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        ORKUS 12-2003 / 01-2004        
Progressiv waren Seabound quasi vom ersten Ton an, der jemals auf einer für den Verkauf gedachten CD gespeichert wurde. Dass sich die Bielefelder jedoch bereits mit ihrer Auskopplung Contact quasi en passant an die absolute Spitze des Feldes internationaler Electro-Acts setzen, durfte man trotzdem nicht unbedingt erwarten. Das Duo zelebriert elektronische Musik auf eine Art, die man sonst nirgends zu hören bekommt. Sounds und Melodien sind so optimal aufeinander abgestimmt, dass Contact wie das sprichwörtliche Öl am Körper herunterfließt und diesen zwischen wohliger Melancholie und Bewegungsdrang pendelnd zurücklässt. Diese Musik eignet sich für das Kopfkino ebenso wie für die Clubnacht - phantastisch! Für die Remixe wurde einerseits Daniel Myer von Haujobb herangezogen, der Frank Spinaths Gesang stark in den Vordergrund bringt und mit seinem simplen aber effektiven Mix ebenfalls für einen hohen Tanzbarkeitsfaktor sorgt. Auch Tom Shear von Assemblage 23 hat an den Gesangslinien gearbeitet und eine sehr gelungene Version des Titeltracks entstehen lassen. Neben dem psychopathischen The Attic veredelt eine von Eskil Simonsson angefertigte Variante des Stücks Torn die Contact-MCD.

Review by Stefan Brunner
»  ORKUS Website

When Dependent Records agreed to help me bring some new music to Hawaii, I was only slightly less than ecstatic. When I got more e-mails from the label's promotions department, I quickly got even more excited about doing CD release parties. When the latest singles arrived and I listened to them, I was absolutely euphoric. Below, you'll find the first review of the music that came this week . . . The track-by-track, blow-by-blow review of Seabound's "Contact" Maxi-CD Single.

Contact (Album Version) - As it stands by itself, the original version of Contact is a club hit... It hit the Deutch Alternative Charts with a bullet and is still climbing (#13 this week). The alternating beat makes you want to sway, while the thoughtful lyrics make you want to reach out to try and comfort Frank Spinath. His vocals convey a felling of reserved intelligence while still showing a wounded heart. The more I listen to this track, the more I get out of it.

Torn (Covenant Remix) - The music, production, vocals, and programming are all FAR beyond what I heard on "No Sleep Demon", the first Seabound album. The lyrics are hypnotic and catchy. There's no question as to why people think that Covenant, and specifically Eskil Simonsson, are some ofthe most talented electronic musicians around. While I enjoyed the album version of this track, there's some much more in this remix that can be enjoyed. I find it sad to say that I feel that the production quality on the first album needed some work, and that seems to have been resolved.

The Attic - What can I say, this is the B-side. It's intriguing, captivating, and beautiful. The slow play of the synths back and fourth through your head put you in mind of being on a sailboat in slow rolling seas. The slightly distorted vocals bring out the lyrics in a way that sets a spine tingling sense of mystery to the song. Overall, the sounds tell a much deeper story than the lyrics, but the stories compliment and expound on one another. Well done.

Contact (Assemblage 23 Remix) - Take a great song, add in an amazing remix artist, put in a dash of electronic magic and you have one of the best dance tracks I have heard in a while. Tom Shear is a genius, and when geniuses like Seabound and Assemblage 23 butt heads, beauty is the result. You can dance to it, you can sway to it, you can relax to it, and you can even play it for your non-rivethead friends and they will love it. I keep finding myself saying "I'm so glad that you can't read my mind".

Contact (Haujobb Remix) - For those of you who like a their music a little more "Industrius", you won't be dissapointed by Daniel Myer's work with this song. There is a feel of a futuristic factory in the simple yet all too complex subtleties of this remix. There is a new dimension in the vocals that make you think that when Frank is singing, he is in fact standing in mid-air as cloud whip past faster than is possible in nature. The mental imagery is intense.

Review by Deven Phillips (2 Dec 2003)



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