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How should one describe a music such as CREAM ? CREAM one must simply have heard and experience. The fact that on a CD with the title CREAM, nothing else should have to be expected then the absolute CREAM of Electronic Music, that even the artist himself in such a way designates his new and thus 21st solo work. Of course the 6 titles of the 68 minutes long CD are designated enough as CREAM de la CREAM of the EM, particularly because Robert concentrated content wise here on traditionally long EM tracks, and this produced also in the style of the typical EM with strong influences of the so called Berlin School style. Naturally, after over 30 years experience Robert knows the tools of the goose skin producing elements and Schroeder has used the trick box of his experiences. He has produced an album that offers very positive surprises by analogue sequences, sound surfaces, harmonies, melodies and emotions. Finally an album with long tracks between 8 and 17 minutes. The feeling of the good old genuine Electronic Music becomes fully effective here. CREAM is truly EM, as we expect and like, well balanced first-class EM with varies passages, surprised atmospheres, traditional and modern electronic sounds and music with goose skin effect. Best CREAM tracks: 1, 2, 4, 6 Sylvain Lupari of quot;gutsofdarknessquot; has found the right words to describe the music of this wonderful album: Hummm…! Robert Schroeders musical adventures are rich, both in tones and varied rhythms where the funky flirts with the groovy on heavy percussions surrounded of a universe full of synthesizers with rich tones. A mixture of kinds, rich and smooth as the cream de la Cream; the 22nd solo album of the mythical German synthesist. An at once heavy and limpid album, so much notes and details are finely chiseled on sweet and stormy rhythms. Tempos broken, interrupted and wrapped by synths which separate their pads to mold choirs, mists and angelic breezes among voices, vocoders and murmurs of all genres. An album with mesmerizing intros and varied rhythms, hammered by heavy electronic percussions, as bongo and conga style. In brief a powerful album with ambivalent rhythms which cross periods and musical styles of Schroeder, and this since Paradise in 1983. Arpeggios skip awkwardly on Magnetics opening. They espouse a delicate line of bass which molds a discreet funky rhythm on fine percussions, while beautiful mellotron pads float slightly above this atmosphere sieved by cosmic sound effects. A little as everywhere on Cream, Magnetics pours and moves in rich and unctuous sound cream where various instrumentations come to enrich its minimalist and hypnotic structures. Synths flow with abundance and nuance there, mixing skillfully the sweet vocalizes, melodious solos and ethereal pads which glance through a soft rhythm sometimes shaken by scattered percussion strikes and keyboard keys which gossip as a galactic duck. Groove Electronically is a very beautiful track with its notes of piano which are spreading in a cosmic ambiance where whispers, very plaintive synths and sound effects hatch this strange ethereal intro. Hesitant pulsations light finely the tempo, trampling on the romantic series of these minimalist piano notes. Percussions tumble down and increase the rhythm of a notch. But Groove Electronically remains secretly delicious in spite of this full array of percussions and tones with colorful forms which break out on a constantly evolving tempo of which cadenced co


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