The newest collaboration between Ulrich Schnauss and Jonas Munk, titled simply Passage, is a heady mix of intellectual ambient and euphoric electronic. You get Schnauss’ synths layered with Munk’s liquid guitar lines, sometimes with drum programming and sometimes on their own. The result is a complex and engaging record that offers the best both musicians have to offer.
If you’re at all familiar with Ulrich Schnauss and Jonas Munk, then you should know this isn’t just another in a long line of electronic records. Schnauss is an accomplished electronic musician and composer who’s been creating beautifully ornamented electronic albums for over 20 years. His 2001 album Far Away Trains Passing By is a classic in the genre. Since 2014 Schnauss has been an official member of the iconic Tangerine Dream. Jonas Munk is an accomplished musician/producer in his own right, making electronic records under the name Manual, as well as playing guitar for the Danish rockers Causa Sui. He’s also released two records under his own name, first Pan in 2012 and Absorb Fabric Cascade in 2014. Back in 2011 these two got together for the first time and released the ethereal Ulrich Schnauss and Jonas Munk. Six years later they have made a sequel to that collaboration. Passage does not suffer from the “sophomore slump”. In fact, it surpasses its predecessor.
Schnauss and Munk know how to make a heady mix of ambient tones and daydream-y vibes. Tracks like “Amaris”, “Genau Wie Damais”, and “Anywhere But Here” cascade like technicolor falls on some distant world. The noise coming from the speakers is hypnotic but not hallucinogenic. It’s an all-natural high that bubbles and swells from a song like the mysterious “Intervention: Sol”. Sometimes it’s hard to tell where Schnauss’ synth ends and Munk’s guitar begins. “MST” brightens up with an early 80s electronic vibe thanks to some boisterous drum programming. “Intervention: Mane” gives us plenty of woozy vibe that takes us from the dance floor to floating in space.
A great thing about this album is that these guys don’t rely on atmospheric swaths of noise alone to carry them. There are moments of blissed-out ambient, but there are also moments of almost dance floor vibes that make the album all the more engaging.
Side two’s “Ao Hinode” feels like some sort of spectral light shining down on us mere mortals, while “Spellbreaker” has an almost mid-80s Cure vibe. This track seems to morph into a million moods before we even get to the halfway point. It’s an elegant shock to the system. “Intervention: Stjerner” is a beautiful and bubbling ride of synths that seems to owe a bit of debt to Schnauss’ other gig Tangerine Dream. It’s hypnotic bliss. “Caffeine Blues” shows Munk in top form with some exquisite guitar, while Schnauss backs him up with some heady sounds. “Coastal Path” ends the album on a sun-soaked drift of cascading clouds and road trip-worthy vibes.
Passage shows two musical masters at the top of their game. Each are front and center, but never feel as if they’re vying for our attention. They come together, synth and guitar, to paint good vibes and heady, existential bliss. Ulrich Schnauss and Jonas Munk serve only one master here, and that is the song. They follow the muse wherever she takes them. The musical mind melding of Ulrich Schnauss and Jonas Munk, so far, is the best thing to hit my ears in 2017.