Cult Classic: Adelbert Von Deyen-Atmosphere.

After Adelbert Von Deyen released his debut album Sternzeit on Günter Körber’s Sky Records in 1978, the label became his home for the next nine years. This was the most productive period of Adelbert Von Deyen’s career. His creativity blossomed and he released eight studio albums and one live album. This included his third album Atmosphere. It marked the next chapter in the story of Adelbert Von Deyen, who originally, began making music as a hobby.  

By 1977, Adelbert Von Deyen was working as a retoucher for a Berlin newspaper. While this kept him busy during the day, Adelbert had plenty of free time in the evenings. Wanting to put his free time to good use, Adelbert decided to take up a hobby. The hobby Adelbert Von Deyen chose was music.

This was no surprise, as at that time, Berlin had a thriving music scene. Many of the Krautrock bands, were formed in Berlin. Meanwhile, Tangerine Dream, Klaus Schulze, and Manuel Göttsching were pioneering the Berlin School of electronic music. However, Adelbert Von Deyen didn’t just want to listen to the music being made in Berlin, he wanted to make music. 

The type of music Adelbert Von Deyen  wanted to make was electronic music. So he began to working out what type of equipment he would need to buy. Having made a “shopping list” of equipment, Adelbert headed out and bought a second hand synth, a  Revox A77 tape recorder and keyboards.  Little did he realise that this was just the first of numerous shopping trips he would make.        

Having started making music in the evenings as a hobby, gradually Adelbert Von Deyen was bitten by the music making bug. Soon, he was adding new pieces of equipment to his home studio. This meant making sacrifices. Sometimes, when Adelbert hadn’t enough money to buy new pieces of equipment, he borrowed from the funds from the bank. Adelbert was dedicated to making music.   

When he returned from work each night, Adelbert Von Deyen began making music. He often worked late into the night, and sometimes, into the early hours of the morning as he perfected his elegiac soundscapes. This took time, patience and determination.  

After eight months, Adelbert Von Deyen had finished his first compositions. He decided to tape the compositions, and send a copy to various German record companies. Maybe he hoped, one of the record companies would interested in his album?  This was a long shot. Adelbert Von Deyen was a new artist, who had only been making music for eight months. However, it was  a case of fortune favouring the brave. 

One of the record companies Adelbert Von Deyen had sent his tape to, was Hamburg based Sky Records. They had been formed just three years earlier, in 1975 by Günter Körber. Since then, Sky Records’ had only released eighteen albums. However, Sky Records had released albums by Bullfrog, Streetmark, Wolfgang Riechmann, Michael Rother, Cluster, and Hans-Joachim Roedelius. This was already an impressive roster, and one that many musicians were keen to sign to.

Sky Records had already established a reputation for releasing groundbreaking music. Just like most record companies, Sky Recordswere being sent many tapes during 1978. Usually, the tapes would range from good and bad to indifferent. One of the tapes that Günter Körber had been sent was Adelbert Von Deyen’s. Having listened to the tape, Günter Körber made the decision  to add a new name to the Sky Records’ roster,.. Adelbert Von Deyen.


Günter Körber contacted Adelbert Von Deyen to offer him a recording contract.  Sky Records were willing to record Adelbert Von Deyen’s debut album worldwide. The as yet unnamed album became Sternzeit, which featured a distinctive cover painted by Adelbert Von Deyen.

Sky Records’ release of Sternzeit rewarded all the time and effort Adelbert Von Deyen’s had spent recording his debut album. From March to August 1978,  Adelbert worked on the two lengthy tracks that became Sternzeit. They were Per Aspera Ad Astra ,which was a three-part suite, featuring Mental Voyage, Stellardance and Astral Projection. Then on the second side of Sternzeit was the title-track a twenty-five minute epic. These tracks were recorded in Adelbert new home studio.

Although Sternzeit was recorded in his home studio, Adelbert Von Deyen had access to an enviable array of equipment. This included a myriad of strings including an ARP Odyssey. They were joined by synth strings, an organ,  electric piano and electric guitar. Adelbert Von Deyen played each instrument, and  produced Sternzeit. Once the album was recorded, it was mixed at Star-Studio, in Hamburg. Now Sternzeit was ready for release.

When Sternzeit was released later in 1978, it was well received by critics. Sternzeit sold reasonably, well and certainly was more successful than many Krautrock and Berlin School albums. It was only later that Adelbert Von Deyen’s music would receive the credit and critical acclaim it deserved. By then, Adelbert Von Deyen had an enviable back-catalogue.



After the commercial success of Sternzeit, Adelbert Von Deyen was able to give up his job as a a retoucher for a Berlin newspaper and devote his energies to making music. This was a dream come true. Adelbert Von Deyen had also become something of a celebrity in his home town of Lübeck. He began to receive fan mail from record buyers, and was being booked to sign autographs. However, Adelbert Von Deyen wasn’t going to let his newfound celebrity status go to his head. Not when he had music to make.

When Adelbert Von Deyen had signed with Günter Körber’s Sky Records, the contract specified that he must deliver one album each year. So Adelbert Von Deyen’s thought’s turned to his sophomore album.  Part of the inspiration for one of the tracks came something that happened during a short holiday after the release of Sternzeit.

To celebrate the success of Sternzeit, Adelbert Von Deyen decided to book a short holiday in Nordborg, on the Danish island of Alsen. This would allow Adelbert to recharge his batteries. He had spent the best part of a year juggling his full-time job and recording his debut album. Sometimes, Adelbert had worked into the wee small hours of the morning. So he was due a  break. Little did Adelbert realise as he journeyed to Norborg, that his short break would later, provide the inspiration for his much-anticipated sophomore album.

On his return to Lübeck, Adelbert Von Deyen began work on his sophomore album, which he decided to call Norborg. His holiday provided plenty of inspiration for an album. On Side One, which Adelbert decided to call Moonrise, he decided to replicate sounds of life on Norborg from the moment the moon begins to rise. To do this,  Adelbert decided to recreate the sound of nature and the elements taking their toll on Norborg. He remembered the wind blowing, eddying and swirling. Meanwhile, Seagulls cry and protest as they battled the buffeting wind. Other times, Adelbert remembered a calmness that descended. This brought with it a sense of serenity that he planned to replicate in a ruminative, ethereal and elegiac soundscape. It would invite introspection and reflection. Then on the B-Side, Adelbert planned to recreate a ferocious blizzard that he had witnessed during his break. This he decided to call Iceland. Having plotted the ideas for his sophomore album, Adelbert Von Deyen headed into his Turm-Studio, in  Lübeck.

That was where Adelbert Von Deyen kept his enviable array of instruments. He was gradually adding new equipment to the studio. He would play on Norborg, a variety of instruments. This would include his ARP Odyssey, It was joined by a Farfisa String Orchestra, Hohner Electronic Piano, Farfisa Organ and Rhythm-Computer. These instruments were recorded into a Revox A 77 Taperecorder and mixed using a  Roland Mixer. Gradually, the album began to shape. 

Eventually, Norborg was completed. By then, Adelbert Von Deyen had written, recorded, played each instrument,  produced and mixed Norborg. This was quite incredible, considering Adelbert was still a relative newcomer to music. He was making up for lost time.

With Norborg complete, Adelbert Von Deyen turned his attention to the album cover. Just like Sternzeit,  Adelbert painted a picture that became the album cover to Norborg. This distinctive painting depicts perfectly the music on Norborg.

Now that the album was completed, Adelbert Von Deyen delivered the album to Günter Körber at Sky Records. Just like Sternzeit, he was won over by the music on Norborg. Its release was scheduled for later in 1979.

Before that, copies of Norborg were sent to critics. They too, were won over by the music on Norborg and the album received critical acclaim. That was no surprise.

Norborg is evocative, ethereal, elegiac and has a cinematic quality. So much so, that it’s possible to imagine the moon rising over Norborg as nature and the elements take centre-stage on Moonrise. Synths swirl, replicating the gusts of eddying winds, before the sound of seagulls battle the buffeting winds. Meanwhile, Adelbert Von Deyen continues to improvise, sculpting and carefully creating the ruminative, introspective, meditative and sometimes dramatic soundscape that is Moonrise. 

Iceland where Adelbert Von Deyen recreates the ferocious blizzard he witnessed during his holiday in Norborg. What follows is the perfect musical storm. To create this, he deploys his arsenal of instruments effectively and creates an authentic sounding soundscape. It builds, ebbing and flowing, veering between dramatic to wistful and melancholy. Always, there’s a cinematic quality to this second ambient soundscape. It finds Adelbert successfully combining ambient, avant-garde, Berlin School and electronica on much-anticipated sophomore album Norburg. Its ethereal beauty was sure to find an audience.

That proved to be the case. When Norborg was released by Sky Records later in 1979, it was to widespread critical acclaim and commercial success. Norborg sold reasonably well, outselling many similar albums. It also surpassed the success of Adelbert Von Deyen’s debut album Sternzeit. The Adelbert Von Deyen success story would continue into the eighties.



Having released Norborg, there was no chance that Adelbert Von Deyen would rest on his laurels. He was already contemplating his third album. This would be an album where Adelbert sonically explored the subject of Atmosphere, which lent its name to the album. To help Adelbert on what was essentially a concept album, he enlisted the help of a few musical friends.

This included drummer Wolfgang Zabba Lindner. In the early seventies, he had previously been a member of the progressive rock band Tomorrow’s Gift. They released their eponymous debut album in 1970, with their sophomore album Goodbye Future following in 1973. That marked the end of Tomorrow’s Gift’s recording career. However, in 1974 Wolfgang collaborated with Carsten Bohn on an experimental percussive album Vollbedienung Of Percussion. It was released in 1974 and hailed an innovative album. Six years later, he joined forces with Adelbert Von Deyen.

When work began on Atmosphere, Adelbert Von Deyen headed to Studio Norgaard in August 1979. This would become a second home for him. Apart from the drums on Time Machine and Silverrain, Adelbert deployed his trusty synths on Atmosphere Part I and Atmosphere Part II. Both were four part suites, where swathes of glacial and ethereal synths were layered and glide elegiacally as sustained drones are added. Sometimes, they seem omnipresent as they last for minutes on end. Just like drums beats and a myriad of effects, they play an important part in the sound and success of Atmosphere.  Adelbert worked tirelessly honing and sculpting the atmospheric soundscapes. Eventually, after eleven months work, Adelbert completed his work on Atmosphere in June 1980. He dispatched the tapes to Lars Hidde in Hamburg

At the Star Studio, Hamburg, Lars Hidde added  a few finishing touches to Atmosphere. After that, he mixed and mastered Atmosphere. Now that Adelbert Von Deyen’s third album Atmosphere was completed, it was sent to Günter Körber at Sky Records.

Having listened to Atmosphere, he scheduled the release for later in 1980. Günter Körber liked what he heard, and decided to that Time-Machine should be released as the lead single. This would test the water, and give some indication of whether Atmosphere would be a commercial success.

Upon the release of  Time-Machine, the instrumental gave Adelbert Von Deyen his first hit single. Eventually, 50,000 copies of Time-Machine were sold. Adelbert Von Deyen’s had never been higher. This bode well for the release of Atmosphere. Before that, the critics had their say on Adelbert Von Deyen’s third album.

The critics spoke as one, calling Atmosphere, Adelbert Von Deyen’s finest album. Many critics referred to the album as an epic, others went further, calling  Atmosphere a Magnus Opus. No wonder.

Atmosphere begins with the pulsating, hypnotic Electro-Krautrock of Time-Machine. Synths buzz, adding an almost futuristic sound, while swathes glacial synths add the melody. Silverrain with its ethereal, ambient sound, meanders melodically along. Beauty is omnipresent on this atmospheric soundscape. Atmosphere  Part 1 is a three part cinematic soundscape, where Sunrise gives way to Altitude Flight and Astralis. Swathes of glacial synths and drones combine with sound effects to create a soundscapes that are variously elegiac, crystalline, dramatic, moody and futuristic. Always, they captivate with their timeless and cinematic sound. It’s a similar case with Atmosphere, Pt. II, which is a five part sci-fi suite. What follows is a voyage of discover as Skywards gives way to Spaces of Infinity then Crystal Clouds, Voices of Infinity and Dawn. Without doubt, this twenty-two minute epic is one of the finest moments not just of Atmosphere, but Adelbert Von Deyen’s three album career. Record buyers agreed.

Upon Atmosphere’s release later in 1980, record buyers across Germany sought out Adelbert Von Deyen’s third album. It had received ringing endorsements from each and every critic. They confidently told record buyers that Atmosphere was Adelbert Von Deyen’s finest hour.  When record buyers heard Atmosphere, they too agreed that Atmosphere was indeed, Adelbert Von Deyen’s Magnus Opus. In Germany, Atmosphere became Adelbert Von Deyen’s biggest selling album.

Elsewhere, Adelbert Von Deyen’s music was growing in popularity. Especially in Britain and France, where both Krautrock and Berlin School were popular.  The Adelbert Von Deyen success story continued. He had come a long way in just two years.

By 1980, Adelbert Von Deyen was well on his way to becoming one of Germany’s most successful musicians.  He was helping popularise the music of the Berlin School. This he did with his hit single Time-Machine. It sold 50,000 copies and was a staple of German radio for part of 1980. Suddenly, many German record buyers were hearing the music of the Berlin School for the first time. It wasn’t new. The Berlin School had been around since the early seventies. However, very few of its practitioners had enjoyed widespread commercial success. 

Time-Machine and the album it was taken from, Atmosphere were the exception rather, than the rule. Suddenly, it looked liked Adelbert Von Deyen was about to become one of the biggest names in German music. He certainly had the talent.

Proof of this is the music Atmosphere, which was the result of many months of hard work and dedication. In his home studio, gradually, Adelbert Von Deyen. honed and sculpted  his finest album Atmosphere. It’s variously atmospheric, cinematic, elegiac and ethereal. Occasionally an element of drama and darkness is introduced. So too are  futuristic, sci-fi sounds. Sometimes the soundscapes reveal a  melancholy, wistful sound. They’re sometimes ruminative and invite introspection and reflection. There’s also beauty, sense of melancholia and wistfulness on Atmosphere as the album reveals nuances secrets and subtleties aplenty, on Berlin School pioneer Adelbert Von Deyen finest hour.

He’s one of the few artists whose first three albums are now regarded as genre classics. Sternzeit in 1978 started the ball rolling, with  Norborg following in 1979. It became Adelbert Von Deyen’s second classic album. However, when Atmosphere was released in 1980it was heralded as Adelbert Von Deyen’s finest hour. It was his Magnus Opus, and the album all of his future albums would be compared too. 

Despite this, Atmosphere didn’t find the wider audience audience it deserved    outside of Germany. Even at home, success was relative, and it was a case of Atmosphere selling well compared to similar releases and Adelbert Von Deyen became something of a celebrity thanks to his music.

Forty years later, and sadly, Atmosphere is an oft-overlooked album. Except by by connoisseurs of the Berlin School of Electronic Music who hold Adelbert Von Deyen and his music in the highest regard. It finds him fusing elements of ambient, avant-garde, Berlin School, electronica, experimental and Krautrock on Atmosphere, his critically acclaimed this album. Little did Adelbert Von Deyen realise upon Atmosphere’s release that it was his finest hour.

Atmosphere is a genre-melting Magnus Opus that nowadays, is regarded as the career defining album from Berlin School pioneer Adelbert Von Deyen, which is why this cult classic belongs in the collection of anyone with an interest in electronic music. 

Cult Classic: Adelbert Von Deyen-Atmosphere.


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