Cathedral came to live as the first "real" song I wrote after Henning had left and TSU! was no more.  Before that,  Sabine, Jörg and me had been going to the Sisters Of Mercy concert in Düsseldorf in 1990 and we were waiting a long time outside in the freezing November coldness. Sabine said: "You should write a song about this. like "It was a cold, dark night" and I went: "Yeah, like...  It was a cold dark night in the freezing waiting zone,  waiting for a band that would never, never come."....   The line stuck with me and when Olli demanded semi-soundtracks for his Torch-Tape productions I took samples from a movie (the c-Dolph Lundgren-cheapo-SF-epos called "Dark Angel") and incorporated it to the line  "It was a cold dark night in the lethal urban zone, waiting for a train that would never, never come, she said. Go on" I was very convinced that it would work and eventually recorded this song called "Lethal Urban Zone "

Just added three more AI-produced remixes to the soundtrack. All in all now 9 tracks. I consider this then to be complete. You can get the complete OST  here! You can here listen to one of them. The rest are hidden bonus tracks on the bandcamp release. Furthermore, there ar big news are around the corner...

 Yes, we did have a newsletter. Starting with the release of "The Emerald Touch", KM-Musik asked for it to give them away as promotion in their shop in Gütersloh. The first two issues were basically that, 2 pages of A4 just with some text. With the release of the popular (well, in my recollection about 2x10.000 were pressed - but I could be wrong) "Sound of Delight No.1" CD-Sampler, we switched to 16 pages of A6 for #3. With the folding of the SOM-sublabel of KM-Musik we stopped producing the newsletter after it was obvious that "Touching Ground" would not be published by KM/SOM. Besides that we already had the creamviii-website running.  I don't have #1 and #2 anymore, but here are the covers of the remaining ones. 

 Back in early 1989 I got hands on a fanzine called Gory (something), and in there was an advert for a soon to be made amateur-production called "The Skating Dead" with the plea to everybody to participate. I liked the idea of writing a soundtrack, after all these were mainly the things I tried to record as  I did not have much confidence in my voice and my skills as guitar player. This was recorded again with my first setup: Casio SK-5 Casio CZ-1 Roland MT-32 I recorded and collected stuff for the movie soundtrack and made a cassette. That was the first time, I presented my stuff to anybody. Never received a reply. And even in the depth of the internet, neither that fanzine, nor "The Skating Dead" can be found, so you have to trust me on this. The artwork depicted in the advert were zombies in skateboard parcours. Well, obviously. I tried to recreate it  out of memory.  The Soundtrack is available on Bandcamp .  It contains 6 instrumentals. Some of them emerged lat

I will not go into too much detail on music production, but already in 1992 I purchased a programme called "Band In A Box" for the Atari ST that would basically give you all the stems for drums, keys, bass according to the key, tempo and style you entered. That was MIDI-data and had to be fed to an assortment of MIDI-devices like samplers, synthezisers, romplers and drum-machines. Even earlier, auto-accompanyement of organs already did that and was always used by artists instead of a real band. Many of the early synthezisers classics actually have these rhythms and bass in there, just very cleverly produced. I don't see any difference between "Band in a Box" and the AI, as both are automations, helping solo artists to make their visions real. When I became more and more capable of playing the instruments myself, I dropped "Band in A Box" (around "The Crimson Dance E.P." - which does not use automation). But the AI is much more versatile and c

 This is a 2006 fragment that I have lying around here since the abandonened "Norden" album, The four songs we completed were then "released" as the "F-Nord" EP. I still believe that these four songs are the pinnacle of CREAMVIII and it is very sad that Sascha left in the middle of the production. Well, of course there were many many songs more that we wanted to record. And this is one of them. It's about religion in general when it is used as means of power. Again, this is the AI version. AI did not let me use the term "God" (the original line was "In the name of God") which shows that you are not free to express what you think with AI. Nevertheless, here it is:  In His Name or Not composition and lyrics 2004-2024 by Boris Brosowski (In his name or not) You hurt and kill the children (In his name or not) You deny and you deceive (In his name or not) I've come to my own conclusion (In his name or not) That I cannot believe