Deuter - Land Of Enchantment (Album Review)

 

Deuter - Land Of Enchantment

(1988)

My copy: 1988 press by Kuckuck.

Deuter is a German multi-instrumentalist known for releasing a wide array of new age records beginning in the early 70s. Land Of Enchantment was released in 1988 and the record seeks to combine the atmosphere of ambient synths with complex melodic instrumentation. 

“Pierrot” opens the record with the longest song at over ten minutes of acoustic guitar and flute. “Pierrot” is at its most interesting when experimenting with keys and ethereal soundscapes; unfortunately these instances are in the minority compared to the often too obvious melodies of the flute. Wind chimes and gimmicky instrumentation opens up “Maui Morning”: at times Land Of Enchantment feels like a trip to an elementary school music teacher’s office as Deuter checks childish instruments like guiro and glockenspiel off his list. “Maui Morning” later evolves into one of the best tracks with a drum machine that adds digital texture to the largely analog experience.

“Silver Air” makes the woodwind instruments bearable by lathering them in hearty reverb in order to produce a soothing soundscape track that has hypnotic qualities. “Waves And Dolphins” samples the ocean while acoustic guitar arpeggios bounce along a twisting composition that also features high-pitched guitar manipulations (so as to mimic the sounds of a dolphin).

“Santa Fe” begins with washed out cymbals and guitar only to be ruined by goofy flute arrangements that turn the song into a trip to the renaissance fair. The guitar skills are dialed up on “Celestial Harmony” in which scales are trotted along with ease; this track is sadly marred by silly flute accompaniment but satisfying tempo changes are added to keep things slightly interesting. 

“Silver Air '' shares its name with the earlier song and sounds mostly the same though shorter and a bit less relaxing. “Petite Fleur” plays a haunting and dissonant progression through melody box tones, as if it were the prelude to some frightful fairy tale. The album slows to a complete bore with “Wind Of Dawn” and “Peru Le Peru” which both are too merry and predictable while continuing to overuse the flute. 

The actual writing on Land Of Enchantment is impressive, with tracks spanning multiple movements across various pieces of equipment. Where Land Of Enchantment fails is in its atmosphere, which in the few high moments can be surreal and calming. Unfortunately it seems Deuter was aiming for the soundtrack to a generic adventure film, though this is not totally without purpose as some may find it nostalgic or empowering. 

This record is extremely cheap. I picked it up for eight bucks after hearing another artist sing high praises of Deuter as a whole.