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Production Period: Jun.-Aug. 1992
Release: Nov. 1992
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 / T.O.O.M.
Tracklisting The Space Track
Stimme der Energie
Stellar Supreme
Heaven's Tears
Planet Earth 1993 (Blue)
The Pianotrack (Yellow)
Sea Of Tranquility
Cosmikk Trigger 5.1.
Sweet Dreams For Kaa - My Love
Studio Or Spaceship
Cosmic Force
Liebe (Red)
The Universal Mind
The Space Track (Ambient Version) [* Previously Unreleased]
Heaven's Tears (Original Layout - Homestudio May'92) [* Previously Unreleased]
The Space Track (Vinyl Version) [*]
[* = Download-Bonus, not on CD]

Vinyl The Vinyl-LP contains some special clubmixes:
Cosmic Force
The Space Track [Clubmix]
Liebe (Red)
Stellar Supreme
Eurovoodoo [Clubmix]
Heaven's Tears [Clubmix]
Sea Of Tranquility
Audiofile 1: Sweet Dreams for Kaa [MP3] [RA]

Audiofile 2: The Spacetrack [MP3] [RA]

Audiofile 3: Planet Earth 1993 [MP3] [RA]

Audiofile 4: Liebe [MP3] [RA]

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).



No artist, no work is created out of nothing. No matter how new and original a work appears to the public or however fast the media find buzzwords to describe it like “shooting star“ or “brilliant first album“ there is always a long history behind it. In my case it was 29 years of which 25 were heavily involved with making music. What is called a “great piece“ is composed of a number of separate elements which interact in an ideal constellation and set off a complex chain reaction. Suddenly everything comes together in a happy mix: personal mindspace, skills, conceptions, marketing, technical opportunities, emotional situation and social circumstances. In summer 1992 everything that I needed came together.

I moved into Jen's Wojnar's studio in Berlin Tempelhof 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“, “Liebe“ and “Planet Earth 1993“.

The Spacetrack“ brings together the clearly defined futuristic music of Kraftwerk, the grooving elegance of disco music and the romantic melancholy of Chopin.

The melodic use of the simplest of all electronic sounds, the sinus curve, became a Cosmic Baby classic.

Heaven's Tears“ documents two archetypical Cosmic Baby styles. Strong piano motives in combination with sequencer arpeggios à la Tangerine Dream or Fiorgio Moroder, with techno beats added, make for emotionally laden, directly accessible music, both in the club or at home.

As an interesting rarity I have released the original version of “Heaven's Tears“ as one of the bonus tracks on the download release. I composed it one early evening when I had the windows open in my one-room apartment in Wiener Strasse, Berlin Kreuzberg, and was trying to accompany a fantastic rain shower with my instruments.

An example of “Archetype III“ is “Liebe“ the lyrical hit from “Stellar Supreme“. The motif:
“To find melodies that bring you to tears but make you beam with joy at the same time. In other words, “dialectic composing“. 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 “cling clang bell“ meets its antithesis “Acid-303“...

What techno purists, second rate heroes in the scene and other dedicated followers of fashion always criticized about me (and still do) but what gave others access to techno music, were the compositions that simply wanted to be “music“ and didn't give a damn about what was “allowed“ or “not allowed“. Pieces like “Planet Earth 1993“ and “The Universal Mind“ are the first examples of pieces that could be described as electronic instrumental pieces; either minimalist and abstract, like this one, or heavy on the atmosphere.



If ever there was a soundtrack for driving across the sand dunes of Mars, this is it!

Robert Shea in : Import Index 2/3, 1993

Anonymous diamonds like Cosmic are furnishing the space disco for what is already shaping up to be a milestone year for music of the future. The real progressive house.

Kris Needs in: New Musical Express, 9 January 1993

Anything which wants to go by the name of 'Trance', must from now on measure itself up against 'Stellar Supreme'

Claus Bachor in: CUT, December 1992

A new kind of World-Music with the most modern of High-Tech seems to have been found here.

Stefan Meyer in: zitty 25/1992

Cosmic Baby takes up where electro-Pioneers such as Brian Eno or Kraftwerk left off. He links up soundtracks for the inner- eye with hypnotic rhythm-loops ... a bewitching genius!

Claudia Wiegand in: Prinz, November 1992

Even for those who are only marginally interested in electronic (dance) music, 'Stellar Supreme' is a record you've just got to have.

Jochen Ditschler, in: Groove 20/1993



For more details take a look at the
Unofficial Cosmic Baby / Harald Blüchel Discography / Fanpage