„In its debut album "Cliandissimo", Cliander is weaving a consistently warm musical carpet for relaxing and meditating. While listening in this environment, you can easily imagine a gorgeous piece of furniture falling into place at a special spot in your room - like a new type of Musique d´ameublement, creating a cozy and soothingly stimulating atmosphere of well being.“

Cliander's sound falls into the category of lounge music. But its open and instrumental architecture with repeated electronic elements and acoustic improvisations designate it as Nu Jazz.

A large part of this sounds is created by the deployment of keyboards especially from the 70s: from Rhodes piano, Yamaha CP 70 to synthesizers up to more recent modern samplers.

The contrasts between broad orchestral textures and the aesthetic of a jazz piano trio offers a wide musical spectrum to the listener which is intriguing in and of itself. Classical analog sounds are integrated into digital structures; processed in a way that allows them to sound homogeneous and alive.

To make a long story short, it is about a synthesis between acoustic and digital sounds.

Cliander's music does not only create a lounge atmosphere, but also has a story-telling character reminding us of film or wellness music. At times, it also travels beyond these borders to a place of brief ecstasy. Lovers of classical music are also catered to with tracks that showcase classical strings and orchestral instruments.

Functional rhythm guitars, occasional sets of wind instruments such as a clarion call and catchy bass foundations round off the arrangements. Modern grooves spiced up with detailed percussions are borrowed from House, Pop, Jazzrock, Latin to Reggae.

Cliander's open stylistic alignment creates lots of surprising moments and so do the formal arrangements of classical song structures whose open structures relate to one chord.

„All eleven tracks have an inherent quality of joyfully living near a river of serenity.“

The album carries the creative handwriting of the two producers Manfred Brandt and Axel Kaapke. They intended to capture impressions from a simple idea through which they would playfully embellish the music.

Crucial is that the flow of a spontaneous idea - which also can be called coincidence, engages only a small part of the whole creative process. Variations and themes are developed while still maintaining the unifying thread of the original simple idea.

The criteria was simple: capture what pleases and entertains.

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