directed by Andrea Huyoff
full-length album on VINYL/ CD / DL : Alex Stolze – Outermost Edge
our third album is released on Denovali Records
24.02.2018 UK – London, Union Chapel
21.11.2017 UK – Liverpool, Capstone Theatre
19.11.2017 UK – London, Old church Stoke-Newington
18.11.2017 UK – Oxford, The Jericho Tavern
i am very happy to announce my first UK tour in advance of the release „SOLO COLLECTIVE Part One “ via nonostar records in fall 2017:
17.SEP UK – Oxford, Jaqueline de Pres w Anne Müller, Sebastian Reynolds
19.SEP UK – London, SJQ w Anne Müller, Sebastian Reynolds
20.SEP UK – Manchester, Anthony Burgess Foundation w Anne Müller, Sebastian Reynolds
21.SEP UK – Birmingham, Glee Club w Anne Müller, Sebastian Reynolds
Alex Stolze ‘Mankind Animal’
Nonostar Records, 31st March 2017
Transforming the traditionally entrenched sound and indeed reputation of the violin, German composer/producer Alex Stolze attempts to reanimate the instrument, “preserving” it, as he states, “for future generations, without being a conservative classicist.”
Concentrating the mind, finding a certain solace, the Berlin urbane stalwart has relocated to the German/Polish borders for a more pastoral life of contemplation; spending time on rebuilding an old ruin in the countryside but focusing on the vision for his solo work. Nothing short of guiding humanity towards a less destructive, more empathetic spirituality, Stolze attempts to bridge classicism and contemporary amorphous electronic music on his debut solo record, Mankind Animal.
A chamber ensemble mix of electro-acoustics, ambient traverses and, at times, kinetic beat undulating soul, this pan-Europa soundtrack often evokes transmogrified traces of traditional scores and folkloric music from central and eastern Europe: The articulate plucks, quivers, wanes and yearnings that emanate from Stolze’s five-string custom-made violin often sounding a link back towards the past, and ghosts of an old continent. Tradition is very prominent, but an intricate bed of low synth, contained sophisticated beats and mechanics bring it into the present.
Over the top of this score, Stolze’s succinct campfire lyrics of profound prose make allusive references to the here and now though again these concerns are often age-old: from, “where to start if you want to change the system”, on the lyrical resigned meander through the universal condition The Crown, to the more personable inner sage advice of “don’t try to be someone else/otherwise who would be you”, on the opening Don’t Try To Be.
From the cinematic Eraser to the softened timpani minor-overture Stringent, Stolze and his ensemble produce a considered postmodernist suite, both experimental in merging the classical with the contemporary, and yet a pleasurable, even soulful and thoughtfully poised listening experience.