I was drifting in the summer of 1992. There was no solution to the question that is life. Neither professionally, as I was struggling in my studies, nor artisticly - which had been my Plan B - as I simply did not see any progress. Henning, the other half of TSU!, had left to work in another city .The attempts on a steady relationship in my personal life had not worked out. Basically I was alone and adrift. There was nothing to look forward to and the money ran low too.  I went into the university-bookstore and checked their english-language books. Then this was something special and they did not have more that 50 paperbacks, in a cellar, somewhere in the back (Nohl in Weidenau!). Basically I was looking for new and undexplored sf and f books and one cought my eye. It was Rupert Thomson's "The Five Gates of Hell". I have no idea why I bought it, because there is basically nothing fantastic about it. Maybe it was the shining turquoise cover, maybe the title.  In the summer

Use this  LINK  to access all the previously published songs  The summer of 1992 was passing  by without any events. I had never heard from Olli again and so the chance to be published had become even lower - to be objective: If a tape-label with a circulation of 20 did not want us, who would. Furthermore, Henning, who had been with me since the second demo tape "Road to Hell" had left to Cologne and as a good-bye I decided to record our last demo "Ivory Tower" again at Karl Parchow's "Stompin'Crash" Studio but he too was tearing it down as he found a better location for his work.    "Ivory Tower" has "The End" written all over it. Thinly disguised this is about me having played all my cards, used all my tricks and resources and basically nothing came of it. This would be the last song I would record with Henning and the last song for "TSU!", it would be the last song recorded at the old studio and it would be the last

A song for Anne.   I wrote songs for girls. About them. To impress them. To be thankful for their support. To express what I thought when I could not find the words to speak. I could find the words to sing. These were kind, hopeful songs. Surely nothing for a dark brooding opus that was to become (or at that point already was) cream8 back in 1992. I'll keep the original one. Only two persons possess copies of it. Those know. In the end, things worked out differently, but believe me how thankful I am. Reviving these songs puts a shy smile on my face. This is how they should have sounded back then, but my abilities could not match my sonic imagination.  Lyrics and Music by Boris Brosowski (c) 1992 and 2024 I, I watch the world go by Tears are in my eyes saying a long good-bye People stare at us and say "Where do they breed these?" Some eruptions here and there Some destination deeds I, I saw you standing there Moonshine in your hair Saying a long lost prayer And I I watc

  So this was the first song to record with Sascha Lecher, who would become the guitar player for me, and - for a long time - a dear friend. With "The Crimson Dance E.P." getting recognition in "the scene" and "Easy" Ettler, publisher of the influential Zillo magazine taking notice of CREAM8, I got the opportunity to record demo-tracks with The House of Usher. More on that later.  It might not look like it today, but "The Crimon Dance E.P." was the brick wall at the end of a dead-end street. I had decided to quit making music as an artist alltogether as it carved too many ressources out of my life that I dearly needed: money and time.  The idea was to become part of a band and shed the responsibilites. But I did want to go out in style and so I manifested the 7", basically with the last money I had. "Come Morgoroth" was the song to describe this feeling. The bitter end looming over one's artistic life, recognizing that I had so

What do you do when you run out of money? Well you take every job you can get. Friends of mine had left West Germany to Berlin after finishing school to evade being drafted to the Bundeswehr and while they were studying had managed to provide themselves with a healthy income by doing market research street interviews. Well, they did not really do them, merely simulated them as interviewing people esp. in rude Berlin is no fun. So they needed people to write the interviews as they might have happened but considering strict models on who had to have what opionion. Well, that's what I did. There I met Olli who had a MusicCassette Label called Torch Tapes. Olli had a problem caused by his swallowing of a huge piece of hash while smuggeling it through the Berlin checkpoints - without any protection. Basically he was always high as this experience had brought his neural cells in a certain disorder. He, like me, was a huge fan of The Sister of Mercy and so one evening I visited his flat i

 Well, this had to be. A german version of a song, that actually pushed me over the boundary from wish to reality. I always wanted to record music, as long as I can remember and I have dozens of MCs that I recorded with just using my voice from 1974 on. But "This Corrosion" actually made me go out and buy a sampler (CASIO SK -1) and a drum-machine "Specdrum", an spring-reverb a mixer and to just start recording "real" songs.  Just for fun I tried this:  (c) 2024 Words and Music by Boris Brosowski

  60 years ago, "Sei Donne per L'Assasino" prermiered. It was co-produced by Erwin C Dietrich's (Greta, Jack the Ripper) Monachia Films who had just had a considerable financial success with their take on the Edgar Wallace krimis called "The Strangler with the Nylon Noose". For legal reasons (CCC possessed the rights to "The Strangler..." in german movie titles), that movie is now known as "The Nylon Noose".  The follow-up was called "Der Würger mit der Maske" - "The Strangler with the Mask" and was actually shown under this title in german speaking Austria and Switzerland. In Germany however, the title had to be changed again into "Bloody Silk", referring to the fashion-house setting. The americans who bought the movie ("for a minor six-figure dollar sum" - which was basically what the movie had cost in the first place!!!) falsely translated that title to "Blood and Black Lace". This is m

 I remember vividly hearing Roxy Music's "Whirlwind" the first time and that was my favourite song of their album "Siren" for a long time. Then I cam across Nietzsche's poem "An den Mistral" and thought that those two elements would make a great combination. Now, with easy technology at hands, I tried that. The result basically leads to a stand-off. I like it, but the question is can CREAMVIII improve on that. I don't know, man. Lyrics [CHORUS] Mistral-Wind, du Wolken-Jäger, Trübsal-Mörder, Himmels-Feger, Brausender, wie lieb’ ich dich! [VERSE] Sind wir Zwei nicht Eines Schosses Erstlingsgabe, Eines Loses Vorbestimmte ewiglich? Hier auf glatten Felsenwegen Lauf’ ich tanzend dir entgegen, Tanzend, wie du pfeifst und singst: [CHORUS] Mistral-Wind, du Wolken-Jäger, Trübsal-Mörder, Himmels-Feger, Brausender, wie lieb’ ich dich! [VERSE] Sind wir Zwei nicht Eines Schosses Erstlingsgabe, Eines Loses Vorbestimmte ewiglich? Hier auf glatten Felsenwege

 I am experimenting with AI. This is fun. Actually this is the most fun I had with making music in a long time. I decided to reimagine and then rerecord all the old "The Sinister Urge!" songs - those that came before "CREAM8" and even further to my first musical recordings. But more on that later. What you can listen here to a by-products and leftovers. They are all created and written by me, but not necessarily in the intend to create a CREAMVIII-like song, but simply to try out the new technology. You may find interesting stuff there, and you might think this is rubbish. It is up to you .... have Fun! 1. The Pulse This was the first AI-generated song. I wanted to write a 80ies synth-pop song about living in the floodlands of Hamburg in 1986, which I did (I mean lived there at the time). About the feeling of being isolated in a big city. I was very impressed by what the AI made out of it. Sometimes the AI does change the lyrics, so sometimes what you hear is not wh

  In 1990 i did my first demo cassette. Under the title "The Sinister Urge" (taken from an Ed Wood movie) I recorded four songs with Karl Parchow (where we later would record most of the stuff of "The Emerald Touch"). The MC "TSU! The Burning Town E.P." was professionally copied 50 times and sent to magazines and record companies, publishers and promoters. To be honest, the response was dismal. I don't know what kept me still making music after this, but I surely kept a low profile, the second MC "The Road to Hell" only was given to friends. (Shout out to them for supporting me in these years, esp. Sabine and Henning!). After that, those 8 songs never were properly released again. I did try to rerecord them on the old equipment in a fully analogue signal-path, but that turned out not to be very helpful. With the advance of AI, though, I am able to re-imagine those songs in a way I had not believed to be possible. The first 5 Songs (The B