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act 27 á synapscape á synapscape á cd

synapscape varies from ambient soundscapes up to powerful electronic rhythms that show you the structures of your inner mind. voices, which seems to come from outer space. deleted

dream (subliminal), media minded, fiendish, my race, get smiled, no fright, inner strategy, schutz, my turn, situation two, drastic significance, oblivion

synapscape webpage


harmonie, 1996,
la musique de synapscape est un bon reflet de l'esprit de son label ant-zen, entre indus linŽaire, bruyante, et Žlectro saturŽe et minimaliste faon dive. le rŽsultat est tout ˆ fait honnte et plaisant. le c™tŽ cheap de certains sons bruts n'est pas du tout dŽrangeant, ces derniers s'harmonisant sans efforts avec d'autres plus actuels. un album original, servi par un design rŽussi, ˆ dŽcouvrir. [hv]

culture shock [03] á magazine + cd á 1996 á genocide project
"your illusion is a possible kind of reality." so states the sleeve of this varied and intelligent work. throughout it's twelve tracks, it creates both illusion and reality. from obscure and brooding electronic soundscapes to throbbing distortions, this disc will hypnotize and move you. violent vocal rantings echo amidst strange technoid effects and heedless rhythms. many of the tracks are aimed at the dancefloor, with very moving percussive assaults and ambient techno grooves. others have nothing but harsh, distorted industrial experimentation in mind. they have a unique ability to use high end chirps in a bizarre and infectious manner. while this is certainly a disturbing work, it has the potential to attract more commercial listeners to it's sublime industrial madness. "reality is an illusion."

[eb musikmagazin dez.95/jn.96 nr. 57]
als der tod ein kind zur welt brachte, da verdunkelten sich die horizonte und himmel. dunkle gestalten versammelten sich um den jungen prinzen, der bereits zu diesem zeitpunkt den teufel in den augen hatte. hypnotisch nŠherten sich viele, boten ihr blut und lie§en trinken den neuen herrn der zeit. leerer und leerer wurden die gesichter, erfŸllter und voller der kšrper der kleinen gestalt, die mit jedem schluck wuchs und wuchs. "genug" sprach gevatter hein. da fiel der heranreifende teenie-tod dem vater um den hals und bi§ selbigen ab. "ich," schrie er mit blutverschmierten mund, "ich bin der neue meister." da sanken die vasallen auf die knie und zelebrierten den meucheltanz. ekstase aber trat erst ein, als der hofnarr des todes die neue cd von synapscape auflegte. stŠhlerne klŠnge berauschten die ohren der todgeweihten, die wie im orgasmus auf den hšhepunkt ihres kargen daseins sich freuten. ich stand daneben und betrachtete die szenerie mit dem wissen, da§ hofnarr zu sein nicht immer die aufgabe von narren ist.

die pest nr. 1, 20.10.95
nach meinem wissen ist dies die erste cd-produktion, die das regensburger kultlabel ant-zen herausgibt. bisher hat man sich ja auf kleine und gro§e vinylscheiben und deren wundervoll-aufwendige verpackung spezialisiert. synapscape - eine wortschšpfung aus synapse & landscape soll wohl einer erkundung durch die wunder des menschlichen gehirns gleichen. heraus kommt dabei industrial der feineren sorte. teilweise ohne erkennbare strukturen wird einem eine mischung aus bassigen drums & samples prŠsentiert. highlights sind zweifellos die stŸcke, die mit genialen rhythmen unterlegt sind, so da§ der tanzboden davon nicht verschont bleiben wird (tip: "no fright"). endlich mal wieder eine band, die es versteht, mitrei§enden und puren industrial zu machen. herrlich!

diabolus cantus 11/95
philipp mŸnch (moata-omen, ars moriendi) und tim kniep (blendwerk) haben sich mit dieser debuet-cd selbst Ÿbertroffen und in meinen augen einen meilenstein in der geschichte des deutschen industrial geschriebe. ein derart faszinierendes und bedrŸckendes werk, das nicht einmal andere gro§e bands kopiert, sondern wirklich eigenstŠndig daherkommt, ist mir schon lange nicht mehr untergekommen. zwischen electro-industrial, rhythmischen industrial (incl. "no fright"), hšllisch faszinierenden industrial ("inner strategy") und ambient-industrial wird hier alles geboten, was das herz begehrt. synapscape haben das geschaffen, was frŸhere bands wie z. b. spk zu gladiatoren des industrial gemacht hat!

black book, oktober 1995
synapscape - das klingt nach landschaften von nervenzellen, neuronen, synapsen... was wollen die mŠnnen unserem hirn antun? zunŠchst handelt es sich bei der band um eine zusammenarbeit des ars moriendi-keyboarders philipp mŸnch und dem blendwerk-mitglied tim kniep. wem diese bands etwas sagen, der kann sich schon vorstellen, in welche richtung die musik geht: krasser industrial irgendwo zwischen den fabriek und ruhigeren ritualbands. in bezug auf den bandnamen wŸrde ich vielleicht an eine vertonung der vorgŠnge zwischen unseren grauen zellen denken. synapscape arbeiten oft mit sehr bizarren sounds, was ihren songs - ja es wird auf mehreren tracks gesungen - ein besonderes, extrem synthetisches flair gibt. ein beispiel fŸr solch ein bizarrjuwel ist "media minded", eines meiner lieblingsstŸcke, das neben dem schlagwerk von einem spieluhrensound, einem in der tonhšhe schlingernden "singende sŠge"-sound und verzerrtem gesang, der mich sehr an frŸhe skinny puppy erinnert, geprŠgt wird. gleich im nŠchsten rhythmus-industrialtrack "fiendish" bewegt man sich in typisch industriellen, rauhen gefielden, die sich vor allem durch monotonie und loops auszeichnen. es beginnt ganz winzig, und wie beim "bolero" gesellt sich zug um zug ein sound nach dem anderen zu stŠhlernen orchester. die cd fŠhrt noch einen haufen weiterer schwerer rhythmischer geschŸtze auf und man freut sich immer wieder, welch krasse und abstruse sounds aus den kranken gehirnen der beiden schšpfer entspringen. daran sollten sich die dumpfindustrialbands, die immer blo§ werksounds einsetzen,einmal eine dicke scheibe abschneiden! ein weiteres meisterwerk ist "schutz", das mich eher in science fiction welten entfŸhrt, als eine schŸtzende hand Ÿber mir ausbreitet. ich sehe schon neuronale netze sich Ÿber den fu§boden ausbreiten und - oh gott - jetzt ranken sie schon an meinen beinen empor. schlu§ jetzt! nein, also diese scheibe ist wirklich nix fŸr jedermann. aber wer will schon zur masse gehšren? industrie-hšrer wŸrden beim genu§ dieses werkes vor freude um den kreis grinsen, hŠtten sie keine ohren!

Electronic Diseases, january 97
Synapscape is een Duitse band die de kunst verstaat om zowel minimale industri‘le soundscapes te cre‘ren alsmede harde geluidscollages. Dansbaar zijn nummers als Fiendish en No Fright, terwijl Dream, Schutz en Oblivion heerlijke luisternummers zijn, tenminste als je van industrial houdt want verwacht hier geen gepolijste songs. Synapscape is ŽŽn van de betere bands in zijn genre (co2) 7.9

Phosphor, february 96
The co-operation between Tim Kniep and Philipp MŸnch is called Synapscape. This duo creates very obscure electronic vibrations, transmitting shivers across your spine. Insane screams have been added to this. One of the songs 'No Fright' reminds me of early Dive, some of the other pieces are even darker and more frightning. Unusual rhythm patterns and strange samples have been incorporated in dark Haujobb-like soundscapes. Synapscape's approach is refreshing and original. The music can't be described as electro nor as industrial. It falls somewhere in between. That makes this another excellent Ant-Zen release.

Re:Mote Induction
A couple of years ago i started to hear about a German label called Ant-Zen2. This was before i was on-line, so finding information about them was difficult. But occasionaly odd things filter through to Glasgow, and on one of my searches for oddities i came across two copies of an album by a band called Synapscape1. It caught my eye and seemed to be interesting but i knew nothing about them. Then i found the Ant-Zen logo on the back and remembered those rumblings and decided it was an acceptable risk.
Synapscape are Philip Munch and Tim Kneip, both of whom have a history in the experimental noise fields - which has led the two of them to be working together under this guise. This is the first of the two CDs they have recorded to date and it has been available until recently - it has now been deleted and is no longer available from Ant-Zen. So while there maybe some few remaining copies of this album around here is a documentation of the passing of the album which marked my first contact with Ant-Zen.
The CD has 12 tracks and comes packaged in art that is shades of brown. The inlay card is textured brown card with a strong "industrial" image. Opening the booklet we are faced with a plain brown page with the words "reality is an illusion" in white and "synapscape" in brown. Spread open we are faced with an enlargement of the cover image spread over three pages, and across the bottom the declaration that "your illusion is a possible kind of reality". On the back of the box is an image of a turbulent river seen through the hanging branches of a weeping willow.
Synapscape's sound is an eclectic collage and not neccesarily what would be considered accessable to all. Merging ambient and noise, several of this album's tracks enter serious experimental territory resulting in some highlights in the form of unpredictable instrumentals. There are also a number of "song" type tracks with warped, disturbing vocals - which on at least one occasion provide a perfect dance floor track. The following is a track by track break down of this album:
Dream (Subliminal) starts with a growing bubbling sound - silence to audible. The footsteps of that track dogged by a mid-pitched drone. As the drone gains prominence the bubbling becomes like the sound of rain heard through a closed window. While the drone feels like the suggestion of night - huddled against the outside, fading in and out of snatches of dreams...
Media Minded Crackling rumble replaces the ubbling and is joined by jangles. The pacing and feel of this is totally different - buried and disembodied voices providing more of a "song" structure. The whole congeals into discordant layers - elements of noise muddying the straight forward core elements. Despite any discordance this retains a fairly relaxed pace.
Fiendish Featuring the first solid percussion - an electro boom over floating electronics. Expanding we have elements of thumping and grinding factory sounds playing off the electronic equivalents. Marking this track by its elements one would describe it as noise. Taking it for how it sounds though reveals something else - it is instead safer to call this experimental - rough plays off smooth, the pairing running rings round the continuity of the core "tune".
My Race High pitched squeal delivers pulses and solid thumps. This track seems to layer a number of voices and accompanying percussion to claustraphobic effect. It almost sounds as if all the layers are teh same track, with time delays and variations in speeds. Desperate for focus there is a chugging/beating path through - though it comes with no gaurantee.
Get Smiled An enigma of layering - two types of sound follow the same pattern - chug, chug, pause, chug chug - but being different sounds cause different effects. Across this there are a variety of other sounds. The whole forms an interesting instrumental, which while I enjoy I find difficult to pin down.
No Fright The album's most upbeat track and most obvious club track, which I have used it for on a couple of occasions. Regular percussion, solid and rhythmic - a clear example of the power noise movement. With plenty of Synapscape's trademark loops and feedback running through it with Tim's distinctive vocals.
Inner Strategy This is an apocalyptic track - layering sirens and wails to create a mood of terror. Thudding destructive percussion crushes weaker sounds in its path and we have a feeling of mass destruction. Very strong and would possibly go down well in riskier clubs.
Schutz Again starting with a siren sound - but singular wee-wo. Slower and more stripped down than Inner Strategy but no less apocalyptic. Creates a feeling of drowning, sucked into some viscous fluid.
My Turn A strange piece revolving around the repeated and manipulated dialogue between a couple of children. The music forms a drifting soundscape, bubbling beats, and random sounds. But the main focus remains the voices - layering to infinity, speeding up to rushed squeeks, and slowing down to deep bassy increments.
Situation Two Another intersting title for this beat collage. Subtle plunking taps. A stick dragged along metal railings. Between beats are a couple of melodic lines - one emerging in a two tone, simple but engaging. An accessable and enjoyable instrumental.
Drastic Significance Sounding like a continuation of Situation Two the two tone electro pulse carries the percussion. Here there is a lot more of the percussion, sounding as though a substantial proprotion is electonically derived. Works well with Situation Two giving a good feeling of continuity and two of the albums best tracks.
Oblivion Deep bass pulses edge in on the peripheral of hearing beneath the bubble of collision. Almost forming a tribalistic imagery, fading in and out of the expanding bass pulse and oscillations. Another gentler ambient piece a fading counter to the Dream that started this trip.
RVWR: PTR, March 1999

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