Being asked to describe his own music, Christian Loeffler states that he tries to combine melancholy with euphoria. “All my music is connected by a gloomy spirit, which is minted by a warm sincerity. I try to merge all kinds of different acoustic colors to obtain this feeling in my music.”
Loeffler started to play music by the age of 14. Living in a secluded region, lacking a musical surrounding, he had to teach himself the essentials of making electronic music. Before long he developed his own deep and moving sound, colored with a melancholic undertone- Music for the soul & for the body. He recalls a variety of music styles he listened to as a child and teenager that were highly influential to his own development as a musician.
Due to the fact that Loeffler is also working as a visual artist, he’s following the same approach when making music that he’s following when painting or taking photos. It is more about telling a story than making everything accessible right from the start.
In the course of the production of EP’s like “Heights”, “Raise” and “Aspen”, Loeffler developed some strategies to use acoustic material and singing in his music. Amongst others he samples different stringed instruments, percussion and atmospheres. He continues working with the recordings on the computer, combining, layering and alternating them. The extraordinary capacities of this young producer have kept eyes and ears closely following the fresh talent as Loeffler’s deep moving melancholic sound, is absolutely irresistible.
Christian Löffler is co-founder of Ki Records and well known for his intense, deep moving sound with melancholic undertones. He started to play music at the age of 14. But living in a secluded region near the Baltic Sea, without a musical surrounding, he had to teach himself the essentials of making electronic music. After several stunning releases for Ki and Orphaner, the imprint of Dial’s co-founder Pawel, his debut ‘A Forest’ is now being released through Ki.
His music signifies an upward curve of rising intensity from which everything non-essential drops away. Whereat essential is meant in the sense of introspective. If the kick drum thuds along reasonably unassuming in the beginning of a track, it is already withdrawn into itself. Dancing, sure, but with one foot in a dream. There is the always emerging crackling, surrounding the arriving and surrounding what has been, floating, like almost absent into each other collapsing chords, circling around a sphere which is nearly beyond the music – a sphere that only pertains me, the listener, and which I hadn’t known without this music. And these like seagulls chopping hi-hats, or like a heavy sea beating bass lines, rolling back and forth in almost oblique of beauty hanging clearings.
A FOREST, for example, casts somewhat Tejada-esque shadows but without the timpani, only with meandering delay. And yes you do remember the sunlight of tomorrow when you hear BLIND or FIELD. Or SIGNALS, a track on which Arvo Pärt could have been the force behind and whose Tintinnabuli (bell) style connects on it with the dance floor in the most beautiful way. Not only raises it the volume, but also warms the heart.
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