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Greg Klamt — Fluxus Quo
(Spotted Peccary SPM-D0302, 1997, CD)

Fluxus Quo Cover art

The only constant is change itself. Such it is with Klamt's second outing, and follow-up to his 1993 debut, Fulcrum. While the earlier could have easily been described as "Berlin School" influenced electronic music (an excellent disc, mind you), with Fluxus Quo he has taken several steps beyond that into a more fully developed and composed 'cinematic' realms with grand themes and symphonic overtones. Yes, it's still very electronic and synth based, but not as lean and sequenced as his earlier effort. Dense layers of synth work provide a strong melodic framework, while soaring atmospherics and a broad and colorful palette of sounds and textures give every tune a life of its own. Klamt probably shares more in common with his Spotted Peccary labelmates J. Arif Verner and Jon Jenkins (due to technological aspects of how the music is created) than he does with his likely influences Tangerine Dream, Klaus Schulze, Jarre, Vangelis, and even Audion era Synergy. Yet Klamt's work is definitely more of a refinement of their 70s ideals as opposed to a reflection of where those old masters are today. An excellent disc that should provide plenty of mileage for the seasoned electronic music fan.

by Peter Thelen, Published 1998-02-01

I wasn't sure if I liked this one at first — my electronic tastes run more into the spacier/ambient fields — yet Spotted Peccary have a way of portraying artists whose more symphonic tendencies are actually melded with a great deal of taste and forethought. This is Klamt's second album and is truly a beautiful work, featuring music that is written as if for a rock band, yet there are few blatant sequencers that would tend to mar a work like this. In fact, the whole thing is relatively low key which is precisely why I like it. The music is, however, very melodic, with tons of lush string synth patches, reminding me of the less sequenced parts of Tangerine Dream's Underwater Sunlight which this album partially resembles. The darker parts of the album are very rich and full of warmth. The sonic palette reminds one of a beautiful tapestry, the wedges and waves of sound lazily filling in. A very beautiful album, rather unique in its scope.

by Mike McLatchey, Published 1998-02-01

Latest entry in the Spotted Peccary lineup is this majestic disc by Greg Klamt, his second. A digital keyboard-dominated affair, it also features percussion, flute, and other instruments blended into a harmonious whole. Klamt's work reflects a modern approach to synthesizer music, its focus being strongly on short sketches that cover a host of different texturally enhanced moods, and the simple melodic flow of each piece. But his finesse in embellishing the music with a plethora of sound colors is probably what brings out the appeal for the listener, as well as its emphasis on strong dynamic and mood changes. In fact this is really not electronic music in the orthodox scheme of things, but band music, with bass lines and almost song structures and formats; the kind of electronic music that is very popular in Europe, where Vangelis is more famous than Van Halen! Though perhaps effective for cinematic exploration, this style usually only appeals to me when in the hands of an old master. Otherwise you would have to be a real fan of the genre to appreciate what Klamt is doing here. Readers of the Dutch magazine KLEM would go nuts over this CD.

by Mike Ezzo, Published 1998-02-01

Just how many synthesizer-based recordings are there exactly in the world, thousands? Is there another need for a soothing, symphonic keyboard-layered, crystalline, spacey disc which seems to wander the cosmos on some astral journey into the mind? A zillion similar adjectives can describe the same thing done by an unknown wizard of the ivories, but yes, in fact I do think there is a good and proper place for these types of recordings. But you do have to position yourself in a contemplate mood first to be able to appreciate the subtle nuances of a musical style some museums use as wallpaper. Then also you don't necessarily want to be reviled as a "feel good" composer or prima donna progenitor such as Yanni or Tesh. Greg Klamt has taken a quiet risk by cruising the well-traveled stellar path on ten tracks on his Fluxus Quo disc but not into oblivion so to speak. The songs mix elements of the Kit Watkins' textural compositions, along with orchestral aspects of older Vangelis. I don't have as many gripes listening to Klamt's oboe-ish settings as with similar artists who put me straight to sleep. The disc as a whole meshes with the spirited contemplative work evidenced on the outstanding Erdenklang label.

by Jeff Melton, Published 1998-02-01

Filed under: New releases, Issue 14, 1997 releases

Related artist(s): Greg Klamt

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