WEBVTT
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Hello everyone.
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This is Keith "MuzikMan" Hannaleck with the Final on Vinyl Podcast.
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And today we are with Bernard Koch, who just released Behind the Hills, a contemporary New Age instrumental album.
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Came out August 28th, a few days ago, on Treetales Records.
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And I spoke to Bernard about his common colors album about a year ago.
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And uh it seems like there is some continuity here with the albums, and uh has some lovely pastel flowers on the cover, and uh it's beautiful music.
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I really enjoyed listening to it, and welcome back, Bernard.
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Hi.
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I welcome back.
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Yes, good to talk to you again.
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So uh let's talk about the new album.
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Uh maybe talk a little bit about what your process was, uh what were some of the inspirations and uh actually was there a connection from the last album?
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Uh maybe thematically um with Behind the Hills connecting to common colors or or not?
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A little bit, yes, because I'm living and working in uh in the countryside.
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I'm living in a small village in the countryside, and uh the era is uh hilly landscape, a little um very beauty, more uh quiet, and that I really love and and that's always a good inspiration for my music, for my compositions.
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Just so folks know you're in Germany.
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Whereabouts in Germany are you?
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It's uh it's in the south of um Nordrhein, Westphalia, and um yeah, it's um more west on the west side of Nordrhein-Westphalia, and um yeah.
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I grew up on the land and I'm um I am a man for land, and I think my music is maybe you can say land music, country music, but uh on on my own um wise, on my own sound, yes.
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And I think you you have family members that contributed as well.
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Can you talk a little bit about that?
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Uh would you please repeat it?
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I see you had family members contribute to the recording as well.
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Um I have um last numbers, yes.
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And um that's um you know it's it's uh it's my style, of course.
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Uh but this time I feel um I felt another things, new things.
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Um when I start with my very first record uh flowing in 1989, and which was uh it was a hit in the US United States, and um at that time I played together with my um wife, she plays the flute, she's a classic trained flutist, a professional, and my brother on percussion, and on the new record, Behind the Hills, um I try different tracks uh playing with um some melodies with the flute.
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So made the arrangements and it fits perfectly.
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It was incredible, and I was very, very um happy about that.
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My wife Christian as well.
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And uh so of course it was hard work.
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Every record is hard work, it's um real work, no AI music, it's uh real recording, and um so I'm really happy about the sound because because the sound is uh and the melodies are so good with the flute.
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It's much more better only piano, but um it's it's our real sound, and the flute belongs to the music.
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And I see you had uh Moritz on electric guitar and Christopher on cymbals and percussion, correct?
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Yes, uh Moritz is my son, and Christoph is my brother, and Chris uh Christoph was uh was from the beginning um as my wife um to uh together with our project Bambert Koch.
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You know, Bambert Koch is the German pronunciation, and I know of course uh American English pronunciation is uh Bruno White Cutch.
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And um yeah.
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How long did it take you to get the album together through all your recording and uh all the different parts that came into it?
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So first I I play my uh only piano um tracks and um has uh has uh uh records uh uh records uh melody, the um composition.
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Then I start um making arrangement.
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So of course I have a computer, but I use the computer like a tape machine, track by track, and um then um I'm you know I'm a um I'm for example I'm a Beatles fan and um I um try to make the very very best and making surprises, musical surprises in every track track, and I'm fascinating if you have a track with three and a half minutes, and you can put so many things uh in that uh short time.
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And I try um music um lines, melodies, new melodies in the track uh for flute, and I I heard that it's perfect, it's very good, and um as well as the symbols and synthesizers and a little bit guitar, twelve, twelve string, acoustic guitar, and electric guitar.
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So um yeah, it's um I'm happy with it.
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Well it should be.
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It's wonderful, wonderful recording.
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Has everybody thought to get anything on vinyl, or is that just uh too expensive to have done?
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Yeah, yes.
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At the moment it's uh probably too expensive.
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Uh so it's very early.
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It's uh the the record is out since uh last Friday.
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And uh maybe we will see if if the record um so is it worth um to make a vinyl, I will do that.
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And uh, you know, I have my um distribution and music publisher, uh HN Entertainment in California, in Oakland, and for many years.
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And uh that's uh that's um yeah, we're thinking about.
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But we want to see how how it is, and I think the very, very first start, it's it's good.
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It's very good.
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Are any of your releases out on vinyl?
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Are they available?
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Um I there are CDs.
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You can buy a CD, physical CD, on for example, at Amazon.
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And everywhere where CDs are available.
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I see.
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Would would you like to talk about some of the um the gear that you use, some of the equipment that you use during your process?
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This is a good question.
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I have actually uh an old yeah, I have a very old uh gear.
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Um I really uh work uh with uh uh still with uh old uh Mackie mixer.
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It's an analog uh mixer and um Mackie 328 bus.
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And um I still I like it, and of course I have a computer, I have lots of plugins.
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Um I work with Steinberg Cubase as uh the host and uh I of course I have uh a few very old synthesizer uh sequential uh circuits and uh other um Yamaha DX7 and I still like it and I mix it with with real instruments and that's um it's uh in the end um makes for me the best sound.
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I still work with a very old lexicon reverb.
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So um you know it's it's a classic, classical, it's very old, but it's um yeah, I I like the sound.
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It's the warms and um yeah, it's it's I can feel it.
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And that's uh very, very important for me.
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Having having a personal sound and uh which fits to the music.
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I see.
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So I'm wondering um are there any emerging artists that are coming out of Germany currently that uh you could tell people to go listen to that might align with your type of music?
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Um you know, um in Germany um we have um I have fans here, yes, of course.
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But you know, Germany is is um if you uh compare it with the United States, it's uh it's a small country.
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And um, but uh we have not so many um radio stations and and possibilities as in America and uh that's with so I have people here and in America and in other countries they are fans and very often are people uh which have really uh problems, mentally problems or other surgeries and so many um problems, and they wrote me uh no matter which country it is, uh your music helps me.
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So it's like healing music.
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I never think on healing at the producing um time, I don't think on healing music or something like that.
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I made it so as good as I can, but it's very good to hear if you um if people the music people really helps.
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It's very, very good, I think.
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Yes, it's very therapeutic.
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And do you find that process for you creating it to be therapeutic and relaxing?
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It's yeah, and it's it's crazy.
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If I I sometimes well I I'm often stretched yes, I'm stressed and uh I don't know why, but I am, and um if I work on an album and I'm sitting for many months uh alone in my studio and give always what I have, um it's it's hard work.
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But in the end, uh if I'm ready and I have a little bit of distance to the producing process, then I must say it works for myself too.
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It really calm calm me.
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And um so I think then it's good.
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I have a good feel uh about it, and um I think it's uh the content of the music is real, and I know it it's it is real.
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Well, I think if you're blessed with a passion that you pursue and the end result is always, you know, good feelings, good vibes, and you know you're contributing something to the world, there's always a good feeling there of accomplishment and and and a warm feeling inside, no?
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It's a good feel, of course.
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I think it's betting uh the best what what what you can imagine.
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And um the music can be such a power and music can reach uh very, very um deep um sides of your soul, and music can say which you can't say in words often, um like Oscar Wilde once said.
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And uh so um it's it's instrumental music.
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But I think instrumental music basically says speaks to us too.
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You need you don't need always words.
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I love words, of course, but um that instrumental music is a language for itself.
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Yes, it really does.
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I mean you you don't need lyrics for music to speak to you, that's for sure.
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And you know, and I always look at the the cover art too and the track titles and and put it all together because you know it is a story that develops.
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It's like a book, right?
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Yes, of course.
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It's a story.
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Um by the way, the cover was painted for by my daughter, Hannah.
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And uh it's uh yes, it's uh um so it's a completely project, it's a family uh family project and um um she um painted it's a watercolor, and um so um and if you see and if I see the colors are so warm and colors are real, I really like it, I love it.
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And um, you know, if you um look to the names of the tracks, all in on, piano at night, sleeping flowers behind the hills, beautiful V V view and no castle and so on.
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Um it's actually exactly that what I what I um what I live here.
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And it's um every track is a story and every um so every puts fits good together and um it has to do with nature and um yeah and with lots of memories even from the childhood.
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Oh that's nice.
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Well you have a very talented family, obviously.
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Everybody contributes and that that must be a good feeling too that you don't have to reach out to sources outside of your own family.
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You're very fortunate in that way, you know.
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Yeah, yeah.
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So it was not a plan, um, but it was happened, and it is happened, and um I'm happy about it.
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Yes.
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Thank you.
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Well, Bernard, it's been a pleasure to speak to you once again, and I'm very happy for you for your new release Behind the Hills.
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I hope people are reached through your music.
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Um, as I say in my review, which will go up today, it's a tranquil journey through nature's soundscapes, and uh that'll be going up today with this interview, and uh hopefully it generates some more interest for you.
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Thank you.
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Thank you very, very much.
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It sounds very good, and um it's a pleasure to talk with you, Keith.
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Yes, sir.
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You take care.
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Bye bye now.
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Bye bye, Keith, thank you.
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Hello everyone.
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This is Keith "MuzikMan" Hannaleck with the Final on Vinyl Podcast.
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And today we are with Bernard Koch, who just released Behind the Hills, a contemporary New Age instrumental album.
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Came out August 28th, a few days ago, on Treetales Records.
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And I spoke to Bernard about his common colors album about a year ago.
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And uh it seems like there is some continuity here with the albums, and uh has some lovely pastel flowers on the cover, and uh it's beautiful music.
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I really enjoyed listening to it, and welcome back, Bernard.
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Hi.
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I welcome back.
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Yes, good to talk to you again.
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So uh let's talk about the new album.
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Uh maybe talk a little bit about what your process was, uh what were some of the inspirations and uh actually was there a connection from the last album?
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Uh maybe thematically um with Behind the Hills connecting to common colors or or not?
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A little bit, yes, because I'm living and working in uh in the countryside.
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I'm living in a small village in the countryside, and uh the era is uh hilly landscape, a little um very beauty, more uh quiet, and that I really love and and that's always a good inspiration for my music, for my compositions.
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Just so folks know you're in Germany.
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Whereabouts in Germany are you?
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It's uh it's in the south of um Nordrhein, Westphalia, and um yeah, it's um more west on the west side of Nordrhein-Westphalia, and um yeah.
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I grew up on the land and I'm um I am a man for land, and I think my music is maybe you can say land music, country music, but uh on on my own um wise, on my own sound, yes.
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And I think you you have family members that contributed as well.
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Can you talk a little bit about that?
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Uh would you please repeat it?
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I see you had family members contribute to the recording as well.
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Um I have um last numbers, yes.
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And um that's um you know it's it's uh it's my style, of course.
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Uh but this time I feel um I felt another things, new things.
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Um when I start with my very first record uh flowing in 1989, and which was uh it was a hit in the US United States, and um at that time I played together with my um wife, she plays the flute, she's a classic trained flutist, a professional, and my brother on percussion, and on the new record, Behind the Hills, um I try different tracks uh playing with um some melodies with the flute.
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So made the arrangements and it fits perfectly.
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It was incredible, and I was very, very um happy about that.
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My wife Christian as well.
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And uh so of course it was hard work.
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Every record is hard work, it's um real work, no AI music, it's uh real recording, and um so I'm really happy about the sound because because the sound is uh and the melodies are so good with the flute.
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It's much more better only piano, but um it's it's our real sound, and the flute belongs to the music.
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And I see you had uh Moritz on electric guitar and Christopher on cymbals and percussion, correct?
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Yes, uh Moritz is my son, and Christoph is my brother, and Chris uh Christoph was uh was from the beginning um as my wife um to uh together with our project Bambert Koch.
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You know, Bambert Koch is the German pronunciation, and I know of course uh American English pronunciation is uh Bruno White Cutch.
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And um yeah.
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How long did it take you to get the album together through all your recording and uh all the different parts that came into it?
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So first I I play my uh only piano um tracks and um has uh has uh uh records uh uh records uh melody, the um composition.
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Then I start um making arrangement.
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So of course I have a computer, but I use the computer like a tape machine, track by track, and um then um I'm you know I'm a um I'm for example I'm a Beatles fan and um I um try to make the very very best and making surprises, musical surprises in every track track, and I'm fascinating if you have a track with three and a half minutes, and you can put so many things uh in that uh short time.
00:06:07.519 --> 00:06:34.079
And I try um music um lines, melodies, new melodies in the track uh for flute, and I I heard that it's perfect, it's very good, and um as well as the symbols and synthesizers and a little bit guitar, twelve, twelve string, acoustic guitar, and electric guitar.
00:06:34.079 --> 00:06:40.239
So um yeah, it's um I'm happy with it.
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Well it should be.
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It's wonderful, wonderful recording.
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Has everybody thought to get anything on vinyl, or is that just uh too expensive to have done?
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Yeah, yes.
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At the moment it's uh probably too expensive.
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Uh so it's very early.
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It's uh the the record is out since uh last Friday.
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And uh maybe we will see if if the record um so is it worth um to make a vinyl, I will do that.
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And uh, you know, I have my um distribution and music publisher, uh HN Entertainment in California, in Oakland, and for many years.
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And uh that's uh that's um yeah, we're thinking about.
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But we want to see how how it is, and I think the very, very first start, it's it's good.
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It's very good.
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Are any of your releases out on vinyl?
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Are they available?
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Um I there are CDs.
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You can buy a CD, physical CD, on for example, at Amazon.
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And everywhere where CDs are available.
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I see.
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Would would you like to talk about some of the um the gear that you use, some of the equipment that you use during your process?
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This is a good question.
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I have actually uh an old yeah, I have a very old uh gear.
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Um I really uh work uh with uh uh still with uh old uh Mackie mixer.
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It's an analog uh mixer and um Mackie 328 bus.
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And um I still I like it, and of course I have a computer, I have lots of plugins.
00:08:34.320 --> 00:09:06.159
Um I work with Steinberg Cubase as uh the host and uh I of course I have uh a few very old synthesizer uh sequential uh circuits and uh other um Yamaha DX7 and I still like it and I mix it with with real instruments and that's um it's uh in the end um makes for me the best sound.
00:09:06.159 --> 00:09:11.039
I still work with a very old lexicon reverb.
00:09:11.039 --> 00:09:20.720
So um you know it's it's a classic, classical, it's very old, but it's um yeah, I I like the sound.
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It's the warms and um yeah, it's it's I can feel it.
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And that's uh very, very important for me.
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Having having a personal sound and uh which fits to the music.
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I see.
00:09:37.759 --> 00:09:49.439
So I'm wondering um are there any emerging artists that are coming out of Germany currently that uh you could tell people to go listen to that might align with your type of music?
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Um you know, um in Germany um we have um I have fans here, yes, of course.
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But you know, Germany is is um if you uh compare it with the United States, it's uh it's a small country.
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And um, but uh we have not so many um radio stations and and possibilities as in America and uh that's with so I have people here and in America and in other countries they are fans and very often are people uh which have really uh problems, mentally problems or other surgeries and so many um problems, and they wrote me uh no matter which country it is, uh your music helps me.
00:10:44.879 --> 00:10:47.120
So it's like healing music.
00:10:47.120 --> 00:10:56.240
I never think on healing at the producing um time, I don't think on healing music or something like that.
00:10:56.240 --> 00:11:06.799
I made it so as good as I can, but it's very good to hear if you um if people the music people really helps.
00:11:06.799 --> 00:11:09.519
It's very, very good, I think.
00:11:10.079 --> 00:11:11.679
Yes, it's very therapeutic.
00:11:11.679 --> 00:11:17.519
And do you find that process for you creating it to be therapeutic and relaxing?
00:11:20.079 --> 00:11:22.720
It's yeah, and it's it's crazy.
00:11:22.720 --> 00:11:44.799
If I I sometimes well I I'm often stretched yes, I'm stressed and uh I don't know why, but I am, and um if I work on an album and I'm sitting for many months uh alone in my studio and give always what I have, um it's it's hard work.
00:11:44.799 --> 00:11:57.360
But in the end, uh if I'm ready and I have a little bit of distance to the producing process, then I must say it works for myself too.
00:11:57.360 --> 00:11:59.759
It really calm calm me.
00:11:59.759 --> 00:12:04.159
And um so I think then it's good.
00:12:04.159 --> 00:12:14.000
I have a good feel uh about it, and um I think it's uh the content of the music is real, and I know it it's it is real.
00:12:15.759 --> 00:12:33.039
Well, I think if you're blessed with a passion that you pursue and the end result is always, you know, good feelings, good vibes, and you know you're contributing something to the world, there's always a good feeling there of accomplishment and and and a warm feeling inside, no?
00:12:34.879 --> 00:12:36.639
It's a good feel, of course.
00:12:36.639 --> 00:12:41.919
I think it's betting uh the best what what what you can imagine.
00:12:41.919 --> 00:13:02.559
And um the music can be such a power and music can reach uh very, very um deep um sides of your soul, and music can say which you can't say in words often, um like Oscar Wilde once said.
00:13:02.559 --> 00:13:07.199
And uh so um it's it's instrumental music.
00:13:07.199 --> 00:13:12.480
But I think instrumental music basically says speaks to us too.
00:13:12.480 --> 00:13:14.959
You need you don't need always words.
00:13:14.959 --> 00:13:22.720
I love words, of course, but um that instrumental music is a language for itself.
00:13:24.480 --> 00:13:26.159
Yes, it really does.
00:13:26.159 --> 00:13:30.399
I mean you you don't need lyrics for music to speak to you, that's for sure.
00:13:30.399 --> 00:13:41.360
And you know, and I always look at the the cover art too and the track titles and and put it all together because you know it is a story that develops.
00:13:41.360 --> 00:13:42.799
It's like a book, right?
00:13:43.919 --> 00:13:45.199
Yes, of course.
00:13:45.439 --> 00:13:46.559
It's a story.
00:13:46.559 --> 00:13:51.519
Um by the way, the cover was painted for by my daughter, Hannah.
00:13:51.519 --> 00:14:15.839
And uh it's uh yes, it's uh um so it's a completely project, it's a family uh family project and um um she um painted it's a watercolor, and um so um and if you see and if I see the colors are so warm and colors are real, I really like it, I love it.
00:14:15.839 --> 00:14:29.039
And um, you know, if you um look to the names of the tracks, all in on, piano at night, sleeping flowers behind the hills, beautiful V V view and no castle and so on.
00:14:29.039 --> 00:14:38.480
Um it's actually exactly that what I what I um what I live here.
00:14:38.480 --> 00:15:04.399
And it's um every track is a story and every um so every puts fits good together and um it has to do with nature and um yeah and with lots of memories even from the childhood.
00:15:05.360 --> 00:15:06.399
Oh that's nice.
00:15:06.399 --> 00:15:08.879
Well you have a very talented family, obviously.
00:15:08.879 --> 00:15:16.240
Everybody contributes and that that must be a good feeling too that you don't have to reach out to sources outside of your own family.
00:15:16.240 --> 00:15:18.720
You're very fortunate in that way, you know.
00:15:18.720 --> 00:15:20.959
Yeah, yeah.
00:15:21.279 --> 00:15:27.679
So it was not a plan, um, but it was happened, and it is happened, and um I'm happy about it.
00:15:27.679 --> 00:15:28.240
Yes.
00:15:28.240 --> 00:15:29.199
Thank you.
00:15:31.279 --> 00:15:38.000
Well, Bernard, it's been a pleasure to speak to you once again, and I'm very happy for you for your new release Behind the Hills.
00:15:38.000 --> 00:15:41.439
I hope people are reached through your music.
00:15:41.439 --> 00:15:56.480
Um, as I say in my review, which will go up today, it's a tranquil journey through nature's soundscapes, and uh that'll be going up today with this interview, and uh hopefully it generates some more interest for you.
00:15:58.079 --> 00:15:58.639
Thank you.
00:15:58.639 --> 00:15:59.919
Thank you very, very much.
00:16:00.159 --> 00:16:05.839
It sounds very good, and um it's a pleasure to talk with you, Keith.
00:16:06.639 --> 00:16:07.279
Yes, sir.
00:16:07.279 --> 00:16:08.159
You take care.
00:16:08.319 --> 00:16:09.279
Bye bye now.
00:16:09.279 --> 00:16:12.639
Bye bye, Keith, thank you.
