Marcator

In 1993 Marcator’s musical fate turned when he was offered a record deal by PRUDENCE. His previous productions had mostly appeared on a private basis.

Since then his publications can roughly be divided into 2 categories which can occasionally mingle: On the one hand it is concept albums, with or without vocals and on the other hand instrumental albums with guitars and electronics.?

‘DREAMTIME CYCLE’ (1994) shows the world, ideas and thoughts of Australian aborigines ?as a starting point for a meditative interpretation of the dream sphere. This CD combines acoustic and electronic music and some experienced classical and world musicians were used for this production.?

A development of the world of dreams and fantasy is to be found on the album ‘BEYOND THE MIRRORS’ from 1996. A number of guest musicians created this mostly acoustic and classically orientated record, which is based on the works of the masters of fantasy literature (from Shakespeare to Tolkien).?

1998 saw the release of ‘NecroMantra’, a musical attempt to explore the world of alchemists, magicians and necromancers at the end of the Middle Ages and the beginninning of a new era (16th century). The CD is a musical development for Marcator. The compositions have become more modern utilising drum loops, topical sounds and vocals. But still you can find the mystical, quiet atmosphere, haunting melodies and beautiful guitar lines that are typical of his work.?

‘EVOLUTION’ is another concept album based on the life and the ideas of Charles Darwin. Most songs have lyrics about the theme sung by excellent local singers. It was supposed to be the basis of a musical and the compositions show this influence. ?

In a cooperation with well-known musician ?Stephan Bork (‘Godewind’), BMP Bork Marcator Project was founded. Through contact with a wreck diver they got to know about the fate of the ‘Cimbria’, a vessel that took emigrants to America and sank in 1883 ?killing more than 400 people. Bork and Marcator decided to create a concept album about it and within a few weeks 20 songs were written, mostly vocal numbers, describing the fate of the its crew and passengers and its afterlife. ‘CIMBRIA-1883’ was released in ?2009. ?

‘WATTENKL?NGE I and II’ (2001 and 2003) are instrumental albums and cooperations with guitarist Holger Mummert with whom Marcator has played for almost 30 years now.

Atmospheric mostly acoustic guitar sounds can be heard ?influenced by the Wadden Sea of the northern German coast.?

?‘EIDERLAND SUITE’ was the first CD which appeared on the PRUDENCE label (1993), which was also influenced by Northern German countryside and life. It was recorded with a group of young local musicians with a folk and mostly acoustic touch.

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After a journey around the world with a prolonged stay in the South Pacific Marcator produced a solo album, ‘COCONUT TIME’. It features relaxing ‘Hawaiian’ atmospheres and sounds with lots of guitars and slide music.?

For seven years Marcator worked on his latest work ‘SONG OF THE DODO’, released in March 2011. The music on this CD shows influences from ?blues, jazz, folk and electronica to create a musical variety that surprises with every song. The 15 instrumentals are guitar based but world class guest musicians on brass and wind instruments add their craft and inspiration to the original mix.

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?VISUAL ENERGY I an II’ are albums which Marcator recorded in 1986 with a flautist and saxophonist. They present the climax of Marcator’s electronic-meditative work. 6 titles of more than 20 minutes each create musical images powered by analogue synthesizers together with brass, guitar and even sitar sounds, which modern digital technology is unlikely to reproduce. The music is influenced by the sonic experiments of the time but remains original and topical. Digitally remastered this re-release ?comes out in February 2011.