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jeffrey koepper: Press

Jeffrey Koepper
Do machines have a soul? Synthesizers do, as our beloved Robert Moog tried to explain in his 2004 documentary. The circuit boards and overall design of the devices he conceived are infused with just as much of his spirit as is imagined a violin crafted by Stradivarius. Another commonality between these two kinds of instruments is that they both need a human being to animate them - a process that usually reveals more about the player than the builder. Music realized by the Electronic Musician Jeffrey Koepper always carries a unique psychological charge, along with a distinctive personal truth. Few among his ranks possess his technical acumen, which certainly stimulates and informs Koepper's many substantial releases. On MantraSequent (67'18") sound is handled like an object. Shaving off frequencies, joining tones, sculpting textures, compressing atmospheres, and ordering notes into repeating trails of echoes this album is the result of a set of choices made by Koepper - which he hopes will turn abstractions into sonic moods and feelings. Once we fall under the spell of MantraSequent, it becomes easy to forget the impressive list of vintage gear which was used to make it. Capturing the cosmic mystery associated with this genre, Koepper deploys pulsing sequencers, sustaining synth-string chords and spiraling spacey effects in an expressive soundtrack for interplanetary leaps. In a swirl of held harmonies the listener is pulled toward a hard chill, and offered an absorbing space of repose - while further along, deeper pieces generate the mystery-machine character of the Berlin-School. Others may struggle to understand what it was like back then (the 1970s), but the powerful grip of the past has always aided Koepper well in the present. The Now, which is always racing ahead of us, through this music, can be caught. In silence we may feel the tick of the clock, but the moments found within each of the nine tracks on MantraSequent carry an opportunity to honor the maelstrom of the mind - and all its dimensional potential.
American composer and synthesist Koepper has been honing his craft over a period of about 15 years and nine previous releases, strongly influenced by the Berlin School sequenced electronics of pioneers like Klaus Schulze, Jean Michel Jarre, Tangerine Dream, Steve Roach, Neuronium, Vangelis, Michael Garrison, and others. Like many of those earlier explorers of this style, his technological preferences lie in the early analog boards that produce a warmer tone and powerful purity when compared with their more modern digital antecedents. The sequenced interlocking tones and rhythms work within pulsating circuits, rich textural flows and lush meditative soundscapes, where slow evolving changes are the order of the day. The album consists of none tracks, but they are all carefully crossfaded and for the program’s 67 minute duration, the sound never really goes away for even an instant – these are nine movements of slowly unfolding changes over the entirety of the cycle, that change direction when one ends and another begins. In the liner notes, Koepper has meticulously documented the synths, sequences and other equipment used to create the particular section, though he’s not giving away any secrets for listeners who can instantly recognize the sound of the real deal. While the music presented here operates in the shadows of those who have gone before him, meaning that this stle isn’t really as groundbreaking as it was in 1973, there is still plenty of territory within it remaining to be explored, and Koepper is carrying that torch forward with vigilance. MantraSequent is yet another magnificent listening experience.
As the title already suggest, "MantraSequent" is a series of Mantra-like meditative compositions that flow into each other creating a long sonic sculpture that lives and breathes.

This time around, AnalogueJeff found core inspiration in rhythmic chants and analog sequences as well as spiritual places and their special atmospheres. The clockwork of the revolving earth creates many rhythms that we humans are either aware or unaware of in our daily existence. It’s these poly-rhythmic sequential melodies that always kept inspiring during the creative process of shaping and optimizing the final outcome.

Well, the music features a continuous, lovely pulsating, minimal-flavored and shapeshifting flow of sounds with various hypnotizing hooks and dynamic levels to keep the listeners interest along an always present emotive current. Simply check out "Mandala" or the ethereal swirls of "Aurora" and "Spectre" to get a proper feel of the album’s impact and intrinsic magical vibes. Rest me to say I concur fully on the label’s line "MantraSequent" keeps analog music alive in the 21st century.

Accomplished US-synthesist Jeffrey Koepper, also known as Analogue Jeff, recalls "Terrelektra" was conceived as a far away planet of sound where the tracks all merge together like an electronic atmospheric journey through this world.

In the process of creating the music for the 70-minute recording with analogue gear only and being invited to play at the Dutch E-Day 2016 festival, the thought of Europe was a constant presence and an influence. It led eventually to an inspired and rich sounding aural canvas where atmospheres swell up like the tides and reveal rhythmic sequencer pieces with interlocking patterns that constantly evolve and ebb and flow with the tides of this world.
Once again, Mr Koepper’s layering of vintage textures is exquisite and expert all through the album, with this mesmerizing Berlin School vibe shining through deep atmospherics. On the other hand, a tantalizing and lively sequencer feast presents itself on "Interlogic", the most dynamic piece on "Terrelektra". Aficionados of Jeffrey’s music shouldn’t hesitate any longer and get it right away. Well done, Jeffrey.

While mainstream musicians spend all their time readying their image, waiting for someone to notice them, synthesist Jeffrey Koepper has been spending his most productive years working on becoming himself. With mind and instruments working at cross-purposes, the primary function of his album Terrelektra (71"35") seems to be to fascinate the listener. Teeming with vintage gear this album is dense and energetic and in love with the sonics of electronics. With precision, verve and color Koepper realizes nine tracks of sequencer expressions meant for forward thinking and serene contemplation. Pleasurable to consume, Terrelektra wraps the listener in a private cloud of sound. Being meditative does not mean being vague - as layers of synths collude, and patterns of echoing notes energetically spin away in steady mechanized accuracy. Koepper's motoring rhythms cycle, move and add rows - heard individually as a basic pulse, when listened to collectively these notes congeal into an epic kinetic mode of cerebral transport. Also present on Terrelektra are regions full of slow motion synthetic chords. Gently breathing through filtering and processing, these zones offer a welcome dreamy stillness between Koepper's more rhythmic adventures. One of the great things about Electronic Music is that it sometimes produces sparks. Throughout Terrelektra, Koepper effectively acts as both technician and musician - as he harnesses electricity, to produce colors which we cannot see.

- Chuck van Zyl/STAR'S END   16 June 2016

Chuck Van Zyl - Stars End (Jun 18, 2016)

After a hiatus of a couple of years, accomplished synthesist Jeffery Koepper returns with "Konnektions". It’s an inspired release maintaining his connection to the pure emotional impact of pure analog sound firmly while putting Steve Roach at the helm regarding final assembly, enhancements and mastering to meet ends there as well properly.

Mr Koepper recalls he really "konnekted" with the spirit of emotion and music (hence the title) during the creative process. Still only applying his beloved collection of vintage analog synths, drum machines and analog sequencers the album’s music is fine example of true musicianship while pulling the very heart and soul out of the vintage gear.

It resulted in eight warm, emotive and captivating textural landscapes alongside sequencer-based sections evolving naturally and what the artist refers to as an organic flowing feel, blooming into moods that reveal somber peacefulness as well as epic hopefulness. An atmospheric, harmonic and spacious perfume is spread by each composition, sometimes leaning to the pleasant minimalist/hypnotic. The combo "Oracle", "Pantheon" is a proper example of the latter. Sequencer aficionados though get their full treat on the exciting, more dynamic-spiced "Astral Mechanika", "Mercury Circuit" and album closer "Belief", all fascinating cosmic journeys where a lot of mesmerizing things are happening.
Vintage electronic music without solos always has had a special charm for me, delivering a different but still most pleasing sense of fulfillment. The expertly composed and profoundly interconnected music making up the 71-minute "Konnektions" proves that for 100%. This cracking recording simply deserves both thumbs up!

It is so odd to hear its seasoned veterans tell us that, "There is no future in Rock n' Roll, only recycled past." Thankfully, the kind of work Jeffrey Koepper adventures in harbors not-yet-exhausted possibilities. On Konnektions (71'28") he dives in, dedicating deep energy to setting and getting his new musical mood just right. Its eight tracks, realized using slabs of old synthesizers and tone-tool modular contraptions, gradually dazzle us. As each piece opens, we become primed to expect complexity - and find every one presenting its own entrancing deployment of echoing sequencer variations. Spiraling through time the rows of motoring notes act to gradually mesmerize the listener. Patterns advance, recede, lengthen and contract through their octaves in a tripping mechanical choreography. These intriguing variations provide Konnektions with a unique feel - somewhere between the academics of Minimalism and the expansiveness of Spacemusic. Koepper's intricately pulsing ornamentation becomes somewhat softened through the addition of ethereal electronic harmonies. While dramatic chords offer a spacey coolness to the mighty pulse, this tightened structure brings our minds to the verge of revelation. Pop music works best if you do not listen too closely. Koepper's music is the opposite, asking the listener to reflect on the ways and power of sound. While our hearts alight with the longing to be swept away, our thoughts turn to the concept and the sensation of sound. Some are out there just hoping to be discovered, while others seem like strange new things waiting to be invented. With every new album release Koepper, and his cult of sonics, venture into the challenging realm of technology and creative impulse - in a questing, ever-roving engagement with Electronic Music.

Listening to this Jeffrey Koepper's new opus is a little like making a long upward pilgrimage towards heavens! Connecting the human emotions, the spiritual feelings with the analog machines. That's the main spirit behind this mosaic of sounds which starts to unfold with the warm rays of "After Glow" which irradiate of its floating arcs filled of cracklings. Larvas of synth untie their sonic ink, establishing a parameter of lyricism which infiltrate our ears with such a sweetness. Oh...that it feels good to take up with the music of Jeffrey Koepper! Because everything coming from this American musician/synthesist is weaved in a kind of sonic poetry. A fine movement of sequences shapes a structure of ambient rhythm. One would say a group of turbulent keys which make shine their crystalline tones by cavorting, by skipping, by getting entangled and by spinning with synchronized capers, and others more random, in a tight weaved schema where every forgery-step is fast returned in the magnetism of the movement. This is a sonic universe, a sonic poetry of a rare delicacy that a discreet bass line propels for the beginning of an astral procession. Quietly, "After Glow" establishes the parameters of “Konnektions”.
It's been a while since Jeffrey Koepper has gave us some new music to throw between our ears. Since Arctisonia in fact, which dates in 2011. The man played around and did other things among which having some jam-sessions with friends. And this long wait will result in a wonderful album where each track follows a processional tangent filled with ambient electronic rhythms which are weaved in the subtleties of the analog equipments. Our buddy Jeffrey uses here the Modular, that 
Steve Roach had so silky toyed with in his masterpiece Skeleton Keys. And that's the reference point of “Konnektions”. Everything is built, blown and rendered in analog tones. The result is an album where the sound background is incredibly rich and warm. The minimalist structures are constantly nuanced by a depth in the ambient textures where the allegorical singings of the synths are used as springboard to rhythms which undo the strands of their sequence patterns with effects of echo which are transformed at times into real vertiginous spirals. Assembled and mixed by Steve Roach (his imprints are everywhere) in the Timehouse studios, “Konnektions” is to Jeffrey Koepper what Skeleton Keys is to his good friend Steve Roach. The rhythms, always very poetized, are wrapped up in rich electronic textures with a lot of soundscapes to the opposite contrasts. This connection between the souls and the machines is like a slow procession in cosmos with patterns of rhythms which are quiet and violent, passive and energetic. In fact, they adopt the visions as much of its author as the ears which absorb them with delight.
"Oracle" hangs onto the last notes of "After Glow", here the 8 tracks of this opus merge in a long mosaic of 71 minutes, with an ambient phase where are shouting these stars which shine with their thousand sound chants. Voices of astral nymphs are joining this sound choir where also flow tears of synth. The bass is shaping some kind of dramatic impetus that will feed the ambiguity of our feelings throughout this delicious processions cosmographical which is “Konnektions”. The introduction of "Pantheon" roams like a beast lying in wait. Sonic hoops pile up and the bass line snores while that, far off, a more musical synth line unwinds the carpet where will parade hopping keys and their glass reflections. The movement remains rather celestial, even if a bass line draws incomplete arcs which form a passive structure of rhythm where are dancing some keys weakened by their crystalline appearances. I hear some
Michael Stearns here. Kind of this pastoral procession in Chronos? We are approaching the jewel! After a delicious ambient introduction, where our senses float along the multiple synth layers, the gravitational rhythm of "Trance Electric", the signature of Roach here is omnipresent, makes hear bass sequences which skip in the steps of a long ascending spiral. It's the kind of rhythmic structure which makes dance our hemispheres with these nuances which degrade in the snags of the synchronicity. This is splendid and intensely exhilarating to the ears. And little by little we are heading to what we can easily compared this section of “Konnektions” to Roach's Empetus and lastly to Skeleton Keys. Behind the sonic filaments which deform, the keys make one thousand capers which split the rhythm of "Astral Mechanika" into a long stationary rhythmic skeleton which is forged by kicks, by spasms and by fitful jerks. It's the beginning of a trance monument. The head shakes softly and our fingers are on fire due to drumming of this static storm which risks to stun you. Minimalist, the structure remains not less generous with the additions of multicolored threads, striking strata and electronic chirping which push the violent and passive rhythm of "Astral Mechanika" into long caresses of sound braids and of intrusive bass waves. And trapped like a rebel which refuses the abdication, the movement escapes in order to contract its violence even more which oscillates this time with more serene synth pads. We always stay in the field of static rhythm with "Mercury Circuit" and its  multiple kicks which draw a strange cosmic rodeo. The movements, I would say rather the jolts, of the sequences leave no fraction of a second of freedom for the atmospheres which stand back, while drawing a beautiful cosmic soundscape. We are in the heart of a sequences tempest since 35 minutes and "Among Stars" moderates a little this storm of ambient rhythms which torments “Konnektions” since "Trance Electric" with a structure of rhythm as much boiling as "Mercury Circuit", except that the elements which surround it (astral pads, dark waves, slow circular larvas of synth and other effects of sound camouflage) wrap it up in a clearly more ethereal phase. While we imagine that "Belief" is going to end this last Jeffrey Koepper's album by an ambient finale, it's rather a delicate structure of rhythm which infiltrates our ears by a dance of sequences, and their shadows in tints as much fictionalized than iridescent, which skip in an effect of echo (you know these kinds of sound cannons that Roach built in Traveler and Empetus?), rooting even more this perception than we have literally here a pure jewel of analog EM between the ears. Yes sirs; “Konnektions” is to Jeffrey Koepper what Skeleton Keys is to Steve Roach; an album of a rare intensity which aims to be undoubtedly an inescapable in the chessboard of modern EM.
Sylvain Lupari (October 9th, 2015) &

Jeffrey Koepper - ARCTISONIA (CD)
This is the 7th album since 2003 that Jeffrey Koepper has produced and it encapsulates all he has done into one stunning musical package. From his earliest ETHEREA, an ambient opus of sublime majestic beauty, to SEQUENTARIA that sequential rattled the walls with its multi-timbered sequences and his Live recording RADIATE, which did just that in terms of melody and movement, Jeffrey has done it all very well. Now, ARTISONIA combines it all into one multi-sonic electronic wonderland of tracks. The opener, "Arctic Sunrise", is a shimmering hymn to the dawn of day,  "Ilulissat" and "Snow Sequence" quicken the pulse with their melody and running sequences, "Glacial" and "Greenland" are impressionist soundscapes extraordinaire, filled with their diverse yet complementary undulating layers of melody and ambient tone colors. I'll leave "Avalanche" to your imagination and let you sample the albums other track sampled here for yourself. At this stage I'd have to say Jeffrey is the best America EM artist going. He creates, produces and performs all of the music himself, and his originality clearly shows!
For More INFO:

archie patterson - eurock (2011)

JEFFREY KOEPPER: Arctisonia (CD on Air Space Records)

This release from 2011 offers 73 minutes of frigid electronic music.

Delicate auralscapes consist of a plethora of synthesizers producing electronics of a frigid nature.

The general mood is one of relaxation. The electronics are crafted to sedate as they mesmerize, with melodic structures of gentle definition tempered by gurgling enhancements. Chords are established, coaxed into infinite sustains, then tinkered with to produce fragile variations in tandem with auxiliary harmonics.

Keyboards are utilized to embellish these soundscapes with more melodic characteristics. Riffs are handled in similar fashion to the background tones: patterns are generated and allowed to gradually evolve through variations of tender definition.

One track ("Avalanche") is nearly 21 minutes long. This extended duration affords the sonic components ample opportunities to evolve and accrete into a luscious composition of rather spry keyboard riffs with an undercurrent of tenuous (almost ominous) tonalities.

Rhythms play only an incidental role in this music, and those that are present are understated and relegated to vantages deep within the sparse mix. These tunes concentrate on a flowing nature that would only be disrupted by locomotion.

While this music bears a wintry flourish, the compositions bear evidence of meticulous craftiness as the tunes unfurl, maturing from simple repetitive structures into lush specimens of interweaving cycles.

Jeffrey Koepper is a master when it comes to emotional electronic soundscapes. This is his fourth installment and so far the best, in my opinion. The equipment used is typical mid to late 70′s early 80′s analog synthesizers. It all sounds very vintage and some tunes are really aching towards the Tangerine Dream sound that many of us are so familiar with.

The opening sequence of ‘Reflection’ is a masterfully done piece of art, followed by the more soft and touching ‘Light And Truth’. This is what I call first class imaginary space music!

But the voyage doesn’t end there. Some of the more experimental tracks we find on this disc are ‘Artifacts’, ‘Life Clock’ and ‘Transmission’ which are incredibly moving aswell and takes you on a immersive voyage through space & time. Those tracks contains some very lush sequencer work and are very hypnotising and makes you drift away somewhere into another dimension.

The only track that didn’t quite grab me 100% was the last one called ‘Rising Sun’, mostly because it sounded too much like a few of Koepper’s other tracks on his previous releases, but then that might just be me. It’s not really a dull track, but perhaps not one I would return to again and again.

After a few listenings I can only say that this CD is a must have if you liked Jeffrey’s previous CD’s, especially if you liked ‘Etherea’, or if you are a big fan of early Tangerine Dream!

Highly Recommended!

kristian - tangram

Arctisonia (72'47") is the seventh album in the superb discography of Jeffrey Koepper. Based on an arctic theme, this CD offers the listener seven tracks of frozen atmospheres, cold textures and icy forms - all realized with classic analogue synth sounds. Including gear by Moog, ARP, Sequential Circuits, Oberheim, Roland, Yamaha and many others from a bygone era, the equipment list reads like a keyboard catalogue from the 1970-80s. While Jean Michel Jarre and Michael Garrison seem to hover over his music Koepper communes with his machines in a fight against the notion that this genre belongs to history rather than the present. He knows well the territory of plugs, cables and jacks and crafts a pleasing palate of unique electronic tones. Upon this foundation a great deal of sonic architecture may be constructed. At the center of this musical world are syncopated sequencer rhythms. With our focus deepening on these exquisite rippling pulsations the parallel narratives of the multi-layered patterns are discerned. Koepper's personal philosophy may be heard in the pulsing and pumping notes running in mechanical precision, which is where this music seems to "think". Attention is also paid to other aural aspects beyond that of pulse. Chirping modulations underline sustaining synth-string chords and tuneful melodies. A growling drone-bass fills the lower register as leadlines play rapidly above. Arctisonia explores many moods and colors as it re-interprets something classic. Jeffrey Koepper composes music that captures the spirit of innovation, technology and an era where the use of the imagination was paramount. His works provide more than ambiance - this music provokes thought.

- Chuck van Zyl/STAR'S END   21 April 2011

chuck van zyl - Stars end (Apr 24, 2011)

Jeffrey Koepper – Arctisonia

CD, Air Space Records, 2011

Mr Koepper describes the outcome of his sixth privately released album  “Arctisonia” as “loaded with analog synthesizer music- textural-sequencer driven-atmospheric”, which according to the album sleeve is inspired by The Arctic. The sounds on the album are diverse, warm and very rich, and the seven lengthy tracks are cinematic and well composed. There’s a nice balance between sequenced parts, atmospheric passages and melodic lines, while the layering and combination of real vintage sounds is well done. Koepper’s honest and well-crafted music is all about emotions and travelling through realms of time and space while displaying a whole range of colours and shapes. This all makes the well-produced, open and transparent sounding “Arctisonia” another fine recommendation for all die-hearts of the real analogue sound. Bert Strolenberg

NEW 2011 release of superb classic instrumental synthesizer space music. Jeffrey Koepper has created another keyboard synth masterpiece. On this album we have an amazing blend of sounds in the TANGERINE DREAM, meets, BRIAN ENO, meets KLAUS SCHULZE meets BERND KISTENMACHER school of space synth music. It's a wonderful space journey and all of this artists releases are great! Cheers to Jeffrey as he adds yet another great creation to his musical canon!!!! GRADE A+

With glittering, sun-on-ice notes, Jeffrey Koepper begins his seventh analogue-only voyage, Arctisonia. Koepper patiently sets up his mathematical sequencer rhythms, balancing them atop one another, then lets the interplay of pulse and flow take over. There’s a hypnotic quality to the way the main algorithms seem to simply repeat. (Trust me, there’s actually nothing simple to them.) The dynamics at work shift glacially, change happening over the course of mental eons. By the time you perceive the change, it feels like it’s been there all along. As always, Koepper pays attention to both sides of the scale, the Berlin-school energy of sequencers and the windblown washes of pure synth pads. In “Ilulissat,” he hits a perfect Berlin stride, his geometric baseline laid rock-solid while his high, calm melodies move cloud-like over the top. Spirals of electronic twiddle punctuate the flow. This track makes a superb transition into “Ice Flow” which has to be heard to be appreciated. As “Ilulissat” wends down to a waveform drone, Koepper hits a switch that for all the world sounds like he simply tapped the “Marimba” automatic rhythm on a cheap keyboard. While it tick-tocks away, he begins to lay in walls of oscillating sound that take over as “Ice Flow” gets underway. A twangy beat rises to modernize that marimba, and Koepper’s off. The centerpiece is the 21-minute “Avalanche,” which has a great narrative flow. It begins with sequencer arpeggios appropriately racing at breathtaking speed before Koepper flattens them out to long, layered drones. Another round of sequencers rise to work through the drones. Koepper gives himself plenty of space to make this track work very effectively. There’s a great sense of development in all the pieces here, and Koepper brings them all to a solid sense of closure.

Arctisonia  is a strong addition to the Koepper canon, well in keeping with what he’s done before. After seven discs of it, though, I’d love to hear what Jeffrey could do if he eschewed the sequencer rhythms and focused on the pure, atmospheric pads and washes he could cull from his collection of analogue synths. (Along the lines of “While We Sleep” from Etherea, or even the hushed lull of the first five minutes or so of “Greenland,” from this disc.) Until that happens, I’m content to further explore the expanses of Arctisonia.

"Quadranteon" by Jeffrey Koepper
"Quadranteon" is the latest release from Jeffrey Koepper, once again recorded using analog equipment that results in a very organic seventies feel. Divided into four long form pieces all sequenced together for continued listening, "Quadranteon" is a disc that captures the classic sound of electronic music as established by such notables as Tangerine Dream and Klaus Shulz. With a detailed gear list for each track "Quadranteon" does a wonderful job of celebrating the analog sound.

From the sweeping pads that open "Part I", fans of the space music genre will feel right at home. Thick synth sounds drift through the track, leading into a mesmerizing sequence pattern that spreads itself throughout the soundfield, making the most of the space to create a vibrant and vital sonic environment. Tones circle around, complementing and contrasting each other, constantly shifting and evolving. The sound changes with "Part II", a more understated track that's darker and more subdued, a slowly evolving piece of music where pacing is everything and the spaces between notes are just as important as the notes themselves. Repeated musical phrases create a bed over which new sounds and feelings develop. The original theme in this track is a simple repeated three note motif, but as time progresses it becomes more of a drifting sequenced piece, eventually turning into a slow and distant dream of itself.

"Part III" brings a sense of hope and optimism to the mix, a more uptempo feeling that suggests growth and rebirth. There are a series of movements at play in this long form track, with lovely flowing ambience making up the first segment of the track, through the sequenced synthwork of the second movement (a percolating synth masterpiece that captures the analog ideal brilliantly), ending with the third movement which retains the sequences of the second, taking them in a more relaxed and dreamy direction. "Part IV" closes the disc with a similar dreamy vibe, with oscillating drones paired with pads resulting in a chilled synth soundscape where wind-driven tones pass through the mix, eventually closing out the track.

Koepper's work has always impressed me, from his debut release "Etherea" through his later discs "Momentium" and "Sequentaria". With the release of "Quadranteon" he continues to display his passion for synths in an entertaining and engaging way, creating some truly awesome electronic work that both celebrates and builds on a classic style. Highly recommended!!
Jeffrey Koepper - Radiate (2009)
Electronica, Ambient | MP3 CBR 320k | 205 MB


Recorded during a live performance for the famous The Gatherings concerts held in Philadelphia, on April 14th, 2008, Radiate is no more and less a kind of Jeffrey Koepper’s greatest hits. This concert celebrated the release of magnificent Sequenteria, where we find 8 titles, the 2 other tracks are result from albums Momentium (Byzantine Machine) and an album to appear later, Luminosity (Rising Sun). Played on completely analog equipment, Radiate is also masterised by a long time friend of Koepper, Steve Roach.

It is alone and surrounded with his vast outfit of analog instruments that Jeffrey Koepper begins this concert with Sequenteria’s opener Blue Sector, Astral Projection and Timeline. The music pours such a sweet analog poetry with an atmosphere which depicts aptly the depth of Sequenteria.
Byzantine Machine, (track which opens Momentium) replaces the dark and boiling Near Machinery with a magnificent cohesion between nervous rhythm and reverberating pulsation. A title which incorporates well in this analog universe where the crossed rhythms couple marvelously over more ethereal and atmospheric moments which Koepper manipulates with boss's hand.

A live album, Radiate is a magnificent interpretation of Sequenteria, and not a certified true copy. Jeffrey Koepper widens more his atmospheric field and is more caustic in his rhythmic blazes. A beautiful album which will delight those who already have Sequenteria and it’s an excellent way to discover an artist whose music is a crossing between Jean-Michel Jarre and Steve Roach. Simply delicious, I give it 41/2 stars on 5.
avax (2010)
"QUADRANTEON" is the latest Fall 2009--(5th release) from Berlin school electronic music master JEFFREY KOEPPER! This is first rate electronic music done up right...the way it was done in the 1970's using vintage analog equipment and retaining the human feel and ambiance that is lacking in so much of today's electro music. The atmosphere of all the classics can be experienced here. Klaus Schulz--Moondawn, Kraftwerk--Autobahn, Tangerine Dream--Richochet, The Nightcrawlers, Ashra--New Age of Earth! All the best stuff is inspired in the grooves of these tunes. Highly recommended-grade A Berlin school electronic excursions! Long tracks that take you to other planets and back. GRADE A....(If you have never bought any of his cds, start with this and work your way back through his entire catalog. It's all great stuff!!!
The man who goes by “Analog Jeff” has outdone himself on Quadranteon, truly going back to the classic Berlin school sound. On prior albums, Koepper has excelled at the Tangerine Dream sound from the Schmoelling era, tightly crafted tunes with lots of sequencing and vintage synth sounds. This is his first foray into lengthier compositions, and it is equally successful if not more so than its predecessors. “Part I” is classic space music, floating and swirling about, clearly on the edge of developing into something more, teasing the listener until the first sequencing appears just ahead of the 5:00 mark. A couple of minutes later another loop is layered over the top, deftly interwoven for hypnotic effect. A single wavering synth bridges over to “Part II”, followed by bubbly space transmissions. As TD did in their heyday, Koepper knowingly transitions from one theme to the next before any particular passage overstays its welcome. This 20-minute section explores the reaches of space without any rhythm or sequencing, content to float among the stars. Tangram and Pergamon are the reference points that come to mind. Sequencing finally appears again about 4 minutes in the 28-minute excursion of “Part III”. It moves briskly along for several minutes before pulling back briefly, then taking off again. “Part IV” hovers seemingly forever on a single, warm synth tone, with subtle shadings of atmospheric touches around it. It is a beautifully understated way to finish the album, with sweeping whooshes of sound that appear to be paying homage to the end of Jean Michel Jarre’s classic Oxygene album. Quadranteon may very well assume the mantle of classic status as well; only time will tell.
After four albums of tightly constructed, sequencer-based pieces crafted on restored analog synthesizers, Jeffrey Koepper has apparently decided to give himself a little more time and space to create longer tightly constructed, sequencer-based pieces crafted on restored analog synthesizers for his new release, Quadranteon. All the standard Koepper memes are here: cleanly pulsing, layered sequencer lines that weave around themselves with serpentine smoothness; spacey rushes of electro-wind bridging gaps; long, breathy spacemusic pads—all bearing that certain sonic seventies-ish something that marks the instruments at hand as coming from another time. What’s different on this outing is the length of the four tracks. Koepper has essentially written four short symphonies for an analog orchestra. Each piece here, titled only by its “Part,” glides through its own set of movements, telling its tale and expressing its fluid identities over the course of (respectively) 16, 20, 27 and 9 minutes. Koepper flows one part directly into the next for a seamless 70-minute ride. It’s a pleasure listening to him forge new directions in which to take the very distinct sound and feel of this subgenre of music and keep it fresh. At the same time, the easy familiarity that his sound evokes—perhaps particularly among (ahem) older listeners—helps to ground the experience and provide a nice point of reference. (And the references in question, which are obvious and well-noted in pretty much every Koepper review, are given their proper homage.) I particularly like the hypnotic “Part II,” which gives it first 10 minutes over to an unabashedly repetitious three-chord flow that eventually melts into a brain-massaging stretch of long-held pads that waver and warble like some nefarious alien device in an old sci-fi movie. You will lose chunks of time to this section of the CD because it’s going to lull you into a glorious nap-like stupor. Enjoy it. (Luckily, it gives way to the high-energy pulse and urgency of Part III, so you’ll wake right back up.) It goes without saying that fans of sequencer music will do better with Quadranteon than those looking for something less (apparently) clinical and programmed. But if you’re a Koepper fan and an analog appreciator, like me, those are exactly the qualities you’re looking for. In that, Quadranteon delivers nicely.

Recorded during a live performance for the famous The Gatherings concerts held in Philadelphia, on April 14th, 2008, Radiate is no more and less a kind of Jeffrey Koepper’s greatest hits. This concert celebrated the release of magnificent Sequenteria, where we find 8 titles, the 2 other tracks are result from albums Momentium (Byzantine Machine) and an album to appear later, Luminosity (Rising Sun). Played on completely analog equipment, Radiate is also masterised by a long time friend of Koepper, Steve Roach.

It is alone and surrounded with his vast outfit of analog instruments that Jeffrey Koepper begins this concert with Sequenteria’s opener Blue Sector, Astral Projection and Timeline. The music pours such a sweet analog poetry with an atmosphere which depicts aptly the depth of Sequenteria.
Byzantine Machine, (track which opens Momentium) replaces the dark and boiling Near Machinery with a magnificent cohesion between nervous rhythm and reverberating pulsation. A title which incorporates well in this analog universe where the crossed rhythms couple marvelously over more ethereal and atmospheric moments which Koepper manipulates with boss's hand.

A live album, Radiate is a magnificent interpretation of Sequenteria, and not a certified true copy. Jeffrey Koepper widens more his atmospheric field and is more caustic in his rhythmic blazes. A beautiful album which will delight those who already have Sequenteria and it’s an excellent way to discover an artist whose music is a crossing between Jean-Michel Jarre and Steve Roach. Simply delicious, I give it 41/2 stars on 5.

dexter - trancez (Sep 24, 2010)
This release from 2009 features 72 minutes of dreamy electronic music.

Koepper plays a diverse selection of synthesizers and electronic equipment.

Dreamy atmospherics unfurl with cosmic stature, while each piece comfortably evolves into lustrous passages that glitter with keyboard embellishment.

Koepper establishes pacific backdrops, then stretches things out into elegantly extended intros. New layers are gradually accrued. Cyclic keyboards emerge with subsidiary harmonics. Spacey chords breathe into action and keep on coming. These various threads intertwine, producing a panorama of pulsations designed to separate the listener from reality.

There�s a delicate density here that manages to remain ethereal despite its understated puissance. Pleasant harmonics transform into melodic currents of mesmerizing charm. A delightful level of sonic enthusiasm is achieved and maintained.

While no percussion is utilized. When a rhythmic presence is achieved, it is done so through the application of repetitive keyboard strikes. This style maintains a sneaky manner of locomotion in the otherwise flowing music.

These are long-form compositions in which things progress slowly (but diligently), building from vaporous openings to enthralling passages rich with supernal characteristics, penultimately reaching cerebrally stimulating pinnacles which then recede into gentle outros. Koepper has an excellent command of this methodology.
Jeffrey Koepper's internal wiring seems at odds with modern times. In a culture where the ringtone passes for art and music is frozen and compressed into ninety-nine cent sound files Koepper's expressive use of Electronic Music equipment boldly aligns with the mechanisms of the mind rather than mere fleeting trends. His precisely programmed swirling Spacemusic seduces listeners into a kaleidoscopic inner-sanctum where time is suspended and the outside world fades away. His CD Quadranteon (72'25") was realized using a wonderful set of musical colors made on vintage analog gear - a process of going back to go further. The rounded tones of synth lead lines hover and float above ever-changing sequencer territory. With the structural divisions less clear-cut the four interconnected pieces progress through a mindscape of phase-shifted pads, windy white noise sweeps and contrapuntal fantasies of mechanistic synchronization. Koepper's echoing tone patterns capture the kinetic energy of traveling through space - this music without sharp dramatic climaxes is all about the journey. Koepper is excited by all that is going on in his music, and its features that seem to point far into the future.
“Quandranteon”, by analogue synth-wizzard Jeffrey Koepper, contains four extended parts in which he succeeds in stretching the boundaries of his vintage gearand their lovely, warm sounds a bit further. Not only does “AnalogueJeff” create the nicest range of sounds from his instruments, he also knows how to implement each of them into evocative compositions. Slowly rising out of retro effects and synth noise, the music smoothly evolves in each of the four “Parts” with attractive sequencing, immersive synth pads and solo voices. All the way the strong organic sound spectrum remains transparent, due to Jeff’s carefully and keen layering of textures.
“Quandranteon” is some tasty vintage stuff which one shouldn’t miss out on.
Bert Strolenberg
JEFFREY KOEPPER: Radiate (CD on Ricochet Dream

This release from 2009 offers 71 minutes of dreamy electronic tuneage recorded live at the Gatherings concert series in Philadelphia on April 14, 2008.

Luxurious harmonic threads ripple in the air like expanding banners, twirling around each other to form an exquisite helix of pulsating electronic sound. Each sonic strand embodies a glistening riff, some ephemeral, others comprised of keyboard loops. As the music unfolds, the tendrils meld into wondrous interaction and merge to create complex patterns of delicate melodic beauty.

As the concert progresses, the pace increases. The notes flash faster as if engaged in a personal race with each other. More demonstrative chords surface, mirroring the escalation. Rhythmics briefly enter the mix. A dramatic tension is achieved.

This level of activity follows a syne curve through the concert, rising to briskly animated passages, then plunging into stretches of slow-burning ambience, consecutively giving birth to new melodic coils and perpetuating the continuance.

Each surging rise and ethereal interlude display fresh substance, yet evoke a common mood of effulgent dreaminess. The stamina found in the livelier pieces maintains a gentle fluidity. A relentless flow is achieved as cyclic sequences combine to form engaging electronic assemblies.

The compositions are poignantly retro in style. Vaporous moods coalesce, evolving into multilayered tunes that flaunt a crystalline demeanor. The music seduces the audience into an astral trance tastily laced with sprightly passages.

The bulk of this live performance features material from Koepper's Sequentaria album.
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