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Schnauss, Ulrich - Quicksand Memory DS Cover Art
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Ulrich Schnauss Quicksand Memory CD Single

 Ulrich Schnauss Discography of CDs

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Four years after the release of the lauded A STRANGELY ISOLATED PLACE, German producer Ulrich Schnauss returned in 2007 with a four-song EP entitled QUICKSAND MEMORY. On it Schnauss refines his blend of lush electronica and shoegaze rock aesthetics. Ethereal vocals and guitars that sound as though they're being run through an effects board in heaven create a wash in which Schnauss's mastery of texture can shine. This comes recommended to ambient and electronica fans, as well as devotees of My Bloody Valentine and other droning shoegaze acts.

Personnel: Judith Beck, Sally Fuller (vocals); Doug Morch, Aidan Banks, Matt Dabbs.

Audio Mixer: Jim Spencer .

Quicksand Memory Music


Detailed Quicksand Memory Music Information



Category Rock/Pop Albums, Electronica CDs, New Age, Miscellaneous, Alternative, Techno, Dance
Label Domino Recording Company USA
Orig Year 2007
All Time Sales Rank   119603  
CD Universe Part number 7417040
Catalog number 147
Discs 1
Release Date May 22, 2007
Studio/Live Studio
Mono/Stereo Stereo
Producer Robin Guthrie; Rob McVey
Engineer Ulrich Schnauss
Recording Time 23 minutes
Personnel Judith Beck
Aidan Banks
Doug March
Matt Dabbs
Sally Fuller - vocals
Ulrich Schnauss Quicksand Memory Songs


Ulrich Schnauss Quicksand Memory Album Track Listing



Windows MediaRealAudio Media1.Look at the Sky - (remix, Rob McVey Version)$0.99
Windows MediaRealAudio Media2.Medusa - (Edit)$0.99
Windows MediaRealAudio Media3.Gone Forever - (remix, Robin Guthrie Version)$0.99
Windows MediaRealAudio Media4.On My Own - (remix, Robin Guthrie Version)$0.99

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EVERCLEAR, AMC's finest hour and one the '90s' most powerful albums, is simultaneously lush and searing, heartache and despair borne out in elegant arrangements that combine fragile prettiness and soul-baring howls of pain. Multi-instrumentalist Bruce Kaphan rose to the occasion of his production debut. The canyons of reverb on the instruments are strangely appropriate, highlighting the almost decadent, tragically beautiful feel of the songs. Keyboards, pedal steel, and acoustic guitars drift like abandoned ships swirling around in a colorfully tempestuous sea full of unknown nautical demons. Guitarist Vudi contributes some of the most artful, non-traditional sounds ever concocted by a "rock" axeman. The album begins with a slow, soulful lament to a love who's either sleeping or dead, before taking up the subject of mortality more fully in the anthemic "Rise," written by Eitzel for an AIDS-stricken friend. Eitzel observes the trials of those around him on "Ex-Girlfriend," but "Sick of Food" turns his gaze inward, breathlessly describing his alienation from virtually everything and his simultaneous longing for connection. His disaffection grows more urgent on "The Dead Part of You," but by the closing folky ballad "Jesus' ...
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This sophomore release from Ulrich Schnauss displays the German producer/composer's ability to create ambient tapestries, replete with shimmering keyboard effects and lush chordal variety. But what makes this release unique is Schnauss's penchant for warm melodies and pop-influenced refrains. Here Schnauss forges his own voice, blending together the ...
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On his full-length 2001 debut, German electronica artist Ulrich Schnauss offers up an immediately engaging and hypnotic set of instrumental tracks that mix Cocteau Twins-like ambience with dance-oriented beats and samples. Atmosphere and melody are nicely balanced here, making the disc appealing to both fans of contemporary "chillout" techno and the 1990s shoegazer scene. Thanks to Far Away Trains Passing By, an all-too-brief record that encompasses tingly breakbeat, icebox-cold electro, and nippy downtempo, it shouldn't be too long before Berlin's Ulrich Schnauss gets name-dropping of his own in reviews of up-and-coming producers. Within these six tracks, Schnauss earns his comparisons to Boards of Canada and other members of the electronica elite with nary a reservation to be found. It's not only the sheer strength of the majority of these tracks that make the record so enjoyable; the closing and ending numbers neatly bundle everything together, giving it the feel of a concept record without any of the pretensions. From the sun-kissed "Knuddelmaus" to the contemplative "Molfsee," it's a quicksilver spin through an expansive terrain of lush melodies, atmospheres, and beats that alternately jab and tickle. While the paramount "Molfsee" is the easiest point of reference as far as the Boards of Canada comparisons are considered -- with its moody beauty so close to the duo's "Everything You Do Is a Balloon" it isn't funny -- it also beguiles with a melody ...
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