Violent Jasper - Control - CD DIGIPAK

Volker Söhl's love for film music stems way back to his early youth and is certainly also one of the strongest driving forces in the albums of his main band SYLVAN, founded in Hamburg in 1991.
So it is hardly surprising that SYLVAN exceptional guitarist Johnny Beck perfects the core line-up of VIOLENT JASPER.

However, here several protagonists step into action to let the epically expansive compositions unfold to their full bloom.

The basic idea for the now available album "Control" was Sühl's wish for a solo album with female vocals, which should lead through the narrative of a coherent concept album.
This is provided elfinly, emotionally and precisely by Munich singer & dubbing artist Caroline von Brünken (CvB), who also works for RPWL, the flagship of the Freising-based label "Gentle Art of Music". It's a family affair.

Basically, Volker Sühl's albums can be compared to movies, they often follow a plot that culminates in a climax, on a purely compositional level not at all dissimilar to a classical sonata form. On "Control" both levels of meaning marry, just like in the almost endless universe of film music.
Therefore, the use of orchestral instruments is almost mandatory. Finally, elements of classical music also come to the fore. Especially "Frontiers" and "Masquerade" with its harpsichord sounds testify to this. Therefore Katja Flintsch (violin & viola) and Ottfried Beck on the oboe round off the complete ensemble.

Lovingly and in detail self-produced, with the help of co-producer Jens Lueck, who also congenially serves on the drums in personal union and on top is responsible for the crystal clear mix & mastering.
Thematically, "Control" addresses two core questions that are illuminated. The interplay of all our emotions with our social reality determines the fragile spectacle of a functioning society.
Emotions are the result of myriads of factors involved: Education, social status, intellect, trauma, sense of achievement.... merely: does the individual have control over emotions, or is he controlled by them in all decision making? And therefore, isn't a controlled loss of control perhaps even desirable?

The latter is the subject of "Stay", for example, a track that deals with the short-sighted solution of using drugs to cope with problems.
But this one will always seem like a band-aid on a bullet wound.
Thematically, this emotional study ranges from lack of perspective ("Promise"), to arrogance and hubris ("Hail thee Mockery") and inner emptiness ("Frontiers").
Ironically, it is in it that a peace is found and manifested in the reprise to the opener "Control," albeit brittle and fragile. With that, the "Control" cycle closes and you're left with an introspective journey that far exceeds the conventional confines of a standard solo album.

Just as the human psyche is seemingly infinite. You simply have to figure out who is controlling it.