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of the SOM-sublabel of KM-Musik we stopped producing the newsletter after it was obvious that "Touching Ground" would not be published by KM/SOM.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

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