226:, a collection of pieces of a varying nature, initially issued on British art-rock label Burning Shed in 2001 as a CD-R release. Allmusic noted the album's "ambient-inspired depths, with slowly progressing songs that unfold with layers of haunting, lovely drones that sound like soft sighs" and commented on the "definite hints of prog-tinged exploration throughout... Reuter's a very deliberate player, and his skill at creating loops out of his performances establishes the shade and beautiful texture of the pieces. Wöstheinrich's work is subtle throughout, providing low-key accompaniment and melody to the performances, working in gentle sync with Reuter."
376:
perspective, the Dutch
Progressive Rock Pages were less impressed, criticising the "lack of variation in tempo" and claiming that "this is not a work that the more traditionally-minded prog fan is going to take to" while labelling the album as "solid" and possibly "appealing to those prog rock fans who enjoy relaxing to a bit of superior 'chill out' music from time to time."
395:, and once again featured drumming and rhythms from Pat Mastelotto along with his Mastica bandmate Gum B (on upright bass) and engineer/audio guy Bill Munyon. This brought the collaboration with Tim Bowness to an amicable close, although none of the three musicians have dismissed the possibility of working together again.
427:"the lack of a firm anchor for the casual listener to latch onto" although approving the album for being "impressive in its sound design and construction if not for the musical value... washes of mystical beauty slash and scurry through the mix, like brushstrokes on an audio canvas." The reviewer concluded that "where
467:
The band commented "The music is presented as is, uncensored. These sessions (some of which were recorded live in the studio, some live on stage) hint unmistakably at what was to come… There are some technical flaws with some of the recordings, but we've left them untouched in order to not mess with
268:
Chain D.L.K. dubbed it "ambient soundscapes performed with the ease, passion and fragility of real time experimental noise tweakers, and intertwining lines of harmony and freeform fusion performed with the elegance, purity and casualty of a long forgotten jazz art that transpires from underneath the
375:
on acoustic and electronic drums. Reviewing the album, Classic Rock commented "The stark, spooky arrangements of 'Bigger Space' and 'Ten
Versions Of America' fail to disguise cunning hooks, the record's myriad charms unravelling the more it's played." Coming from a more traditional progressive rock
426:
album on the Inner Knot label. This was a return to a more minimalistic and textural approach, with the music divided into five ambient "fields". Reviews were mixed. Regen-Mag was measured in its praise, stating that the album "impresses in its constructions if not its musicality" and criticising
277:
levels at points throughout the twenty-minute composition, all while soothing keyboards and alternately screaming and calm guitar take the lead." AMG also praised the band for "steer(ing) away from half-hearted fusion to their own particular logic" as well as noting "Reuter's ability to create a
499:
mixed and sequenced by Adrian
Benavides and a version mixed and sequenced by Marziano Fontana (both version mastered by longstanding centrozoon collaborator Lee Fletcher). The band financed the recording of the album via a marketing campaign called "Bonestarter", in which they sold a variety of
495:, which they described as a return to highly experimental work involving dense overdubbing drawn from dozens of hours of recording. This album is to be released in a limited edition of 300 physical CDs, which in turn is to be divided into two separate but related releases: a version of
431:
excels is in the construction of these tracks; each track truly lives up to their monikers as literal fields of colorful sonic landscapes… If you are the type who enjoys being taken on a journey with no map, no destination, and no mode of transportation but your own imagination, then
272:
Allmusic described the album as "finding some ground between ambient/techno float, space rock zone, and art rock chops, but by not trying to specifically aim at a particular style or approach... The title track is the standout, with Wöstheinrich's beat chaos going near full
208:, which was released on DiN Recordings in 1999. Reviewing the disc, ambient radio station Star's End commented "the duo of centrozoon produce spacemusic difficult to quantify, trace or categorize; their distinguishing characteristic being improvisation…
351:
soundtracks. Twilight Zone webzine compared the results to
Depeche Mode, praising the “splendid arrangements” and “chilling prog atmospheres”, while Expose labelled it “a hybrid pop refinement that will appear to fans of Japan as well as King Crimson.”
504:-related packages (including physical and digital versions of the album, signatures, Skype-based interviews, T-shirts, cover art, music tutoring sessions, musical applications and even the album's multi-track source recordings).
187:
In the mid-1990s, Reuter met
Bernhard Wöstheinrich, an experimental electronic musician playing various synthesizers and electronic rhythm devices. The two began to collaborate as centrozoon in early 1996.
439:
The
Enochian Apocalypse webzine was more generous, saying of the album that “it’s subtle, it holds and fills out the background to silence when relaxing at home, interesting, and above all involving.”)
1023:
415:
album on the Divine
Frequency label. The Encyclopedia of Electronic Music called it "angular and daring… a curious experimental album with a haunting and sometimes warm atmosphere."
1094:
245:
Early hints of what the next centrozoon album would be like (denser and faster, with strong electronic dance-rhythms incorporated) were circulated later in 2001 on a CD EP called
216:
creates its own space, colored by the listener's imagination." A remastered version of the album was released nearly a decade later in 2008, featuring an extra track ("Power").
265:, was released on Burning Shed as a full CD issue. This revealing a much more intense centrozoon incorporating hard dance rhythms and lengthy, uninhibited touch guitar solos.
87:
While most of the centrozoon recordings have been made by the duo of Reuter and Wöstheinrich, the group has on two occasions expanded to a formal trio - the first featuring
285:
as "an album full of sonic landscapes which though minimalistic and seemingly simple, is exceptionally rich sounding" while also commenting that "commercial is a word that
212:
speaks to the listener with a musical vocabulary of contrasting harmonies and remarkable timbres… an album that is at once experimental, cerebral, spacious and engaging.
1117:
1209:
935:
289:
be whispered when listening to this release and (unfortunately) it is a case of like it or leave it." The review also compared the music to that of
1017:
1194:
1204:
1199:
1088:
488:. Over the next four years the group played and recorded various concerts while collating material and approaches for the next record.
1073:
986:
334:, making several appearances with this line-up in the UK in 2002 and shifting their musical focus towards tightly structured songs.
1134:
691:(DiN Recordings, 1999 - reissued on Unsung Records/Inner Knot in 2008, reissued again on vinyl in 2017 with two bonus tracks)
484:
In 2008, centrozoon once again expanded to a trio: this time, the third member was multi-instrumentalist and sound designer
1189:
137:
64:, programming). The group's music is flexible and has altered from album to album, but frequently-used elements include
774:
339:
1110:
635:
53:
555:
81:
141:
41:
584:
464:
back in
October 1998, and featured original rough improvisations recorded live and direct to 2-track DAT.
258:
643:
61:
588:
347:
in 2003, fusing
Bowness’ voice and alternately romantic/bleak lyrics with Reuter and Wöstheinrich's
177:
649:
485:
133:
96:
181:
108:
302:
380:
367:
was finally released on
Resonancer Records in 2005. The album featured guest performances from
290:
77:
38:
1121:
1098:
1027:
990:
625:
547:
261:(who would remain a frequent collaborator). Later in the year, the third centrozoon album
980:
411:
By 2006, centrozoon were mostly working in their original duo formation and released the
278:
brief, thrilling hero rock riff as needed, giving the compositions a nice bit of bite."
535:
and is a member of several other collaborative projects, including but not limited to:
372:
359:) was delayed, with the band making up for lost time by releasing the live concert DVD
149:
104:
95:
for a set of vocal and song-based projects, the second featuring multi-instrumentalist
1183:
1043:
613:
254:
165:
145:
69:
65:
45:
17:
1138:
653:
639:
617:
543:
368:
344:
161:
153:
129:
125:
100:
57:
1002:
579:
Reuter and/or Wöstheinrich have also collaborated (together and separately) with
965:
670:
657:
629:
621:
592:
456:
made six hours worth of archive material available as a download release called
331:
294:
173:
169:
92:
73:
49:
515:, the band have concentrated on live work, which they've documented on 2014's
348:
580:
1058:
572:
Bernhard Wöstheinrich has released solo material under the project name of
950:
920:
460:(released via MusicZeit). This material dated back to the first days of
565:
172:). At around the same time, he had developing an interest in textural
892:
491:
In 2012, centrozoon announced the forthcoming release of a new album,
904:
327:
274:
157:
88:
1174:
568:, featuring contributions from Mastelotto, Wostheinrich and others.
436:
s latest album might be the trip you've been waiting to take."
337:
The first recorded evidence of the trio band was an EP called
387:
album as a vinyl-only issue. This was a companion release to
1169:
249:.The first centrozoon release of 2002 was the self-released
468:
the flow of the improvisations. This music is the seed of
624:
and own-brand version), loops, programming, electronics,
523:
series drawn from their twentieth anniversary live tour.
204:
The first centrozoon album was the predominantly-ambient
253:
12-inch vinyl EP, in which the band explored electronic
257:
in collaboration with electronic musician and producer
269:
lid of vaporous electronics and artificial density."
815:(ongoing multi-volume live series) (2017, Iapetus)
136:. Initially trained as a pianist and a student of
318:"Pop song" trio work with Tim Bowness (2002–2007)
300:In 2005, while centrozoon worked in other areas,
646:, programming, occasional vocals (1996–present)
558:(music / production) and Lisa Fletcher (vocals)
531:Markus Reuter has a solo career in parallel to
652:- electronics, field recordings, programming,
326:began working as a trio with the addition of
27:German electronic improvisational music group
8:
1059:Encyclopaedia of Electronic Music review of
542:, an American/German duo collaboration with
379:In January 2007, the Dutch audiophile label
839:(live recording from Mannheim, 2018) (2019)
833:(live recording from Mannheim, 2018) (2019)
827:(live recording from Mannheim, 2018) (2019)
281:The Dutch Progressive Rock Pages described
1135:"Centrozoon - we invented the wrong notes"
554:, an Anglo-German trio collaboration with
355:For various reasons, the follow-up album (
893:Biography on Markus Reuter's Myspace page
564:, a project centred on singer-songwriter
1034:news archive, retrieved October 30, 2008
819:Le Surreal Parkhouse (Live in Bern 2017)
527:Musical connections and other activities
885:
176:. Reuter had also been a member of the
99:. The group has also collaborated with
673:- vocals & voice-loops (2003–2007)
632:, Z-tar MIDI controller (1996–present)
124:Markus Reuter was a former student of
33:(sometimes incorrectly capitalized as
7:
391:featuring the trio/vocal version of
1210:Musical groups established in 1996
322:For their next stage of activity,
25:
727:(Unsung Records/Inner Knot, 2007)
981:Twilight Zone webzine review of
1089:Enochian Apocalypse review of
733:(Unsung Records/iapetus, 2012)
721:(Tonefloat, 2006 - vinyl-only)
719:Never Trust the Things They Do
385:Never Trust The Things They Do
1:
845:(compilation) (iapetus, 2020)
508:was released on May 9, 2012.
1195:German electronic music duos
1124:, retrieved October 30, 2008
1101:, retrieved October 30, 2008
1079:, retrieved October 30, 2008
1064:, retrieved October 30, 2008
1049:, retrieved October 30, 2008
1008:, retrieved October 30, 2008
993:, retrieved October 30, 2008
971:, retrieved October 30, 2008
956:, retrieved October 30, 2008
941:, retrieved October 30, 2008
926:, retrieved October 30, 2008
911:, retrieved October 30, 2008
895:, retrieved October 30, 2008
138:contemporary classical music
44:group. The core members are
1205:Experimental musical groups
1200:Intelligent dance musicians
1046:Never Trust The Way You Are
1020:Never Trust The Way You Are
1005:The Scent Of Crash And Burn
983:The Scent Of Crash And Burn
775:The Scent Of Crash And Burn
707:Never Trust the Way You Are
697:(Burning Shed, 2001 - CD-R)
389:Never Trust The Way You Are
365:Never Trust The Way You Are
357:Never Trust The Way You Are
340:The Scent Of Crash And Burn
111:and a variety of remixers.
84:(intelligent dance music).
1226:
709:(Resonancer Records, 2005)
591:, and both contributed to
132:, studying with Fripp and
52:, loops, programming) and
1115:on Musiczeit.com homepage
160:in the late 1980s and to
715:(Divine Frequency, 2006)
1175:Centrozoon MySpace page
1018:Classic Rock review of
936:Chain D.L.K. review of
789:Ten Versions of America
306:released a remix EP of
809:(live) (2014, Iapetus)
803:(live) (2007, Iapetus)
783:Download-only releases
399:Second ambient phase:
156:), he had switched to
1111:Information page for
795:Vacuum Love, Vols 1–5
701:The Cult of: Bibbiboo
644:electronic percussion
636:Bernhard Wöstheinrich
458:Vacuum Love, Vols 1–5
446:Vacuum Love, Vols 1–5
142:Karlheinz Straetmanns
62:electronic percussion
54:Bernhard Wöstheinrich
42:improvisational music
18:Bernhard Wöstheinrich
1190:Ambient music groups
1150:Centrozoon announce
968:The Cult Of: Bibiboo
953:The Cult Of: Bibiboo
938:The Cult Of: Bibiboo
849:Harmonic Hospitality
778:(Burning Shed, 2003)
703:(Burning Shed, 2002)
574:The Redundant Rocker
476:The second trio and
283:The Cult Of: Bibiboo
263:The Cult Of: Bibiboo
259:Philipp Quaet-Faslem
239:The Cult Of: Bibiboo
1170:Centrozoon homepage
1074:Regenmag review of
951:Allmusic review of
921:Allmusic review of
874:Redundancy Mega Mix
312:Hands On centrozoon
178:Europa String Choir
164:in 1993 (initially
1120:2011-07-14 at the
1097:2011-07-10 at the
1026:2011-07-18 at the
989:2006-10-12 at the
807:The Room of Plenty
595:’ 2004 solo album
517:The Room of Plenty
1003:Expose review of
923:Sun Lounge Debris
695:Sun Lounge Debris
363:on Burning Shed.
230:The dance phase:
224:Sun Lounge Debris
198:Sun Lounge Debris
168:and subsequently
50:Warr touch guitar
16:(Redirected from
1217:
1158:
1149:
1147:
1146:
1137:. Archived from
1131:
1125:
1108:
1102:
1086:
1080:
1071:
1065:
1056:
1050:
1041:
1035:
1015:
1009:
1000:
994:
978:
972:
963:
957:
948:
942:
933:
927:
918:
912:
902:
896:
890:
744:The Divine Beast
665:Previous members
519:and the ongoing
472:as we know it."
444:Archive issues:
310:material called
291:Boards Of Canada
247:The Divine Beast
241:(late 2001–2002)
232:The Divine Beast
222:was followed by
78:progressive rock
21:
1225:
1224:
1220:
1219:
1218:
1216:
1215:
1214:
1180:
1179:
1166:
1161:
1144:
1142:
1133:
1132:
1128:
1122:Wayback Machine
1109:
1105:
1099:Wayback Machine
1087:
1083:
1072:
1068:
1057:
1053:
1044:DPRP review of
1042:
1038:
1028:Wayback Machine
1016:
1012:
1001:
997:
991:Wayback Machine
979:
975:
966:DPRP review of
964:
960:
949:
945:
934:
930:
919:
915:
903:
899:
891:
887:
883:
876:(iapetus, 2020)
858:
797:(2007, Iapetus)
785:
740:
685:
680:
667:
626:electric guitar
610:
608:Current members
605:
548:Pat Mastellotto
529:
482:
452:Later in 2007,
450:
409:
320:
243:
202:
122:
117:
28:
23:
22:
15:
12:
11:
5:
1223:
1221:
1213:
1212:
1207:
1202:
1197:
1192:
1182:
1181:
1178:
1177:
1172:
1165:
1164:External links
1162:
1160:
1159:
1126:
1103:
1081:
1066:
1051:
1036:
1030:, archived on
1010:
995:
973:
958:
943:
928:
913:
897:
884:
882:
879:
878:
877:
871:
857:
854:
853:
852:
846:
840:
834:
828:
822:
816:
810:
804:
798:
792:
784:
781:
780:
779:
771:
761:
751:
739:
736:
735:
734:
728:
722:
716:
710:
704:
698:
692:
684:
681:
679:
676:
675:
674:
666:
663:
662:
661:
660:(2008–present)
647:
633:
609:
606:
604:
601:
589:Nigel Mullaney
570:
569:
559:
550:
528:
525:
481:
480:(2008–present)
474:
449:
442:
408:
397:
373:Pat Mastelotto
319:
316:
242:
228:
201:
192:Early albums:
190:
121:
118:
116:
113:
105:Pat Mastelotto
37:) is a German
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1222:
1211:
1208:
1206:
1203:
1201:
1198:
1196:
1193:
1191:
1188:
1187:
1185:
1176:
1173:
1171:
1168:
1167:
1163:
1157:
1153:
1141:on 2012-02-11
1140:
1136:
1130:
1127:
1123:
1119:
1116:
1114:
1107:
1104:
1100:
1096:
1093:
1092:
1085:
1082:
1078:
1077:
1070:
1067:
1063:
1062:
1055:
1052:
1048:
1047:
1040:
1037:
1033:
1029:
1025:
1022:
1021:
1014:
1011:
1007:
1006:
999:
996:
992:
988:
985:
984:
977:
974:
970:
969:
962:
959:
955:
954:
947:
944:
940:
939:
932:
929:
925:
924:
917:
914:
910:
909:at Star’s End
908:
901:
898:
894:
889:
886:
880:
875:
872:
869:
868:
863:
860:
859:
855:
851:(live) (2020)
850:
847:
844:
841:
838:
835:
832:
829:
826:
823:
820:
817:
814:
811:
808:
805:
802:
799:
796:
793:
790:
787:
786:
782:
777:
776:
772:
769:
765:
762:
759:
755:
752:
749:
745:
742:
741:
737:
732:
729:
726:
723:
720:
717:
714:
711:
708:
705:
702:
699:
696:
693:
690:
687:
686:
682:
677:
672:
669:
668:
664:
659:
655:
651:
648:
645:
641:
637:
634:
631:
627:
623:
619:
618:touch guitars
615:
614:Markus Reuter
612:
611:
607:
602:
600:
598:
597:My Hotel Year
594:
590:
586:
582:
577:
575:
567:
563:
560:
557:
553:
551:
549:
545:
541:
538:
537:
536:
534:
526:
524:
522:
518:
514:
509:
507:
503:
498:
494:
489:
487:
479:
475:
473:
471:
465:
463:
459:
455:
447:
443:
441:
437:
435:
430:
425:
422:released the
421:
416:
414:
406:
402:
398:
396:
394:
390:
386:
383:released the
382:
377:
374:
370:
366:
362:
358:
353:
350:
346:
342:
341:
335:
333:
329:
325:
317:
315:
313:
309:
305:
304:
298:
296:
292:
288:
284:
279:
276:
270:
266:
264:
260:
256:
255:remix culture
252:
248:
240:
236:
233:
229:
227:
225:
221:
217:
215:
211:
207:
199:
195:
191:
189:
185:
183:
179:
175:
171:
167:
166:Chapman Stick
163:
159:
155:
151:
147:
146:Daniel Schell
143:
139:
135:
131:
127:
119:
114:
112:
110:
106:
102:
98:
94:
90:
85:
83:
79:
75:
71:
70:improvisation
67:
66:ambient music
63:
59:
55:
51:
47:
46:Markus Reuter
43:
40:
36:
32:
19:
1155:
1151:
1143:. Retrieved
1139:the original
1129:
1112:
1106:
1090:
1084:
1075:
1069:
1061:Angel Liquor
1060:
1054:
1045:
1039:
1031:
1019:
1013:
1004:
998:
982:
976:
967:
961:
952:
946:
937:
931:
922:
916:
906:
900:
888:
873:
866:
864:
861:
848:
842:
836:
830:
824:
818:
812:
806:
800:
794:
788:
773:
770:, 2002/2003)
767:
763:
757:
753:
747:
743:
730:
724:
718:
713:Angel Liquor
712:
706:
700:
694:
688:
658:synthesizers
654:touch guitar
650:Tobias Reber
640:synthesizers
596:
578:
573:
571:
561:
556:Lee Fletcher
552:
544:King Crimson
539:
532:
530:
520:
516:
512:
510:
505:
501:
496:
492:
490:
486:Tobias Reber
483:
477:
469:
466:
461:
457:
453:
451:
445:
438:
433:
428:
423:
419:
417:
413:Angel Liquor
412:
410:
404:
401:Angel Liquor
400:
392:
388:
384:
378:
369:King Crimson
364:
361:Bigger Space
360:
356:
354:
345:Burning Shed
343:released on
338:
336:
323:
321:
311:
307:
301:
299:
286:
282:
280:
271:
267:
262:
250:
246:
244:
238:
234:
231:
223:
219:
218:
213:
209:
205:
203:
197:
193:
186:
162:touch guitar
154:Ashok Pathak
150:Indian music
134:Tony Geballe
130:Guitar Craft
126:Robert Fripp
123:
101:King Crimson
97:Tobias Reber
86:
58:synthesizers
34:
30:
29:
1156:Bonestarter
1113:Vacuum Love
678:Discography
671:Tim Bowness
630:bass guitar
622:Warr Guitar
620:(including
593:Tim Bowness
585:Robert Rich
434:centrozoon'
407:(2006–2007)
332:Tim Bowness
295:Stockhausen
200:(1999–2001)
182:String Unit
170:Warr Guitar
109:Bill Munyon
107:, engineer
93:Tim Bowness
74:electronica
1184:Categories
1145:2012-04-05
1032:centrozoon
905:Review of
881:References
867:centrozoon
862:Synapscape
768:centrozoon
758:centrozoon
754:Centrophil
748:centrozoon
533:centrozoon
470:centrozoon
462:centrozoon
454:centrozoon
429:centrozoon
420:centrozoon
393:centrozoon
349:electropop
324:centrozoon
308:centrozoon
303:Synapscape
251:Centrophil
235:centrophil
174:loop music
39:electronic
35:Centrozoon
31:centrozoon
1091:Lovefield
1076:Lovefield
870:EP (2005)
865:Hands On
837:KLAMAUK 3
831:KLAMAUK 2
825:KLAMAUK 1
764:Circulaar
725:Lovefield
581:Ian Boddy
424:Lovefield
418:In 2007,
405:Lovefield
381:Tonefloat
120:Formation
1118:Archived
1095:Archived
1024:Archived
987:Archived
843:eisprung
546:drummer
371:drummer
103:drummer
856:Remixed
760:, 2002)
750:, 2001)
603:Members
330:singer
148:, plus
115:History
91:singer
821:(2018)
791:(2003)
683:Albums
587:, and
448:(2007)
403:&
328:No-Man
287:cannot
275:gabber
158:guitar
140:(with
89:No-Man
1152:Boner
907:Blast
731:Boner
689:Blast
566:Tovah
562:Tovah
540:Tuner
513:Boner
511:Post-
506:Boner
502:Boner
497:Boner
493:Boner
478:Boner
220:Blast
214:Blast
210:Blast
206:Blast
194:Blast
152:with
1154:and
801:Fire
293:and
237:and
196:and
180:and
144:and
80:and
813:217
738:EPs
521:217
128:'s
82:IDM
1186::
656:,
642:,
638:-
628:,
616:-
599:.
583:,
576:.
314:.
297:.
184:.
76:,
72:,
68:,
60:,
1148:.
766:(
756:(
746:(
56:(
48:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.