Viennese pianist, keyboard player, and composer Gerald Krampl might be best known to some from his progressive rock work with Kyrie Eleison and Indigo or, possibly, the more spiritual and meditative music from his Agnus Dei project. His prior solo project Timediver (2008) reflects more of the former work, while his current release, Innocent Wasteland comes near to the latter. However, the explanation is to simple. Krampl has suggest that this work returns to his roots in what he describes as "classic and minimalism meets electronic." Krampl adds that he has "radically turned away from commercial concessions like radio playability, accessibility, clear song structures in favor of a more free, his personal roots reaching music understanding." To this end, Mr. Krampl has succeeded with Innocent Wasteland. For all its creativity and minimalism, this work is abstract, unidentifiable, and mostly obtuse.
Innocent Wasteland has Krampl playing classic piano over a minimalist use of synthesized stings (viola, violin, or cello). The music is somber and sober, bordering on eerie depression. It becomes mildly light and delightful with the closing piece Morning Breaking Through, yet it feels a repressed happiness rather than a joyous rebirth. While I wouldn't call the entire piece disturbing, I do wonder how or to whom Innocent Wasteland will connect. It might only be consigned to the next broadcast of Echoes, the New Age platform. Regardless, with a strong classical piano surface over the bare compositions, Krampl succeeds in creating his minimalist atmosphere he desired. Unfortunately, I wonder if only he and his diehard fans will appreciate it.
With a strong classical piano surface over the bare compositions on Innocent Wasteland, Gerald Krampl succeeds in creating his minimalist atmosphere he desired. Unfortunately, I wonder if only he and his diehard fans will appreciate it.