the first record of melo X, is the japanese term for a never-ending path. it is the path melo X are travelling along on their musical journey.

Working on do melo X have gathered a remarkable archive of unusual audio samples. swinging mantras of tibetan monks, coming in no way short of the drive of hard bop, as well as fast speaking mongolians with their breathtaking articulation, are proving that rap is not solely at home in the ghettos of america.


The origin of each melo X composition is a sample which, in its melodic and rhythmic structure, is the basis of the composition and maybe it even tells a hidden story. tales of diverse cultures and a variety of traditions.

melo X take up these stories, translate them into a language of modern rhythmics – funk, reggae, drum´n´bass, techno – and mix traditional instruments such as khen, hojak or traditional drum instruments with midi saxophone and samples.


Arne Marsel: soprano sax, ewi & midi
Nicole Marsel: alto sax, alto flute
Gabriele Riegler: tenor sax, bass clarinet
Christian Eder-Colvin: baritonsax,
alto sax, clarinet
Mario Lackner: drums, vocal


Agnes Heginger: vocal
Peter Jocham: vocal
Sainkho Namchylak: vocal
Wolfgang Puschnig: alto sax, bansuri, hojak
Wolfgang Schalk: guitar
Lisa Haag: vocal
Gant Kralicek: synth. bass
Peter Herbert: doublebass
Melissa Coleman: cello
Reinhard Buchta: synth.
Adam Reid: hallucinator


The Dark continent and outer space. Neil Armstrong`s voice and the Pygmies`chants. The origin of our civilisation in contrast to the world of high tech. The quiet introduction and the melodic theme facing a Suaheli-Klingonic rap. Both worlds finally bridged by Neil Armstrong`s “Everything is looking good”.

The riff of a Khen – a Central Asian bamboo mouthorgan – transcribed as a neckbreaking arrangement for saxophone. A journey through the jungle to a village festival. The joyous celebrations, the solos played by Wolfgang Puschnig on the Hojak, Bansuri and alto saxophone, riding along on the groove of the Khen reff. The saxophones return – the visitors are leaving the celebtation.

Tuva Rap
Sainkho Namtchylak offers us an insight into the fascinating world of shamanistic vocal technique. The sample, which Tuva Rap is based on, reflects the vocal acrobatics of the Tuvan people who even hold competitions in “fast speaking”.
The galloping rhythms and the melodies of the recitative are picked up and further developed by the horns`riff.
“lower tone singing”, a special form of “upper tone singing” is especially cultivated in Tuva.

takes you to the world of the Inuit, to a world of fishermen and hunters. An Inuit is telling a story. The monotone rhythm of the drums – the hunt for fish. The whales`song – the Inuit peoples`respect for life.

From the death to birth – from the Inuit to Africa. The song and clapping of women from the Central African Gabon tribe during a fertility ritual. Three Themes are based on these motifs:
The initial motif of the horns, the bass groove lying beneath the voice sample, which invites us to this journey.Finally the grooving saxophone arrangement which, through its impact, could keep up with a fully blown Big Band. The baritone saxophone is followed by the women`s choir as the journey fades…

A journey from Tibet to New York. Rölmo – Tibetan drums. Mantras – songs from Tibetan monks. In the sample of this mantra you will find the bass line which is picked up by the baritone saxophone as well as the melody of the Mantra played by alto – and tenor saxophones. The joyful life of the Tibetan people clashes with New York`s hectic atmosphere. Huge contrast – similar rhythm.

This miniature “radioplay” deals with one of the foremost future problems of mankind, the shortage of water. The desert could soon be everywhere. An acoustic hallucination.

A return to the world of the Inuit.
Shakaio is the twielight world which you enter when you die. A review of life as death approaches. In dark, quiet colours of clarinettes, saxophones and a cello, an old Inuit is reflecting on her life. The melody tells about her youth and her growing old. At the end she turns to us and addresses us with her voice before she fades into Shakaio.

Anatolia. Stormy weather. Despite the rain you can hear the hedgehogs. You leave your country and make your way to the western world of technology. Yet a quiet melody is floating above the techno groove of drums and baritone saxophone. The arrival in a new world. Hectic. Our traveller faces the conflict with the Unknown and is ruthlessly chased. A nervous saxophone blends into these sounds. In his attempt to escape he awakens to the beauty of his home.

    << back