
Label: Superstition
 
 
Release: Nov. 1998
Artist: KOMPUTER
Title: Terminus
(Remix and Radio-Edit)
Format: 12"/CD
Label: MUTE (UK)
 
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    3. Special Works
    3.1. Music for radioplays
   
 
 
Release: Mar. 1990
Title: Asyl
Author/Director: HELMUT MARKO
Format: Radio Play
Station: WDR
 
 
 
Release: Jul. 1990
Title: Der Drache Ist Tod
Author/Director: HELMUT MARKO
Format: Radio Play
Station: WDR
 
 
Release: Feb. 1991
Title: Computerliebe
Author/Director: HELMUT MARKO (word) /
HARALD BLÜCHEL (sound)
Format: Radio Play
Station: WDR
 
 
 
Release: Mar. 1992
Title: Sternsprung
Author/Director: INGO GOLEMBIEWSKY (story) /
HELMUT MARKO (word) /
HARALD BLÜCHEL (sound)
Format: Radio Play
Station: WDR
  Info
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    3.2. Music for theatre
   
 
 
Date: Feb. 1997
Title: ANDORRA
Author: Max Frisch
Director: CRESCENTIA DÜNSSER & OTTO KUKLA
Location: Staatstheater Stuttgart
 
 
Date: Jun. 2000
Title: Memory
Author: DÜCKER/
DÜNSSER/
KUKLA
Director: OTTO KUKLA
Location: Theater Neumarkt/Zürich
 
Stage Picture
 
Date: Sep. 2003
Title: Frau Vom Meer
Author: Susan Sontag
Director: OTTO KUKLA
Location: Theater Neumarkt/Zürich
 
Stage Picture
 
Date: Mar. 2006
Title: ANDORRA
Author: Max Frisch
Director: TINA LANIK
Location: Deutsches Schauspielhaus Hamburg
 
 
Date: Feb. 2007
Title: Bernarda Albas Haus
Author: Federico García Lorca
Director: HANS NEUENFELS
Location: Schauspiel Köln
 
Bernarda
  Alba Flyer
 
Date: May 2009
Titel: Danach: Wie Robinson ?! -
Arno Schmidt für 2 Spieler, eine Leserin und ein E-Piano
Author: Arno Schmidt
Director: ANTJE GÜHNE
Location: Theater unterm Dach, Berlin
 
Stage Picture
 
Date: Oct. 2009
Titel: Tannöd
Author: Andrea Maria Schenkel
Director: CRESCENTIA DÜNSSER
Location: Deutsches Schauspielhaus Hamburg
 
Stage Picture
 
Date: Feb. 2010
Titel: Eislaufen mit Inge Müller
Author: Inge Müller
Director: ANTJE GÜHNE
Location: Theater unterm Dach, Berlin
 
Eislaufen mit Inge Müller Flyer
   
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    3.3. Music for films
   
 
 
Release: Jun. 1997
Title: Die Letzte Sekunde
Director: TIM TRAGESER
 
 
 
Release: Nov. 1998
Title: Mit Haut Und Haar
Director: TINA DÖCKER &
CRESCENTIA DÜNSSER
 
 
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    4. A brief discography review with audiofiles included
   
Note: these audio files have been made available to provide a brief insight into the musical development of Harald Blüchel. The excerpts are heavily compressed so as to also allow modem-users the chance to hear something in a reasonable amount of time.
To hear the sound samples you will need either an MP3 player or RealPlayer (www.real.com). To listen, click on the "[MP3]" or the "[RA]"-link after the title (providing this has been set up with your browser correctly).  
 
 
  Audiofile 01 - Cosmic Baby: Cosmikk Trigger 1 ("Transcendental Overdrive", 1992) [MP3] [RA]
March 1991: a kind of manifesto of everything that I would like to convey in music in present and future ("VISION! VISION!") brilliantly executed in the words and voice of the American author and singer, Felicia Alexander; recorded in the studio of Jens Wojnar in Berlin Tempelhof. All Cosmic Baby productions right up to the end of 1994 will be created here.
The most important aspects of a piece of music are surely the idea and the composition followed by the interpretation and the arrangement. Thirdly: the production. In Jens I found the perfect partner, the person who had the technical skills to realize my musical concepts, and with whom I could test "what was possible" and what not. A constant productive intercourse, with suggestions being made, tested, thrown out - With each production we honed the significant elements of our own sound; work became more intuitive, we were constantly able to expand on the progress already made. "Cosmic Trigger 1" laid the foundation. Nevertheless, it would take about one year until the first "genuine" Cosmic Baby album is released.
  Audiofile 02 - Futurhythm: Injection ("Brain Cooler", 1991) [MP3] [RA]
April 1991: I met Jonzon. Jonzon: drummer and fan of heavy Chicago house and acid sounds. I love his magical sets in the old "Planet", "UFO" and the "Turbine". We share our enthusiasm for this music which was the "big bang" for "Techno" in all its later variations.
Sitting together in my 30 m² one room apartment, we jam with a 303, 808 and 909 for all its worth, philosophize about the world and play chess.
Gabi Delgado and Saba Komossa release our first joint productions on the "Brutal-Music-World-Wide" label. We are totally stoked when "Injection" becomes one of the biggest club hits of the year. We never ever saw a final statement on the number of records sold but this is when things really took off!
  Audiofile 03 - Cosmic Enterprise: Ratio Tao ("Tao", 1991) [MP3] [RA]
August 1991: in the "Low Spirit" apartment in Mommsenstrasse. Two fractions: Pro Cosmic: Klaus Jankuhn and William Röttger, Anti Cosmic: the brothers Westbam & DJ Dick. The compromise is: I make a record with Klaus under "Pseudonym" but the release is only half-hearted. Three points to consider: a) I still very much like the music which Klaus and I produced together, b) my liking of Klaus and William and respect of their artistic abilities still hold true today, c) the confrontation with the DJs in the coming years occurred via the media and at raves at which (no doubt stage-managed to some extent by the concert promoters) Westbam and I were scheduled to appear one after another. It was a bit like pitting the "Girondists" against the "Jacobeans" in 1793. The audience helped me on more than once occasion to sweet revenge, which was perhaps puerile, but was nevertheless very funny at the time.
  Audiofile 04 - Hörspiel "Sternsprung" (WDR, 1992) [MP3] [RA]
September 1991: inspired by Ingo Golembiewski's text the idea of "Cosmic Baby" is brought a step further, both in terms of content and musical ideas. A great deal of this inspiration came to fruition in the later work on "Stellar Supreme" my first "main work".
  Audiofile 05 - Futurhythm: Transmanic (Sonic Mind Explosion, 1992) [MP3] [RA]
October 1991: my 303 is broken and so Jonzon and I make a record solely with the SH 101. The pieces are written as if in trance: two happy kids with glowing faces sitting in front of their toys. We come upon a totally new sound and decide to explore this direction with "Futurhythm" and pursue our love of the Chicago sound under "Vein Melter".
  Audiofile 06 - Vein Melter: Hypnotized ("Hypnotized", 1992) [MP3] [RA]
December 1991: No sooner said than done. A 303 bass line, the constant techno beat that runs through the piece, the endless loop of "WEWEWEWEWEWEWE", the cascades of quasi-melodic hi-hat figures, not one single hall/echo effect on the instruments - at that time the first piece I was ever involved in which set a new international music standard that later developed into a trend. In America they call us the "the only guys from Chicago who actually come from Europe" - we're proud as punch!
A small anecdote on the side: during my first appearance in Switzerland in March 1992 I was introduced to some "important" people backstage as "Cosmic Baby". When this met with blank stares, my friend said, "the guy from Futurhythm and Vein Melter" which led to a fully unexpected emotional reaction among the bunch of seeming snobs. This scene made a big impression on me...
  Audiofile 07 - Cosmic Baby: Cosmic Trigger 4 ("Transformed From Beyond", 1992) [MP3] [RA]
January 1992: Mark Reeder offers me the chance "to do whatever you ever wanted to do" on his label, MFS. Can a musician get any better offer than that?
Working together with Mark, Mike van Dijk and I draw up an "aural compendium of electronic trance music", a compilation of a new kind: a manifestation of our musical ideas and a channel for them. The selected pieces are not simply placed into a sequence as is customary, or "mixed" with each other but are completely reworked so that for some tracks the only thing which remained from the original was the title. I continued to apply this practice in a number of remix jobs (e.g. the "Esperanza-Hopewillmovemountains-Mix" for Sven Väth).
During the final mastering at Amiga-Mastering-Studio (located in the Reichspräsidentenpalais !!) I get to meet Wolfgang Ragwitz and start a new friendship. Wolfgang has cooperated in an artistic capacity on all of my solo works ever since!
  Audiofile 08 - Cosmic Baby: Aquarius Orbit (Air) ("23", 1992) [MP3] [RA]
Audiofile 09 - Cosmic Baby: Sweet Dreams for Kaa ("23", "Stellar Supreme", 1992) [MP3] [RA]
March 1992: Kaa was my first wife. Kaa was earth and fire. I was water and air.
  Audiofile 10 - Cosmic Baby: The Spacetrack ("Stellar Supreme", 1992) [MP3] [RA]
July and August 1992: every person has their own personal moments of glory. I had several of mine in this time. I moved into Jen's studio and in the subsequent weeks usually only left it when I had to perform at the weekends. The performances were unbelievably important for the studio work as I could incorporate the things I had tried out live and the experiences I had on stage directly into the composition and the mix. On "Stellar" you can find the quintessence of the various facettes of my musical expression at the time. Conceptional archetypes: "The Spacetrack", "Heaven's Tears", "Planet Earth 1993" and "Liebe". "The Spacetrack" brings together the clearly defined futuristic of Kraftwerk, the grooving elegance of disco music and the romantic melancholy of Chopin. I developed my sound language from these elements.
  Audiofile 11 - Cosmic Baby: Planet Earth 1993 ("Stellar Supreme", 1992) [MP3] [RA]
Questions / thoughts are translated into "slow", usually poppy electronic/instrumental pieces, mostly on the piano; either minimalist and abstract, or heavy on the atmosphere, like this one.
  Audiofile 12 - Cosmic Baby: Liebe ("Stellar Supreme", 1992) [MP3] [RA]
To find melodies that bring one to tears while simultaneously beaming with joy. In other words, "acting dialectically". Familiar sounds which start out as standalone phrases, actually a bit clichéd, are brought into a dialectical discourse with the aim of making something beautiful and new from their synthesis. This cut: the thesis "Kling-Klang-Glöckchen" meets its antithesis "Acid-303"...
  Audiofile 13 - Vein Melter: Feelin' ("When You Feel It", 1993) [MP3] [RA]
November 1992: Jonzon contributes a second 303 to our sessions. Now we can play around with two bass lines at the same time. That's a special buzz!
  Audiofile 14 - Energy 52: Cafe del Mar ("Cafe del Mar", 1993 bis 2004) [MP3] [RA]
The background: I met Paul Schmitz-Moormann in 1989. A close friendship developed centred around non-stop music-making. From Paul I learned how to combine high-quality melodic material with rhythm sections in a way that was both transparent and effective and gave the compositions a clear structure. In return, I was a kind of contemporary "piano teacher" for Paul. In 1990 we spent some time together on Ibiza. We got some really good vibes in a white villa on the beach where we spent the evenings, the "Cafe del Mar".
November 1992: Paul returns after an especially long summer holiday on Ibiza. At "Cafe del Mar" he had heard a solo piano composition that had made a big impression on him. I know the piece, it is from Wim Mertens, one of my favorite composers. In the coming weeks we dedicate ourselves as though inspired by a greater force to our own version of this masterpiece working minutely on every little detail until it feels right. In January we produce the two originals ("Kid Paul Mix" and "Cosmic Baby's Impression") in the studio in cooperation with Jens.
  Audiofile 15 - Visions of Shiva: How Much Can You Take? ("How Much Can You Take?", 1993) [MP3] [RA]
It is not easy to speak of "Visions of Shiva" without touching a few nerves. "How much can you take" was written during the same (one-week) recording session as "Cafe del Mar" with Jens. Let me just say this: it would be great if Paul van Dyk, now with the distance of time between us and the fact that he himself is a recognized international superstar, had the honesty and strength of character to explain once and for all what he contributed to the content of this piece (apart from being present at the Mix of the "physical" version).
  Audiofile 16 - Heaven's Tears (Jam El Mar - Remix) ("Heaven's Tears", 1993) [MP3] [RA]
"Heaven's Tears" documents two archetypical Cosmic Baby styles.
Strong piano motives in combination with sequencer arpeggios a la Tangerine Dream or Giorgio Moroder, with techno beats added, make for emotionally laden, directly accessible music, both in the club or at home.
Easter 1993: A tribute to the work of Jam el Mar. When he came to Berlin to hand me his mix in person, I was disappointed because I had secretly hoped for a kind of "Age of Love" (my club favourite at that time in the Jam&Spoon-Version). Naturally, I was too proud to tell him this during our little "briefing". Now, after the fact, I am glad that I didn't, because Rolf's interpretation (perhaps alongside Ayla's "Liebe") is for me the best yet of a Cosmic Baby piece. His reworking give the composition a completely new aspect by adding the image of "rain". It radiates elegance, precision, command and confident management of style! Rolf Elmer is a master of his art. Very few producers of electronic pop can match him, either then or today. In the case of "Heaven's Tears" I was too small-minded at the time to appreciate it.
  Audiofile 17 - Treptow ("Thinking About Myself", 1994) [MP3] [RA]
May 1993: I draw up the first sketches for my second main work. The main focus of the piece moves from a kind of stellar "everything is possible" sense of joy to reflection on the experiences I had. It concerns walks, the feelings during these walks, in Berlin, at the coast, and in a number of other cities I had visited. It reflects: people and landscapes expressed in my own desires and doubts.
"Treptow" deals with the German Democratic Republic (GDR) as a synonym for a disappearing world. The more it is eliminated and radically replaced by the victorious "other" the clearer it becomes that alternative social structures beyond capitalism will likewise disappear.
  Audiofile 18 - Loops of Infinity (Axiomatic) ("Loops of Infinity", 1994) [MP3] [RA]
June 1993: one evening I had a telephone conversation with a female friend which I ended from one minute to the next with the words: "I've gotta hang-up. I just got an idea for my next big piece." From the beginning, the composition was a balancing act between excessive romantic, excessive speed, excessive piano and excessive arpeggios. With a wink at my favorites from the 19th century, a play on the term "virtuoso" thoughts from the book, "Gödel, Escher, Bach" and the tongue for a hefty debate starting up between techno fundamentalists, I found my own path.
  Audiofile 19 - Brooklyn ("Thinking About Myself", 1994) [MP3] [RA]
August and September 1993: another two-month-move into Jen's studio. Ensconsed again like for "Stellar Supreme". Some pieces were prepared at home (2/3/7/8/10). The others were all composed alone at night, while Jens and I worked on the mastering during the day. Reminiscing on the studio work on "Stellar", I see it as a light-footed game in the sun. "Thinking" was more of a heavy and dark kind of adventure. What both have in common: direct, relatively effortless realization of an inspiration.
Note: this is no doubt thanks to the fact that the impulses for the inspiration were more simple. The quality of an "inspiration" rises with increasing experience. Consequently, "inspiration" is a rare good.
As a result, the rejection of material that is "satisfying" slows down.
  Audiofile 20 - Cosmic Baby: Fantasia ("Thinking About Myself") [MP3] [RA]
Audiofile 21 - Cosmic Baby: Movements in Love ("Thinking about myself") [MP3] [RA]
The best piece on the album and in my eyes the most successful song cycle on any CB album is the final stretch from "Herbst in Berlin" to "Fantasia" to "Loops of Infinity" to "Movements in Love".
"Thinking" is an autumnal album. "14 pieces" covers all seasons. "Stunde Null" belongs to spring and "Stella Supreme" to summer. "Heaven" is a winter that can't make up its mind.
  Audiofile 22 - Live in Melbourne at "The Palace" (22. September 1993) [MP3] [RA]
Live performances. Between 1991 and 1996 I gave roughly two hundred concerts. I could write volumes about this. In short, without these tours the music would never become what it is. To get to know foreign landscapes, other cultures and new people - for me it was a dream come true: I experience the trips keeping all my senses as open to the new impressions as I possibly can... make a point of taking time for this. no gigs were done just out of a sense of routine like many are: airport, hotel, soundcheck, hotel, performance, hotel, airport etc..
When making this selection I decided on short excerpts from the concerts which I would call the "Top 15" of my career (thank God I have recordings from a few!).
September 1993: I leave the "Thinking" for a week and experience Australia. Jeff, Prue & Ritchie welcome me like a brother and show me Melbourne, a fantastic city. The concert in the 4000-seater "Palace" is sold out. INXS played this venue a few days before. The buzz is stunning. After a week in the studio I leap into the performance like a cliff-top diver into the sea. An awesome experience!
  Audiofile 23 - Cosmic Baby: Fantasia (Celestial Harmonies) ("Fantasia", 1994) [MP3] [RA]
April 1994: I choose this piece as the second single to be released from "Thinking" as it is easily my favourite piece. A fantasy on dreams, desires, hopes of a period of my life. Translating the world using the senses of a happy person.
Six months later I make a five-piece suite from the original version which was created over two nights and produced in three days. Actually, Fantasia deserved the same success as Loops of Infinity because it conveys sensual affairs more completely. Lisa Woynar's voice in Part 1 is a brilliant interpretation of the instrumental "Archityp zwei".
  Audiofile 24 - Cosmic Inc: Futura (Ex Machina) ("Futura", 1995) [MP3] [RA]
August 1994: after the premiere at "Akademie der Künste" Kaa's "Techno-Opera" titled "Futura" will go on tour. This gives us good cause to sit down again and rework the music. Finally, a club version of the main track is created in the studio. I still can't understand why this piece was relatively ignored.
  Audiofile 25 - Cosmic Baby: LA 2018 I ("A Tribute to Blade Runner I", 1995) [MP3] [RA]
Audiofile 26 - Cosmic Baby: LA 2018 II ("A Tribute to Blade Runner II", 1995) [MP3] [RA]
September 1994: another dream comes true: with Vangelis' approval, I can rework his piece into my own form. I decided for a dance remix of the "End titles" incorporated into my own compositions which are dedicated to the total soundtrack for "Blade Runner" created by the master in 1981. Jens and I go to town on the production in a way never seen before. Two weeks of hard work; in the meantime, you can hear this search for perfection in the piece. To some extent, it is overly-motivated.
I had developed my artistic goals with Cosmic Baby to such precision that I felt I could go no further. Musically, I had the choice of "repeating the same" or "doing something totally new" - I was still too young for the option of "taking time out". So I decided to do something new in the immediate future.
  Audiofile 27 - Live in Mexico City at "La Historia" (5. März 1995) [MP3] [RA]
Mexico City, beginning of March. After an extremely eventful and successful tour through the USA, a final performance in Mexico City closes the tour. It is not really possible to capture in words, but directly after landing I felt a sensation of vibrating happiness that I had never felt before. Luz & Sergio show me the city. They take me to Teotihuacan. One amazing experience chases the next. It all happens like in a trance. I feel like someone returning home, full of energy and at an extremely high degree of being. My concert is on the fourth night. If there is "just one concert" then this is it. The full moon follows its trajectory behind the stage. Some people in the audience said I grew wings when playing and hovered over the stage. That is exactly what it felt like. It was not a concert, it was magical realism lived to the core!!!
  Audiofile 28 - Cosmic Baby: Schwingungen ("Stunde Null", 1995) [MP3] [RA]
May 1995: returned to Berlin after a long stay in America. All instruments are back in my apartment, after most of them had been more or less permanently set up in Jens' studio over the last few years. I wanted to go back to "just making" music again, remembered my time when I began to record "electronic music". And: I wanted to explore a new approach to the issue of "melody". In the cycle I concentrated on using just a few instruments. The first piece was composed of just three Minimoog tracks (recorded in a ping-pong method between two DAT recorders).
  Audiofile 29 - Cosmic Baby: East Houston St. ("Fourteen Pieces", 1995) [MP3] [RA]
"Fourteen Pieces" is a collection of electronic pieces which I had composed at various places and in various moods over the years since 1995. It documents my desire to experiment, leaving all the baggage of past expectations behind and (stylistic-technical) routines and find new avenues of personal expression.
February 1995: recorded in my New York apartment, this piece describes the mood of a route I often took walking home from Manhattan's Alphabet-City towards Broadway and the subway to Brooklyn.
  Audiofile 30 - Cosmic Baby: You Are Always In My Heart ("Fourteen Pieces") [MP3] [RA]
August 1995: "Both sides..." and "You are always..." are related and which I privately call "large transatlantic pieces". Atmospherically, they are wide, melodic and have improvised passages, breathe with an American groove, are very emotional and defy any categorization into a set style.
  Audiofile 31 - Cosmic Baby: Träume ("Fourteen Pieces") [MP3] [RA]
July 1995: one of my greatest dreams as a composer: to express with the simplest means (ideally just one track) the most complex situations in the very moment of their inspiration. These moments are rare and simultaneously the "moments of glory"! These are the moments when the dichotomy between "accident" and "intention", "heart" and "head" is transcended. "14 p" contains three examples: Glücksspirale", "Karma" and "Träume".
  Audiofile 32 - Cosmic Baby: Melbourne, Mexico, New York ("Kinetik", 1996) [MP3] [RA]
October 1995: closed the 95 trilogy with a 5 part dance track EP. "Melbourne, Mexico, NY" illustrate my weakness for "Electro" (as in "Cosmic greets Florida"). I found the electro overkill that set in two years later more annoying than anything else.
  Audiofile 33 - Cosmic Baby/Harald Blüchel: Musik zu "Andorra"- Intro (1997) [MP3] [RA]
Audiofile 34 - Cosmic Baby/Harald Blüchel: Musik zu "Andorra"- La Senora [MP3] [RA]
Audiofile 35 - Cosmic Baby/Harald Blüchel: Musik zu "Andorra"- Invasion [MP3] [RA]
September 1996 - January 1997: for the first time, I compose music for theatre. A fantastic experience, really satisfying work. Reasons:
Intensive dialog with the literary material.
Integration in a team of people who create their own world during the time of the rehearsals. Week-long intense presence of being together.
The constant flow and looping of input and output: an idea is developed, tried out, changed, thrown out, redeveloped. Everybody has access to and responsibility for the common work.
The evolution of the piece from the first reading to the premiere can be compared to a canvas that is repainted a hundred times.
  Audiofile 36 - Cosmic Baby/Harald Blüchel: Die letzte Sekunde (1997) [MP3] [RA]
January 1997: The director, Tim Trageser, is an extremely self-confident, no-nonsense man of action; he has a clear idea of what he wants to "hear" in his film and extracts music from me that would never have come into being without the critical dialog with him.
  Audiofile 37 - Cosmic Baby: Suite Russe ("Heaven", 1998) [MP3] [RA]
Audiofile 38 - Cosmic Baby: Planetenmelodie ("Heaven", 1998) [MP3] [RA]
August - December 1997: it is easier to speak with hindsight than at the time a work is created. "Heaven" as it stands lacks a consistent line: it possessed neither unbearable "lightness" nor a constant "gravity"; it was neither experimentally raw nor brilliantly kitsch; my expectations ended up neutralizing each other. Lack of features as a result of an over-motivated restlessness. Fear of clearly laying down what I actually wanted to say.
I would have avoided a lot of self-doubt about my work as an artist in the coming years if I had consistently fought for the idea of releasing "Heaven" with two radically different sides as a double-CD album. For at the same time I was working in parallel with much more focus on the pieces which were strictly determined by one clear idea: electronic (pop) music only using instruments from the 70's. By giving these pieces the same weight on the album, I would surely have handled the "Heaven" material much more confidently. My head was not free enough to see that. I was truest to myself with "Suite Russe" and "Planetenmelodie". If truth be told, it took me a long time to get over the personal failure of "Heaven". The unusual feeling of uncertainty and expecting too much of myself with regard to my alter ego, "Cosmic Baby" remained.
  Audiofile 39 - Harald Blüchel: Mit Haut und Haar, Teil 4-5 ("Mit Haut und Haar", 1999) [MP3] [RA]
November 1998: the directors gave me a videotape. Six ninety-year-old ladies speak of their lives, childhood, first love, marriage, children, war, reconstruction, old age. They speak of their beliefs, their convictions, fears, anxieties, and dreams. I accompanied the piece on the piano and developed five short "forms" from the improvisation.
Another level: Berlin-Schlachtensee, walks in autumn, weighing up my own personal record.
  Audiofile 40 - Cosmic Baby: "Der Flug" (live in Stuttgart/Theaterhaus, Mai 1999) [MP3] [RA]
Three things came out of it:
1. The pieces from "Heaven" could have sounded much better on the album if given more bite and verve.
2. My last solo tour at that time was a wonderful experience. I went on tour with a fantastic crew. We were together for 3 months. Everywhere. Family. Through thick and thin. Loads of good experiences. Joe Pomponio was the tour manager, Alex Treutzsch co-performed, Florian Ammant was the head technician and light engineer, Stefan Hofmann the lighting architect; Steffen Charles and Michael Hock handled the bookings.
3. Over the years Stuttgart (besides Würzburg) was my clear favorite among all German cities for performing in!
  Audiofile 41 - Harald Blüchel: Memory 3 ("Memory", 2000) [MP3] [RA]
March - June 2000: a difficult but beautiful birth. I tested a lot of ideas and threw a lot out. Somewhere in the middle came a nervous breakdown. Because the flow was just not coming. In the arms of Sabina, my wife still today. Too proud to just say the truth. New attempt, fresh courage. Suddenly things start flowing again. What before had taken two and half months to end in failure now succeeds in one week. "Memory" is one of my best works ever, along with the theatre music for "Die Frau vom Meer".
  Audiofile 42 - Blüchel & von Deylen: Etoile Polaire ("bi polar", 2004) [MP3] [RA]
August 2002: while Christopher is busy with "Gymnopedie No:1" as the first step towards "bi polar", I concentrate on "etoile". In a picturesque garden hut in Sweden. We begin our joint work in October. Each piece gets its own history, its own experience, shared joy is truly double the pleasure, particularly for two solo artists now working in cooperation; we create our own unique sound; no H.B, no CvD, no "Schiller", no "Cosmic Baby", just "B&vD". Produced between October 2002 and June 2003.
  Audiofile 43 - Harald Blüchel: a cappella I ("Die Frau vom Meer", 2003) [MP3] [RA]
Audiofile 44 - Harald Blüchel: Schlussbild ("Die Frau vom Meer", 2003) [MP3] [RA]
June 2003 - September 2003: several things come together: fascinating material dealing with the issue "what does freedom mean in a relationship", perfect command of the new musical techniques I had developed in recent years, an excellent production team at the Theater Neumarkt, the summer of the century in Zurich, the idea of working with a soprano and counter-tenor - and finding two top notch, inspiring and experimental friends in Gerlinde Sähmann and Florian Mayr, having the self confidence to begin with the composition "on site", i.e. during the creation of the play itself and thus coming up with totally new music; music that was either inspired by the rehearsals as a spontaneous reaction to ideas, or giving the rehearsals new impulse by spontaneous musical ideas.
  Audiofile 45 - Blüchel & von Deylen: M83 ("mare stellaris", 2004) [MP3] [RA]
Audiofile 46 - Blüchel & von Deylen: Ad Astra ("mare stellaris", 2004) [MP3] [RA]
June - August 2004: music for the "Lange Nacht der Sterne". The stars played a role the whole summer over. Lots of glances heavenwards. This time we are more interested in "thematic images" than "stylistic images": we play the soundtrack to our own film of ideas.
The title track was written in a three-day long session. The other compositions were worked out by one or the other and then finished off in cooperation. Speculation on "who initiated which piece" is too interesting for those curious about it for me to reveal anything today.
  Audiofile 47 - Harald Blüchel: Prologue 0.1 / Once I walked on water ("Andorra", 2006) [MP3] [RA]
Beginning of the play. Dream sequence. Andri reads out a text from Max Frisch's diary. From a compositional aspect, there are two main points to recognize:
a) the piece is one of the "Reihen" ("sequences") (see the journal entry on Andorra - Tuesday February 21, 2006).
b) the piece actively addresses the issue of "perception" - I have gone into more detail about this in the journal entry "Andorra Resumé iii"
  Audiofile 48 - Harald Blüchel: Prologue 0.2 / "Cheerful people" ("Andorra", 2006) [MP3] [RA]
A sample of the basic music/sound concept in pure form (the "Settings"). Entrance of the Andorreans (Innkeeper / Doctor / Journeyman / Carpenter / Soldier): each (model) person has been allocated a (model) tone on the scale. So this is how the Andorreans "sound"... Extensive commentary can be found under the journal entry "Andorra, Friday February 10 / Monday, February 13".
  Audiofile 49 - Harald Blüchel: Picture 1 / Give me a kiss ("Andorra", 2006) [MP3] [RA]
Excerpt from the journal, Andorra February 21, 2006:
"... we rehearse the first time with the music. Picture 1: Andri and Barblin are introduced with the key notes (A and E) from which a magnetic web of sound develops. It appears that the strength of this draws the two together (the "strings" !!!). The prescient piano melody from "Setting 1" warms up their dialog. Excellent - it works! (...)"
  Audiofile 50 - Harald Blüchel: Picture 3 / The face of the teacher ("Andorra", 2006) [MP3] [RA]
Entrance of the Teacher.
Excerpt from the journal, Andorra, Tuesday and Wednesday, Feburary 14/15: "The settings I created on Monday provide the background atmosphere. This is then the foundation for the short piano pieces I compose on the piano and then feed into the track. I want these to be the sensual pendants to the more abstract - cerebral soundscapes.".
Where one of these piano fragments is packed in the "Andri-Barblin setting" in audiofile 49, here the reverse holds true: it is a solo piano piece accompanied by a "setting".
  Audiofile 51 - Harald Blüchel: extract from 1st Movement / „Gegenwart“ („Die Toteninsel“, 2006) [MP3] [RA]
Audiofile 52 - Harald Blüchel: extract from 2nd Movement / „Ultrachronos“ („Die Toteninsel“, 2006) [MP3] [RA]
Audiofile 53 - Harald Blüchel: extract from 3rd Movement / „Entropie“ („Die Toteninsel“, 2006) [MP3] [RA]
Extracts from the first solo release since 1999. Detailed background-infos available here...
  Audiofile 54 - Cosmic Baby: experienced coincidences („Industrie & Melodie“, 2006) [MP3] [RA]
Audiofile 55 - Cosmic Baby: industrie & melodie („Industrie & Melodie“, 2006) [MP3] [RA]
Audiofile 56 - Cosmic Baby: sowjetunion („Industrie & Melodie“, 2006) [MP3] [RA]
More about this topic here.
  Audiofile 57 - Harald Blüchel: Scene 0, Theme With Variations („The House of Bernarda Alba“,2007) [MP3] [RA]
Bernarda Alba Flyer
Composing the music for „The House of Bernarda Alba“, a play by Federico Garcia Lorca, is easily one of the greatest musical challenges I have had as a composer to date. There are two reasons for this: working with the director, Hans Neuenfels, is a challenge in its own right. Secondly, I only had one month in which to come up with the concept and composition and have it ready for performance. I will not comment on the piece in depth because I have decided to use the material I have composed to create a separate „Bernarda radio play“, so what follows is merely some background:

BERNARDA ALBAS HAUS − Working paper and thesis presented to the sound engineers by H.B., Cologne January 2007.

BASIC IDEA:
HB: „I see Bernardas Haus as just one single music box, a carousel in which the characters are constantly moving in circles. All the fantasies of freedom and breaking out are only in the heads of the characters. They are never realized.“

BASIC CONCEPT:
Two main themes with variations run through the composition, reflecting the dramaturgical development. „Spanish sensuality“ for the five daughters „religious transcendence“ for Bernarda, with the theme not being either clichéd Flamenco or heavy organ music.

SOUND SHAPES AND THEIR LEVELS:
Music pieces in stereo/ main parts
Music pieces in stereo plus ambience
Music pieces in stereo plus supporting parts spread over different levels.
Sounds of nature, unadulterated
Sounds of nature, manipulated or played at various levels
„Sound installations“: reflecting the turning music-box characters.

PROBLEMS TO BE SOLVED:
Finding clear structures at the sound level and their technical feasibility, checking their effect at certain moments in the play, the stereo effects should be used in sync with the turning movement on stage (i.e. from left to right, being loudest in the middle) Supporting parts should a) circle above their heads b) move upwards (to heaven) or fall from above. Some pieces should be timed to finish at a defined point but nevertheless be relatively variable in the middle. Time: like every theater production I fear we are not going to have enough time for rehearsals to get the timing right between the play and the music or to optimize the sound effects in the auditorium.

 

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