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Ich glaube, ich bin im Himmel! Meine Gebete wurden offensichtlich erhört, denn hier ist die Bluesrock-Platte, auf die ich seit den 70ern gewartet habe. Errorhead sind: der musikalische Kopf und geniale Gitarrist der Band Marcus Nepomuk Deml, der Bassist Frank Itt und der Schlagzeuger Zacky Tsoukas. Der Herr Deml wurde außerdem vom amerikanischen Magazin „Guitar Player“ unter die drei besten Gitarristen der Welt gewählt und erhielt in der Rock ’n’ Roll Hall Of Fame in Cleveland den Preis aus den Händen von Steve Lukather und Joe Satriani.
Mit Errorhead und „Modern Hippie“ legt er nun sein drittes Album vor. Die Frage ist jetzt, ob bei aller Virtuosität da auch eine wirklich gute Platte herausgekommen ist. Ich nehme es vorweg: aber sicher doch.

Marcus Nepomuk Deml ist in den letzten anderthalb Jahrzehnten ein Gitarrist für die Stars gewesen und hat über 300 Sessions gespielt. Angeblich hat ihn Jeff Beck mal als Mitmusiker abgelehnt, weil er ihn für zu gut befand. Die Geschichte könnte stimmen! Auf jeden Fall hat er Aufnahmen und Touren gemacht mit Earth Nation, Nena, Bobby Kimball, Pat Mears, Snap!, Rick Astley, Mario Adorf, Rödelheim Hartreim Projekt, Saga, Grooveminister, Kingdom Come, Achim Reichel etceterapepe.
Dieses Album ist für alle, die sich nach dem musikalischen Geist der späten 60er und frühen 70er sehnen, der bis rüber ins Jahr 2008 transportiert wird. Mit der modernsten Aufnahmetechnik der Toolhouse Studios in Rotenburg/Deutschland wurden in einem kreativen Prozess Songs entwickelt, die mich an Pink Floyd, Neil Young oder Jeff Beck erinnern.
Boah Ey, leck mich doch inne Tasche, der Knabe zupft vielleicht eine Saite, da kann man sich vor Gänsehäuten kaum retten.
Hört Euch „Temporary Impression“ an und wenn Euch da keine Schauder reiner Verzückung über den Rücken (Minimum) oder den ganzen Körper (Maximum) laufen, dann weiß ich auch nicht. Das Stück erinnert mich an Granaten des Gitarrenrocks wie „Cortez, The Killer“ und „Powderfinger“ von Neil Young, „Father Of Day, Father Of Night“ von Manfred Mann oder Steamhammers „Wouldn’t Have Thought“ aus den glorreichen Siebzigern.
Humor und eine gewisse Selbstironie gehören jedenfalls auch zum Repertoire von Marcus Deml, denn bei „That’s Good“ (23 Sekunden lang) zum Beispiel wird er von seinem Techniker aufgefordert, wegen des Signalpegels mal was zu spielen. Nur mit Mühe kann Marcus an einem längeren Solo gehindert werden. Aber bei „Connected“ darf er dann richtig loslegen, einem Rock `n` Funk-Stück (oder Funk ´n` Roll?), das dafür auch richtig Gas gibt und mit seinem mehrstimmigen Chor noch ein besonderes Kennzeichen hat. Bluesrockig und schneller wird’s dann bei „For My Brothers“, „Watch My Cloud“, „Bhangra Baby“ und „We Came In Peace“ (orientalisch angehaucht!), wo uns Nepomuk und die Gitarre zeigen, wo der Frosch die Locken hat.
Die anderen Stücke sind bluesige Songs zum Träumen, sollten aber trotzdem sehr laut(!) gehört werden, damit die hohen Gitarrentöne auch so richtig die Ohren freimachen. Dagegen gehört „Yeah Man“ in die gleiche Kategorie wie „That’s Good“. Es ist nämlich ebenfalls nur 28 Sekunden lang, aber totzdem spaßig.
Bei „Tàta“, dem letzten Song, lassen Django und sein Nachfahre Lulo Reinhard mit einem Stück in der Tradition des Gypsy Swing der 30er und 40er Jahre des 20. Jahrhunderts herzlich grüßen. Großartig, flott und mitreißend!
Trotzdem gibt’s aber was zu meckern, HERR NEPOMUK DEML, weil mich persönlich das echt fertig gemacht hat. Das Stück „Dave“ zelebriert eine Lead-Gitarre vom Feinsten, kraftvoll, langsam Anlauf nehmend. Und als ich mich dann so gerade endgültig auf dieses Stück einlassen will, meine Ohren pulsieren schon vor Vergnügen, ist nach anderthalb Minuten Schluss. DAS nehme ich Ihnen wirklich übel, denn so verleihen Sie dem Begriff „Coitus Interruptus“ eine ganz neue Bedeutung. So ein Stück hätte ich gerne, sagen wir mal, mit mindestens sechs Minuten Spieldauer, wenn’s geht. Live kommt das bestimmt besonders gut!

Mein Fazit ist daher folgendes: „Modern Hippie“ bietet einen vielfältigen Stilmix mit Drumloops, Samples und Stimmverzerrer, Elektrobeats, Funk, Bluesrock und Blues. Natürlich bilden diese Stücke keine geschlossene Einheit, dazu sind sie zu verschieden. Ich will auch keine zu ähnlichen Stücke auf einer Platte, dazu sind meine Ohren einfach zu flexibel. Diese Unterschiedlichkeit macht es ja gerade interessant. „Modern Hippie“ ist ein faszinierendes Stück (Gitarren-)Musik für Genießer und solche, die es werden wollen. Kaufen!

Review by Squealer Rocks

A project by session guitarist Marcus Deml, Errorhead is in parts the funk of War, the soulful sounds of Neal Schon's solo work, (1997's Electric World or 2001's I On U,) the animated sounds of David Gilmour, and the soothe of the great Carlos Santana. Let it be said first and foremost, Marcus Deml is one hell of a guitarist. Let's repeat this - an absurdly, versatile, expressive, talented guitarist. His solos are off the wall good; his use of distortion, reverb and spinning riffs and solos around a solid rhythm section makes his Fender Strat virtually come alive. Along with such guitar wizards as Joe Satriani, Jeff Beck, Mike Slamer, Tor Talle, Modern Hippie's Marcus Deml shows the listening world that he is a talent to be reckoned with.

Born in Prague in August of 1967, it was during his teenage years that a slew of influences like T-Bone Walker, ELP, Jimi Hendrix, Deep Purple, Pink Floyd, The Dixie Dregs, Gary Moore and George Benson instilled a love for the guitar that can be heard to this day. In 1986, Marcus Deml moved to Hollywood, CA to attend the Musician's Institute, and during this time studied under such powerhouses as Scott Henderson, Paul Gilbert and Frank Gambale. For the next two years he practiced as much as 12 hours a day, and made the rounds of many of Southern California's most famous nightclubs many times working with producer Randy Jackson (Journey bassist/current American Idol judge,) and famed drummer Carmine Appice, (Vanilla Fudge, Cactus, Paul Stanley, Rod Stewart, King Cobra, Blue Murder, Eric Carmen, Mother's Army, Eddie Money.) Despite being a hugely sought after session guitarist, because of personal and business problems, Marcus Deml was forced to return to Europe in 1993. In 1994, Deml began to work on the project EarthNation that over time would transform itself into the group Errorhead, releasing their debut CD in 1995 with this, Modern Hippie being the band's third studio release. In 2005, Guitar Magazine would give Marcus Deml the award as being one of the Top 3 Guitar Heroes, and was invited to receive the award at the Rock 'n' Roll Hall of Fame presented to him by Steve Lukather and Joe Satriani.

The standout of Modern Hippie is Marcus Deml's ability to transcend from one style to another. From rhythm and blues to jazz to progressive to rock to soul to pop, he does it all smoothly and naturally. It has the telltale sounds of his influences - namely the David Gilmour sounds of "Dave," and "Temporary Impression," which should make fans of Gilmour's latest solo CD, On An Island, reach for these tracks as well. The contagious vibe of "Connected" makes for one damn good track. The nasty funk of War can be heard with "For My Brothers," the George Benson jazz of the wonderful "Northern Lights," and the gorgeous, rousing big band sounding closing track "Tata," (imagine Duke Ellington's East St. Louis Toodle-doo, also wonderfully covered by Steely Dan.) The magical Hendrix-ish "Bhangra Baby," the expressive, touching and stirring intro to "We Came in Peace," that has the radio news of a horrible suicide bombing in Iraq will bring tears to the listener's eyes as Marcus Deml brings this track to life using a wide variety of sounds, special effects and feelings. "We Came in Peace," is the obvious choice for this CD's highlights mixing rock, blues, jazz, funk, soul and techno-pop. And it is all done to perfection. Reminiscent of the progressive sound that made Emerson Lake and Palmer famous is track 9, "Heaven," that also features the sounds of bongo drums and various percussions.

From opening to closing this is a tight CD. The mixing is well done, the bass work of Frank Itt (Terence Trent D'Arby, Jule Neigel) and the drums of Zacky Tsoukas (Billy Sheehan, John Hayes) and the voice of Robbie Smith are all exceptional. But it is the guitar of Marcus Nepomus Deml that IS the reason to purchase Modern Hippie. For truly not a bad track to be found, for in all the right places there is something here for lovers of every kind of music.

What a treasure of a CD to listen to …

Hardrock Haven rating: 9.5/10

Errorhead is the brainchild of one Marcus Nepomus Deml, the name might allude you but the list of artists Marcus has played guitar with reads like an A-list, with the likes of Bobby Kimball, Saga, Kingdom Come, Rick Astley and so many more included.

For his latest album 'Modern Hippie' he has got together with Frank Itt on bass and Zacky Tsoukas on drums, as well as additional musicians like Robbie Smith on vox, Tom Aeschbacher on keys and Melanie Stahlkopf on backing vocals.  This album is well titled 'Modern Hippie', as Deml takes the sixties and seventies funk ridden and psychedelia and brings them kicking and screaming bang up to date with Deml's guitars leading this revolution.

Opening up with ‘That’s Good’, a subtle narrative intro with Marcus setting up with engineer Kai Frickle before getting the album underway proper with the funk filled ‘Connected’, which will get you hooked from the off as the bass hooks by Itt are just so mesmerizing, and when Deml takes over with the lead licks, it will just blow you away.  That's surely something you'd want from any opener.

That same seventies funk vibe is carried on with ‘For My Brothers’, again it's Deml’s soaring riffs that carry this one.  This song is definitely from the Shaft/Huggie Bear school of funk.  Think if Hendrix was alive what would he be playing, that’s the vibe of the first two tracks.

Things are brought down a little with the soulful feel of the instrumental ‘Dave’ before the jazz funk fusion of ‘Temporay Impression’, which again brings in that psychedelic feel to things as the listener is swept away on a Stratocaster shaped cloud.

After another short narrative intro entitled ‘Yeah Man’ before it's back to the heart and soul of the album with the spaced out tones of ‘Watch My Cloud’, again that heavy 70’s vibe is highlighted with the modern fusion of dance and funk in a very eclectic mix.  Indeed this one is very early Deep Purple mixed again with a little Hendrix and a touch of the Mamas and Papas. 

The pace is brought down dramatically with the easy listening of ‘Northern Lights’ and the superbly haunting almost celestial ‘Heaven’, before the Eastern Promise that is ‘Bhangra Baby’.  This is where Deml brings in some World Music influences into the mix.  If Bollywood did funko metal this is what it would sound like.

We get a little more serious with ‘We Came In Peace’ where Deml touches on the very now problem of terrorism with news snippets thrown in.  Again featuring a more traditional guitar players album sound while mixing it up with some very different sound bites, which all makes for great listening.

The purest of guitar players out there will just adore the magnificent melodic tones of ‘Follow Your Dream’, before the album closes with ‘Táta’, a definite feel good track that will bring a smile to anyone’s face.  This one rounds off an album that will be aimed at the muso’s out there, but those of you with a more discerning ear will love this release too.

review by Mayfair Mall

Einen echten Zungenschnalzer für Gitarrenalben-Gourmets liefert uns Mastermind Marcus Deml mit seiner Band ERRORHEAD in die gute Stube. Dass der Gute hierzulande ein relativ unbeschriebenes Blatt ist, verwundert doch sehr, sofern manch sich mal die History zu Gemüt führt. Der aus Prag stammende, in Deutschland aufgewachsene und in den USA gereifte Gitarrist war bereits im Studio bzw. auf der Bühne mit Größen wie Saga, Bobby Kimball, Kingdom Come oder auch - kein Witz! - Nena, Snap, Rick Astley oder Laith Aldeen. Der Meister entlockt seiner Stratocaster die unmöglichsten und vielfältigsten Klänge, die sonst wohl nur Kaliber wie Jeff Beck, Gary Moore (war laut eigener Aussage verantwortlich dafür, dass er überhaupt zur Rockmusik fand), oder um noch weiter zurückzugehen, Jimi Hendrix zustande brachten bzw. immer noch bringen. Und trotz der (minimalen) elektronischen Elemente klingt alles vollkommen natürlich und organisch. Außerdem setzt er sein Saiteninstrument absolut songdienlich ein und lässt somit seinen Mitstreitern genügend Freiraum um sich zu entfalten. Kein Gitarrengewichse wie bei Malmsteen und Konsorten (obwohl ja so ein Gewichse oft sehr schön sein kann, hähä). Die freien Räume teilen sich unterdessen die Bass-Legende Frank Itt (Terence Trent D´Arby, Jule Neigel), der außergewöhnliche griechische Drummer Zacky Tsoukas (John Hayes, Billy Sheehan), Keyboarder Tom Aeschbacher und Sänger Robbie Smith. Spieltechnisch und klanglich ist somit eh kein Wölkchen am Himmel zu sehen, so dass sich das Quintett auf das Wichtigste, die Songs an sich und die Atmosphäre, konzentrieren kann. Beweise hierfür gibt es genügend: Ob der funkig angehauchte Blues-Rocker 'Connected' im Lenny Kravitz-Stil, das nach Gary Moore auf Pop-Pfaden wandelnde 'Watch My Cloud', das mit einem mystischen Hauch umwehte, relaxte 'Heaven' oder die reinen Instrumentals 'Northern Lights' (gedankenversunkenes melancholisches Easy Listening, das gut und gerne auch als Hintergrundmusik für ein Liebesdrama taugt), 'We Came In Peace' (etwas abgedrehte Nummer in Beck-Manier) oder 'Follow Your Dream', bei dem der Titel Programm ist und mich an die ruhigen Momente der leider weniger bekannten GTR erinnert (die Band um Steve Howe und Steve Hackett hatte 1986 mit „GTR“ ein klasse Melodic-Album am Start; der Hinweis sei mir gestattet). Auf „Modern Hippie“ werden somit ne Menge Stimmungen involviert, die diesen Silberling abwechslungsreich gestalten und zu einem mehr oder weniger rundum gelungenen (ein paar Durchhänger haben sich dann doch noch ganz diskret eingeschlichen) Hörerlebnis machen. Bei der technischen Versiertheit und dem Einfühlvermögen des virtuosen Gitarristen Marcus Deml wird vor allem aber auch eins versprüht: jede Menge Charisma! Und diese Kombination aus Musik und Menschlichkeit ist es doch, die einen Musiker so sympathisch macht, oder?
11 von 13 Augen (Bright Eyes Germany)

How many have ever heard of ErrorHead or even better yet, Marcus Deml? Think of a Hendrix/Beck type of guitarist meeting Pink Floyd. Think of a musician with the virtuosic properties of a rare combination of many of the world’s finest guitarists and then you can begin to understand the evolution of a Marcus Deml. Perhaps a new find for some, Marcus is one of the world’s leading session musicians. “In 2005, Guitar Player magazine recognized Marcus as one of the Top 3 Guitar Heroes and invited him to the Rock and Roll Hall of Fame in Cleveland where Steve Lukather and Joe Satriani presented him the award.”

Born in the Czech Republic in 1967, Marcus ended up in Germany two years later. In 1986 he moved to Hollywood to attend the famous Musicians Institute where he studied among some great players. Practicing up to 12 hours a day for the next two years and impressing just about everyone he came in contact with, he was asked to join the faculty in 1988. However, being unable to secure a permanent work permit/visa in the USA he decided to return to Europe in 1993, even though he had several work offers as a session and touring guitarist.

While in the States, Marcus played the L.A. club scene for five years. Returning to Europe he began working on a new project. After its release in 1994, he made his live debut at the Montreux Jazz Festival. The rest is history as they say. Being a high-demand studio player, he did around 300 sessions as a guitarist over a 10-12 year span. From '94 - '06 he has worked on or recorded 33 albums. In 1995 he started to work on a solo project that later became ErrorHead. ErrorHead came to fruition due to the fact that Marcus wanted more artistic control over his work. ErrorHead’s discography is as follows: Errorhead (’98), Errorrhythm (’04), Electric Outlet: On (’06), and now Modern Hippie (’08).

Don’t let the title of this new release fool or confuse you. It takes a late 60’s early 70’s sound and transforms it in time to fit in with today’s complicated mix of genres. One never knows what to expect from a Deml release except that it will contain some of the best guitar work you will ever hear. His latest band consists of bass legend Frank Itt, drummer Zacky Tsoukas, and vocalist Robbie Smith. Additional musicians on the new CD are keyboardist Tom Aeschbacher and backup vocalist Melanie Stahlkopf. It was recorded at Marcus’s own recording studio, the “Electric Lion” in Hamburg, Germany.

There are 13 tracks on and runs for 41:34. Three short tracks, “That’s Good,” “Dave,” and “Yeah Man” have Deml goofing off or otherwise laying down a few quick riffs. Some of the tracks have vocals or spoken ramblings; some don’t. For the most part the CD is vocal free or kept to a minimum.

The beginning of “Connected” has you thinking a Hendrix CD got into your player by mistake. When the band kicks it, you are inclined to think a Johnny Lang/Kenny Wayne Shepherd CD sounding like King’s X transformed itself onto the Hendrix CD. Then Marcus takes over and right away things seem to make sense once again.

The previously mentioned ramblings are clearly evident on “For My Brothers.” Suffice to just say this one has a very interesting beginning to it. It also has a Funk/Blues/Motown/Rock sound to it. The bottom line is this track rocks and Deml’s flair turns the song into its own entity. “Temporary Impression” starts off with a beautiful Deml melody with equally impressive bass, keys, and drums. This turns into a very nice song that showcases Deml’s originality and unique sound that he is more than aptly capable of producing at a moment's notice. This is another highlight on the CD and maybe one of the strongest of the bunch.

“Watch My Cloud” is quite a change. It’s almost as if “shrooms” or “acid” are somehow intended to be part of the equation. “Northern Lights” is another impressive instrumental with great changes throughout - wonderful orchestration. “Heaven” is a slower tempo Funk/Rock/Blues/Techno-sounding tune. Deml’s great guitar work makes this a better track than it would have been otherwise. “Bhangra Baby” has a Middle Eastern/Indian sound right from the start. Don’t be tempted to fast forward to the next track -- it will be a great injustice. Marcus lays down some of his heaviest guitar work on this one. This line-up can take and make a song into something its not or would be expected otherwise. This will turn into a quick favorite.

“We Came In Peace” tries to make a statement for the betterment of the human race. The title says it all -- a good listen. Another real nice listen is “Follow Your Dreams.” This track has Marcus overdubbing his acoustic play with his electric work. “Tata” is one that doesn’t really fit with the rest of the CD. It could have easily been left out and nobody would have noticed.

http://www.metalexpressradio.com/menu.php?main=reviews&id=2504

"Errorhead is a trio that is built around the fret gymnastics of Marcus Deml on his favorite Fender Strat. And although Mister Deml may be a noble unknown to many of you he can be found in the small print of many a record as a session musician. Check ‘Twilight Cruiser’ & ‘Master Seven’ of Kingdome Come, Bobby Kimball’s ‘Rise Up’ or ‘Time For Truth’ of Simon Collins (yes, the son of…) and you will find mister Deml, who is not easily put into a box when it comes to genres or influences, handled guitar duties on said albums
On this record jazz, blues, prog, ambient & just plain rock go easily hand in hand. One world, one style, as it were…
Note that this is by no means an all instrumental album (check out the ballad ‘Heaven’ & the funky ‘Watch My Cloud’ as proof). You will also no doubt hear that Mister Satriani is never far away in songs like ‘Temporary Impression’ & ‘Follow Your Dream’.
Cool vibes, cool album, one that fits in nicely with my summer plans… "

http://www.rockreport.be/review.asp?id=1966