Produced between June and August 1992 I  Released in November 1992 on MFS-Records I Format: LP/CD I Re-released in August 1994 CD on Logic Records/BMG  and in Nov. 1998 CD on time out of mind-records I  Downloadrelease: June 2007 / time out of mind-records I

Single-Release: Heaven`s Tears, April 1993

1 The Space Track 8:28

2 Stimme der Energie 6:25

3 Stellar Supreme 6:11

4 Heaven’s Tears 6:10

5 Planet Earth 1993 (Blue) 5:49

6 The Pianotrack (Yellow) 5:11

7 Sea Of Tranquility 3:20

8 Cosmikk Trigger 5.1. 1:01

9 Sweet Dreams For Kaa – My Love 5:37

10 Studio Or Spaceship           0:51

11 Galaxia 4:14

12 Cosmic Force 4:55

13 Eurovoodoo 6:24

14 Liebe (Red) 6:44

15 The Universal Mind 5:33

16 The Space Track (Ambient Version) [* Previously unreleased] 3:59

17 Heaven’s Tears (Original Layout – Homestudio May’92) [* Previously unreleased] 6:25

18 The Space Track (Vinyl Version) [*] 7:41

 

[* = Download-Bonus, nicht auf CD]

 

 

 

 

 

Composed completely by Cosmic Baby
Produced by Cosmic Baby, co-produced by Jens Wojnar, except track 9 produced by Cosmic Baby, Paul van Dyk & Jens Woynar
track 15 produced by Cosmic Baby & VOOV
All accoustic and midi-instruments performed by Cosmic Baby, guitars by Jens Wojnar.
Vocals on track 5 by Kaa and on track 8 by Kyle Alexander
Digitally mastered by Wolfgang Ragwitz
Published by DSB Musikverlag

 

 

THOUGHTS:

 

No artist, no work is created out of nothing. No matter how new and original a work appears to the public or however fast the media find buzzwords to describe it like “shooting star” or “brilliant first album” there is always a long history behind it.

In my case it was 29 years of which 25 were heavily involved with making music.

What is called a “great piece” is composed of a number of separate elements which interact in an ideal constellation and set off a complex chain reaction. Suddenly everything comes together in a happy mix: personal mindspace, skills, conceptions, marketing, technical opportunities, emotional situation and social circumstances.  In summer 1992 everything that I needed came together.

 

I moved into Jen’s Wonars’s studio in Berlin Tempelhof and in the subsequent weeks usually only left it when I had to perform at the weekends. The performances were unbelievably important for the studio work as I could incorporate the things I had tried out live and the experiences I had on stage directly into the composition and the mix.   On “Stellar” you can find the quintessence of the various facettes of my musical expression at the time. Conceptional archetypes:  “The Spacetrack”, “Heaven`s Tears”, “Liebe” and “Planet Earth 1993”.

 

The Spacetrack” brings together the clearly defined futuristic music of Kraftwerk, the grooving elegance of disco music and the highly romantic emotional appeal of Chopin. The melodic use of the simplest of all electronic sounds, the sinus curve, became a Cosmic Baby classic.

 

Heaven`s Tears” documents two archetypical Cosmic Baby styles.

Strong piano motives in combination with sequencer arpeggios à la Tangerine Dream or Giorgio Moroder, with techno beats added, make for emotionally laden, directly accessible music, both in the club or at home.

 

As an interesting rarity I have released the original version of “Heaven’s Tears” under the bonus tracks on the MP3-release. I composed it one early evening when I had the windows open in my one-room apartment in Wiener Strasse, Berlin Kreuzberg, and was trying to accompany a fantastic rain shower with my instruments.

 

 

An example of “Archetype III” is “Liebe” the lyrical hit from “Stellar Supreme”. The motif:

 

“To find melodies that bring you to tears but make you beam with joy at the same time. In other words, “dialectic composing”. Familiar sounds which start out as standalone phrases, actually a bit clichéd, are brought into a dialectical discourse with the aim of making something beautiful and new from their synthesis. This cut: the thesis “cling clang bell” meets its antithesis “Acid-303”…

 

 

 

What techno purists, second rate heroes in the scene and other dedicated followers of fashion always criticized about me (and still do) but what gave others access to techno music, were the compositions that simply wanted to be “music” and didn’t give a damn about what was “allowed” or “not allowed”. Pieces like “Planet Earth 1998” and “The Universal Mind” are the first examples of pieces that could be described as electronic instrumental pieces; either minimalist and abstract, or heavy on the atmosphere.

 

 

REVIEWS:

 

If ever there was a soundtrack for driving across the sand dunes of Mars, this is it!

Robert Shea in : Import Index 2/3, 1993

 

Anonymous diamonds like Cosmic are furnishing the space disco for what is already shaping up to be a milestone year for music of the future. The real progressive house.

Kris Needs in: New Musical Express, 9 January 1993

 

Anything which wants to go by the name of ‘Trance’, must from now on measure itself up against ‘Stellar Supreme’

Claus Bachor in: CUT, December 1992

 

A new kind of World-Music with the most modern of High-Tech seems to have been found here.

Stefan Meyer in: zitty 25/1992

 

Cosmic Baby takes up where electro-Pioneers such as Brian Eno or Kraftwerk left off. He links up soundtracks for the inner-eye with hypnotic rhythm-loops … a bewitching genius!

Claudia Wiegand in: Prinz, November 1992

 

 

Even for those who are only marginally interested in electronic (dance) music, ‘Stellar Supreme’ is a record you’ve just got to have.

Jochen Ditschler, in: Groove 20/1993

 

Single Heaven`s Tears

 

A trio of remixes – all monstrous … the Cosmic baby mix is a smooth metallic cruise through the high velocity vistas he has made his own.

Kris Needs in: Echoes, 15 May 1993

 

What with the latest Cosmic Baby, and the latest Visions of Shiva, this label are shaping up very nicely. In fact I believe they are starting up a UK arm over here … As you would expect it goes through various degrees of uptempo intensity, compared with a lot of other German releases, this is well above average and a worthy purchase. Recommended.

Dave Wesson in: Mixmag Update, July 1993

 

The Heaven’s Tears’ remixes are by Jam El Mar Jam & Spoon, Kid Paul and the Cos himself. Jam starts by breezing in with that haunting piano line before upping gears into severe trance mode. The mood, however, remains dreamy and melodic. Kid Paul and Cosmic both opt for the electro approach, introducing a synth-line of Benny Hill trouserless chase velocity into the Moroder-esque pulserama.

Kris Needs in: New Musical Express, May 1993