The works represent 20 years of a stony way to the LOOP (Echoplex DP) on both levels:

- musical evolution (rather a spiritual evolution with improvisation than study of the music itself)

- technical evolution (Matthias main work that supported it and structures it):

All those recordings (except "Electric Mantras") mixed live to two tracks vigurously edited and mastered on the Macintosh All the bass sounds come from the PARADIS Elegy with Polysubbass or PolyBass
DUOS US Tour 2002 Europa Tour 2003
	"Aroni encontra Oxossi" (2001) (the meeting of two spirits of nature) Bira Reis brings a lot of spirit of the forest, indian blod and colours of Africa and India to this music... The cover was especifically painted by Cheyenne		"Liebevoll"
	"Flechas de Fogo" (2001) This is the first document of a new music which is not mainly relaxing as my last decades focus was, but energetic, quick and euphoric. There was some solo work into this direction last year, but it only really developped when old friend Giba learned to use loops. We play this live!		"Flechas"
	"Beats of Peace" (1988/92) With David Hoppkins, the Irish percussionist/flautist and instrument researcher. His instrument used to be the Bodhrán (Irish big hand drum), but then he collected all records and instruments of the most hidden cultures. Out of books and pictures, he also built his own instruments, mostly in Bamboo. I recorded his CD "Hear the Grass" with 16 tracks of only bamboo instruments - an incredible rich experience. David used loops before I did and was one of the first clients for the LOOP delay.		"Spielplatz" (play ground) light triangle "Palm Shelter" Kalimba...
	With Marcelo Bernardes, the woodwind player with Chico Buarque and Francis Hime. Not just a brilliant musician but master of his religious group. I never met a musician improvising so free and light: "sometimes you have to just play!". Many pieces remember classical or traditional popular music. Controlled Baroque clarinet, birdlike happy very quick piccolo and deep sax meditations flow into each other. "O primeiro encontro" (1988) "o segundo encontro" (1994) The third meeting happened in '97 and hopefully will be ready for release soon!		"Passaro Carioca"
			"Revitalizar Saudades" almost no loops, very free developping harmonic impro! "Pifano Shuffle" with Picolo looped! "Finale"
	"Electric Mantras" (1988/89) As an experiment to break out of the strict real-time recordings, an improvised base with Miranda was recorded in 4 tracks (video HiFi + PCM converter), then the good parts were copied to 16 tracks. Still in Brazil, Miranda added more keyboards and Marcelo Bernardes played woodwinds over it. Then in Switzerland, Bea Giossani and Dominique Schmid added voices and David Hoppkins flutes and percussion (see separate CDs with those musicians). Repetition is my only song with words. They came to me when I drove home after the first attempts to mix the base and like a miracle, the text fited perfectly between the guitar solos!		"Repetition", the only song with words about the spiral of time... 4'30" / 4,2MB "Lago dos Gatos" 2,2MB "Electric Mantras" 40" / 24MB
	"Funcsonhamos" (1987/88) (word fusion with "dream" and "function") This a historic recording. Its where the ideas for the Echoplex started. I used to feel that Miranda turned my soundcarpets (I did not know the expression "soundscapes" then) finally into music. I brought timing into the loops and he filled it with swing. I felt a melody and he wraped it into a style. He never searches for a sound on his machines, he just keeps calling apropriate new ones and thinks very quickly to form a harmonic structure - all while playing. All has been recorded at once onto a SONY dolby C Walkman. Only 10 years later I had the oportunity to edit and master the material. We used a Roland SRV2000 Reverb and looped into a single t.c.2290 for both of us. On the first tracks (I left them in chronological order) we only had 4 seconds of loop time, later 11. While listening to this music, I started to imagine long multiplied loops, and several synchronized units, which gave me the motivation to build the LOOP delay. I think something special started there and a great inspiration was given. I can only thank and go on working to complete what with these and some more musical experiences iniciated in Rio de Janeiro, 1987.		"Despedida do Pai" The very first of those recordings. It helped me a lot to keep up when my father died shortly afterwards... "Salsa?" "Funcsonhamos" A mix of sonhar (dream) and funcionar (work out), but you can also hear out "funk" if you want...
SOLO GUITAR
	"Música AguArianA em Jejum" (1999) Recorded during a 4 day Lent in the Center for Chinese culture during Carnaval '99. The process of just drinking water to get rid of all material and emotional desires is very interesting and resulted in strong changes in real live afterwards. Every evening, the group meditated while I plaid. A strongest bit of each night is on the CD. This is my most quiet, really meditative work.		"Massagem" A piece for meditation, made the help of philosopher ZeBrito listening. Originally 45", now 8"
	"Música AguArianA para JantArte" (1997) JantArte was a monthly event at the chinese culture center with chinese vegetrarian food, a speach and my music to feed body, mind and soul. The public used to lay down or sit on the carpet and mind traveled to places I had never imagined this music could lead to...   I planned to create a massage CD for the center. I did not get to it yet, but I offer a glance at it in form of a sample of the first track ...		The main piece on this CD is the 25' "A Viagem Profunda": Peacefull beginning Stormy middle Grande Finale
	"Música AguArianA para pensar-se" (music for thinking) (1995) Recorded in several Universities in late 1995. The public used to be very concentrated and open for any far out trip. Most parts are quiet and harmonic, but sometime we went into very strange and disharmonic, even yelling of agony. As a friend said: "I needed to think and put in your tape, but it came to a point where it was just impossible to think anything!". That's a very interesting point, my friend, afterwards, in the next relaxing part, you will profit from what your mind did, while it "did not think".		Recado na UFBA There message during the music is about the courage to imagine and thus changing the future.
	"Música AguArianA para viajar" (music to travel) (1995) Recorded at the Rodoviaria of Salvador (intercity bus station), where lots of people wait for their bus or for their friends to arrive. All kinds of emotions are retained behind the silent faces or break out suddenly in tears and hugs for people that have not been or will not be seen for a long time. Many go on their weekly trips they cannot stand any more, others are at the edge of a complete change in their lives - the moment to clean out the head of the old stories and create space for hopes and plans for the next phase. The simple, pleasant, sometimes almost rocky music helps to go inwards. The loops continue circulating in the head long after the sound stopped.		"Areia Quente" (hot sand) A quick pulse with many trebly guitars - rather intense
	"Maria" (1993) The year I finished the LOOP delay and moved to Brazil and met Maria in our wooden house at the beach. A documents of all kinds of emotions.		"Grama para Todos" (Grass for all), thinking of the very dry region Maria was born in. "Dúvidas" cleaning doubts... "Bass Line"
SOLO PIANO
	"O piano da Francisca" (1992/3) The third category did not really start yet: I always used to play piano. I am not serious in technical knowledge, but full of ideas. There are no loops.		"going deeper"
STRANGE SOLOs "Blues" - I started playing guitar with the records of Clapton. So when someone in a Bar in '96 insisted, I tried to remember... "The first electric percussion experience" I once mounted a microphone on the guitar and played a piece of Bamboo with a stick inside. I dont have much rithmic talent, but I sure developped an interesting tecnique... the bass drum is a hit on the mic itself, in a strange moment... "Estreia da Moringa no SESI" I built a rather interesting and sophisticated transducer system into a simple clay pot. When I had a concert at SESI in '98, I felt I had to demonstrate it. It runs into its own Echoplex. There is also an electric piece of bambu and a Kalimba prototype... "Break Through" A self therapy work. Unlucky love, this time. Its necessary to go through this, but it hardly makes sense to show it to some public. I put it here as an example of lots of even uglyer sounds I also made!
Historic Recordings