Techno-producer, Hilden bag: A question of technology

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    In contrast to his colleagues, Sven Väth and Chris Liebing is Ralf Hilden bag, even in its home city of Frankfurt on the road rare passers-by recognized. Also, he is one of the formative figures of the local techno scene. With projects such as Odyssey of Noises (sic!), Curare and Earth Nation, and especially with Sven Väth albums “Accident in Paradise” (1992), “Barbarella – The Art of Dance” (1992) and “The Harlequin, The Robot and The Ballet-Dancer” (1994) was the composer, musician and producer, instrumental in the development of the melodic and punchy “Sound of Frankfurt”.

    The Team Väth/Hilden bags the balancing act between club-ready Techno Tracks and prolix managed-spherical pieces such as “L’Esperanza”, and so the two Frankfurt in the nineties musical standards far beyond the dance, in addition to areas in Germany. Even then, the Party Paradise of Ibiza played in väth’s calculus a more important role than the Consideration of whether his Sound would be like in Berlin or London. The latter was then, also thanks to the congenial sound textures, with whom Ralf pouch Hilden knew to dress up the hard Beats. Trance called this Sound.

    “Conventional and traditional”

    As the music transmitter Viva and then bag Hilden was in the summer of 1996, with the music-award “Comet” in the category “best producer”, he seemed just as surprised as the audience. He shyly accepted the trophy and was with a breathy “thank you” right back of the stage disappeared. In its natural habitat, the Studio in Frankfurt’s Nordend, he seems much more relaxed, even if it seems that he’s surprised, in retrospect, still on his musical career.

    the “Conventional and traditional” have all started, he recalls: “piano with nine, including music theory, with four of the ten came the first Keyboard, with 20 I made a first Demo-Studio-stuff.” His musical cosmos initially consisted of classical, Rock and conventional Pop, “with the German electronic music, I had nothing on the hat. Something like Klaus Schulze, I didn’t know at the time, a couple of Kraftwerk numbers I found o. K., but I was not a fanatic in this direction,“ he recalls.

    As a technology is still quite fresh war

    From his “Band time” he knows Matthias Hoffmann, alias A. C. Boutsen, Steffen Britzke, better known as Stevie B-Zet, the inventors were then like himself to the Studio. “At that time, the Techno thing was still quite fresh,” says Hilden bag: “Innovative, a movement like the early Rock’n’Roll. There were Kids who were at home with three machines and a variety of music. Have made easy, and thus, has developed a stand-alone thing.“ Many of the Kids soon disappeared back into the woodwork, Hilden bag and his friends are still there. After her “home label” Eye Q Records moved to Berlin and shortly thereafter went bust was renamed Hilden bag, Hoffmann and Britzke short-hand: “Schallbau” quickly became the brand of choice for sophisticated productions of various Genres, including Drum&Bass and “Intelligent Techno”-pieces under his own name, as well as Pop-albums by Laith Al-Deen, Yvonne Catterfeld, and Andreas Bourani.

    in Parallel, Hilden bag of film music turned to a profession, to which he has remained loyal until today. He set comedies as “all places of Siberia”, with Joachim Król and – together with Steffen Britzke – some episodes of the ZDF series “kommissarin Lucas”, but also the celebrated Italian Mafia series “Maltese”. By the way, a multi-layered solo album that United almost all the facets of his oeuvre was created in the year 2015 with “Moods”: Melancholy meditations such as “Curious”, a dark, edgy sound sculptures such as “case” and hazy night mood images, such as “Misty”.