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 P'Faun "The Golden Peacock" - 4th Review

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BruecknerAmbient
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PostPosted: Wed Oct 10, 2018 7:09 pm    P'Faun "The Golden Peacock" - 4th Review Reply with quoteBack to top

I'm happy to announce that P'Faun's first full album

THE GOLDEN PEACOCK

will be available soon (most likely "in sync" with the E-Live festival in two weeks) as (real!) CD on Ron Boot's label Groove Unlimited.

The album has been in the works (off and on) for more than five years and includes studio versions of most of the songs played in two concerts in 2013 by "Betzler & Brückner" (the earlier version of the band) - plus some more...

The style is (obviously) close to P'Faun's debut EP "Sp'Roque" (and earlier Betzler & Brückner albums) - which means an electronic variety of space rock (or a rocking variety of electronic space... Wink ).

A teaser with some excerpts will be shared soon via YouTube and / or Soundcloud (we're working on that...).

Of course, You can also come and see the band at E-Live, where we're going to play quite a few tracks from the album...


P'Faun is:

Tommy Betzler: electronic & acoustic drums, percussion & gongs

Sammy David: electric and acoustic guitars, bass guitar

Michael Brückner: synthesizer, keyboards, electronics, processed voice

...together with five wonderful musical guests - mentioned in the track list below:

1. So Ham (A Suite) (14;49 min)
...featuring Cilia di Ponte (voice) and Doris Hach (cello)

2. Flying Fish (7:00 min)

3. King Gong (9:15)
...featuring Gerd Weyhing (guitar, looped guitar, bass)

4. House In The Storm - Part 2 (by P'Cock) (10:5Cool

5. Number Five (Is Still Alive) (7:18 min)
...featuring Harald Nies (guitar)

6. P'Quences (14:38 min)
...featuring Rene van der Wouden (synths, keyboards)

7. Blue Pearls - Part 1 (7:23 min)
8. Blue Pearls - Part 2 (7:04 min)


The album was mixed and produced by Michael Brückner & Sammy David and mastered by Hans-Dieter Schmidt.


I'd also like to mention that the wonderful cover painting is by the Brazilian painter and illustrator Luciana Lupe Vasconcelos, who's other (fascinating) work you can admire here:

https://www.lupevision.com/

Here's a low-res version of it (sorry, there's no better one available on the net at the moment I could link to...)

Image

Thanks for Your interest! Smile

.

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Last edited by BruecknerAmbient on Wed Dec 12, 2018 7:06 pm; edited 4 times in total

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PostPosted: Thu Oct 11, 2018 9:31 am    (No subject) Reply with quoteBack to top

Thank you Michael. Happy to be that our cooperation is on the album. A truely wonderful cover. Talk to you on E-Live somewhere during the afternoon.
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PostPosted: Sat Oct 13, 2018 8:57 pm    (No subject) Reply with quoteBack to top

« REWO Records » wrote:
Thank you Michael. Happy to be that our cooperation is on the album. A truely wonderful cover. Talk to you on E-Live somewhere during the afternoon.


Thank You very much, Rene! Smile Looking forward to see You next week there.
Hopefully, Ron will have the album at hand by then, so we can present You Your artist copy right away!

...

By the way (everybody) - here's the trailer video:

https://youtu.be/ySh-Ca1a1lo

.

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PostPosted: Mon Oct 29, 2018 10:02 pm    (No subject) Reply with quoteBack to top

THE GOLDEN PEACOCK is now also available as download from Groove Unlimited (mp3 or FLAC)

https://shop.groove.nl/gr-254-flac
https://shop.groove.nl/gr-254-mp3

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PostPosted: Mon Oct 29, 2018 11:32 pm    (No subject) Reply with quoteBack to top

Wonderful album. Highly recommended. (I got my copy)
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PostPosted: Mon Nov 19, 2018 10:04 pm    (No subject) Reply with quoteBack to top

Sylvain Lupari wrote a quite positive review of "The Golden Peacock" for his magazine "Synth&Sequences"!!! <3

"The Golden Peacock is another must-have album from (this) trio..."

(...)

"For this first album on the Groove label, the descendant of P'Cock offers a brilliant album where the colors of EM get mix to a solid symphonic rock with a surprising musicality. Heavy, incisive and so much catchy, “the golden peacock” follows this curve of creativity that the duo Betzler & Brückner has initiated in 2015 with the album Two."



Read the complete review - in English AND French - here:

http://synthsequences.blogspot.com/2018/11/pfaun-golden-peacock-2018.html

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PostPosted: Tue Nov 20, 2018 9:02 am    (No subject) Reply with quoteBack to top

« BruecknerAmbient » wrote:
Read the complete review - in English AND French - here:

I'd rather not.
If there's one reviewer of EM on the net I can't take seriously it's Sylvain Lupari. His reviews are inconsistent and unreadable.
Not saying your album is bad, b.t.w. From what I heard I quite liked it.

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BruecknerAmbient
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PostPosted: Thu Nov 22, 2018 10:01 pm    (No subject) Reply with quoteBack to top

« VCO1 » wrote:
« BruecknerAmbient » wrote:
Read the complete review - in English AND French - here:

I'd rather not.


OK. Cool

« VCO1 » wrote:
If there's one reviewer of EM on the net I can't take seriously it's Sylvain Lupari. His reviews are inconsistent and unreadable.


Well...

Let it put me like this:

Another (meanwhile retired) reviewer, John Shanahan (Hypnagogue) used to headline his reviews as "one listener's opinion" - which after all is true, I think, for every review, no matter if written brilliantly or badly...

And as such - as the personal opinion of one listener - I think any review can (and should) be taken serious, and is valid (not more, not less).

Then, how brilliant (or not) a given reviewer is as a writer, that's a different question, of course. And accordingly, how readable and consistent his (or her) writings...

Personally, I know a big range, from fan-boy amateurish to brilliant elevated journalism.

While the latter (for whatever reason) doesn't happen too often in our given genre, it still does occur - and actually every shade in between.

As for Sylvain, I think he has a unique "style" which is rather "lyrical" than "cohesive" - which is probably what You find irritating about it. I guess it works better for me (and - given the number of visitors on his page - some others, too)

I also guess that he originally writes his reviews in French, translating them later, and I suspect they work much better in their original language (my knowledge of French is rather bad, though - so it's really a suspicion only...)


« VCO1 » wrote:
Not saying your album is bad, b.t.w. From what I heard I quite liked it.


Thanks! Smile Nice of You to say so...

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PostPosted: Sun Nov 25, 2018 12:26 pm    (No subject) Reply with quoteBack to top

Thoralf Koß wrote an uplifting review of „The Golden Peacock“ for the German online magazine MusikReviews.de!!!!! ^_^

Please read the original review (in German) here, or my (rough) English tranlsation below:

http://www.musikreviews.de/reviews/2018/PFaun/The-Golden-Peacock/

* * *

So very secretly and quietly an album comes along on a golden peacock - an animal that is actually known for prancing in a big way - and behind this album and the band P'FAUN hides one of the most exciting cosmic excursions between art rock and electronics. "The Golden Peacock" by P'FAUN is one of the best progressive instrumental albums of 2018, which will make RICK WAKEMAN- as well as TANGERINE DREAM- and VANGELIS-disciples, but also Space- and Krautrock- as well as Worldmusic-friends equally happy!

In the case of P'FAUN the motto is: "It's the mixture that makes the difference!", and when German electronics expert Michael Brückner, bassist & guitarist Sammy David and drummer Tommy Betzler bring the Frippertronics master Gerd Weyhing as well as another guitarist and keyboarder and a cellist into the musical enclosure of the golden peacock, then the bird can unfold his musical feather dress in the most beautiful colours and really walk through our speakers with a proudly swollen musician's chest.

Basically, P'FAUN - who began in 2013 (only) as BETZLER & BRÜCKNER and whose two albums from 2015 and 2016 already featured Sammy David as a guest - have been in existence since that time, giving their purely electronic music an art, kraut and space rock thrust that never breaks out metallically, but has clear 70s references.
In the exotic booklet designed by the Brazilian artiste Luciana Lupe Vasconcelos, which at the same time refers to some world music influences in the music, the hint also appears that the music on "The Golden Peacock" originated in the period from 2013 to 2018.

Slightly tongue-in-cheeck, P'FAUN themselves describe the music on their first longplayer - which was preceded by the EP "Sp'roque" - as "an electronic variant of space rock or a rocky variety of electronic space...", which not only arouses curiosity about the cosmic P'Faun universe, but also quickly captures the listener.

The band always worked together with musical guests, which is why they also invited them to participate in this ambitious work, so that for example Gerd Weyhing contributes wonderful frippertronics to the ten-minute "King Gong" with his atmospheric guitar playing, while guitarist Harald Nies plays the guitar in the style of a NEW! MICHAEL-ROTHER on "Number Five (Is Still Alive)" plants rocky herbs and René van der Wouden on the quarter-hour "P'quences", which begins like a combination of Berlin school and "Shine On You Crazy Diamond" Floydian, awakens a certain TANGERINE DREAM "Tangram" nostalgia with additional keyboard and synth interludes.

In the grand finale of the instrumental concept album, the two-part "Blue Pearls", again a quarter of an hour long, even pays homage to a little VANGELIS until the golden peacock closes its plumage dress again - well aware of the moving impression it has left behind.

CONCLUSION: With "The Golden Peacock", the German trio P'FAUN and their illustrious guests succeed in producing an album that is almost 80 minutes long but never boring, skilfully and colourfully moving like peacock feathers through the musical styles of art and space rock as well as world music and electronics of the Berlin school. A real surprise!

Thoralf Koß


* * *

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PostPosted: Sun Nov 25, 2018 3:53 pm    (No subject) Reply with quoteBack to top

Michael i got the cd, its great.
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PostPosted: Fri Dec 07, 2018 9:47 pm    (No subject) Reply with quoteBack to top

« Starwalker » wrote:
Michael i got the cd, its great.


Oh! Smile Thank You very much, I'm happy You like it, Mike!


Just today another review dropped in, this time by Dutch music journalist Paul Rijkens for (print) magazine I/O Pages.

Here's an English translation (provided by Paul himself! ) - for the Dutch original I guess you need to purchase the magazine (I only shared a picture of it on FB: https://www.facebook.com/betzlerbruecknerdavid/photos/a.146974939307027/261273251210528/?type=3 )

---

P'Faun
The Golden Peacock

(GROOVE UNLIMITED)

When I reviewed the EP sp'roque of P'Faun in iO Pages 149, my last sentence was: "This tastes for more than one ep."
This wish has come true because here is a complete CD, published on the Groove Unlimited label.

P'Faun originates from the duo Betzler & Brückner. Together with guitarist Sammy David they form P'Faun. The trio creates an interesting mix between Berlin School electronic music and rock. Say the more progressive side of electronic music.

It is not for nothing that their music is sometimes compared with the albums Force Majeure and Cyclone by Tangerine Dream. The link to progrock is underlined by the fact that drummer Thomas Betzler was in the prog band P'Cock with whom he made two excellent albums in the early eighties.

On "The Golden Peacock" we hear an adaptation of the P'Cock song House In The Storm of their second album In'Cognito. It has a brilliant pulsating sequence, driving drums and fine guitar solos.
The link to prog also appears well in So Ham, where Cilia di Ponte (vocals) and Doris Hach (cello) collaborate.
I can imagine the comparison with Tangerine Dream from the late seventies when I listen to King Kong where guitarist and bassist Gerd Weyhing plays on.
Sometimes people go even further than prog: slightly funky in Number Five (Is Still Alive) with guitarist Harald Nies, something modern in P'Quences (with our fellow Dutchman René van der Wouden) and a 1980s atmosphere in Blue Pearls, Part Two.

In short: these gentlemen have made a varied CD that is able to rock out at times.

Paul Rijkens
.

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PostPosted: Wed Dec 12, 2018 8:04 pm    (No subject) Reply with quoteBack to top

“After only a short time (with just two releases) P'Faun have become outstanding artist crossing the borders of rock and electronic music, and will please fans of all camps equally. A great album.”

BIG thanks to Stephan Schelle, who wrote this glowing review for his page “Musikzirkus Magazin”.

To read the full original article (in German) please go here (or read my rough English translation below):

http://www.musikzirkus-magazin.de/dateien/Pages/CD_Kritiken/elektronik/pfaun_the_golden_peacock.htm

-----

The project P'Faun, consisting of Thomas "Tommy" Betzler (drums, percussion), Michael Brückner (synthesizer) and Sammy David (guitar, bass) started as a continuation of Betzler & Brückner plus Sammy David with the 62 minute debut EP "Sp`roque". In autumn 2018 their second album "The Golden Peacock" has been released as a longplayer. While they already broke the boundaries between electronics and rock music with "Sp`roque", they continue this trend on the latest output.

On "The Golden Peacock" P'Faun, who have invited further musical guests to their production - Cilia di Ponte (vocals) Doris Hach (cello), Gerd Weyhing (guitar, bass), Harald Nies (guitar) and René van der Wouden (keyboards, synthesizer) - combine Kraut-, Space- and Artrock with electronic music and soundtrack elements. And they do it perfectly. The proverb "too many cooks spoil the broth" does not apply here, quite the contrary.

The first track "So Ham ( A Suite)" already perfectly combines the above mentioned elements in its almost 15 minutes playing time and shows where the journey on the album goes. Atmospheric rock with electronic elements, reminiscent of the greats of the genre, without copying any stylistics, already emerge in this opener. Wonderful effects and voices as well as Sammy David's solos on the electric guitar add to the atmosphere.

"Flying Fish" opens with a driving sequencer rhythm. As soon as Tommy’s drum rhythm enters, this previously electronic track transforms into a rock instrumental. The interspersed bass and electric guitar runs reinforce this and bring a touch of world music into the now powerful piece. The piece now really takes off and brings a happy grin to my face. A couple of breaks further intensify the attention while listening.

"King Gong" (what a wonderful play on words) continues with a bit of asian flair (mainly created by the timbre of the percussion). Beside electronics, rock and world music, there are even some jazzy moments in this piece.

A bit calmer is the opening of "House In The Storm - Part 2", which features atmospheric guitar motifs. After about two minutes the mood changes and a sequencer rhythm (similar to a moving locomotive) takes the listener into an electronic part. Eventually drums and e-guitar kick in again for another powerful part.

A great synthetic rhythm leads into "Number Five (Is Still Alive)". After one minute Harald Nies adds irresistible guitar motives. They grooved well and the track develops more and more into a rocking firecracker, which is garnished with wonderful synthesizer motifs.

In "P'Quences" a trace of "Eindhoven school" appears. The Dutch electronic musician René van der Wouden, who plays additional keyboards in this piece, seems to be partly responsible for this. But as soon as Tommy’s drums form the rhythmic engine of the piece, rocky elements appear again, which now point in the direction of MorPheuS & Co. - but develop their very own style here. The 14:39 minute piece continues to evolve over its playing time and shows different musical faces.

With the rocky "Blue Pearls - Part 1" and the "Blue Pearls - Part 2" provided with some Vangelis elements, P'Faun closes the album in the style described before with a mixture of atmospheric rock and electronic music.

After only a short time (with just two releases) P'Faun have become outstanding artist crossing the borders of rock and electronic music, and will please fans of all camps equally. A great album.

Stephan Schelle, December 2018


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