柏林青年 Ulrich Schnauss 将IDM从阴鬱机器梦魘里解放了出来，流畅悦耳、绝美旋律，充满感情的新电子音乐，令人难忘。2001年的首张专辑《Far Away Trains Passing By 列车在远方掠过》在英美乐评掀起风潮，市场上也获得良好迴响，更让电子音乐厂牌 City Centre Offices 人气急速上升，拉抬了 Morr Music 厂等整个德国聆听系电音的能见度。摇滚乐迷常会在其中听到昔日英国shoegazer乐派、Sarah Records花草民谣甚至U2早期Edge式连绵吉他的感动。如果是后摇滚爱好者，也会为 Ulrich Schnauss 在演奏编排、情绪转折营造感到折服。他在 Boards of Canada 和 Herrmann & Kleine 等前辈的基础上，将IDM的悦耳度与可听性大大提升。 从一开始的那首阳光亲吻般温馨的电音抒情曲《Knuddelmaus》起，整张专辑就像一列归途中的列车，穿越身后熙来攘往的城市，甚至在光洁透明的听觉质感中进入异常柔媚又轻巧的高科技摇篮曲中，让人感觉如同飞跃人群和车水马龙，轻灵洒脱得几乎可以丢掉自己的影子。而在《Molfsee》一曲的沉静冥思中，傍晚最后一丝阳光也被远去的列车遗落在都市的高楼之后，伴随车轮声沉寂如归途迷梦…… A somewhat mysterious producer from Berlin, Germany, Ulrich Schnauss debuted under his own name in 2001 with Far Away Trains Passing By. Released by City Centre Offices, the album seemingly came from nowhere and wound up on several journalists year-end favorites lists, impressing many with a beguiling level of charm that referenced the shimmer of the Cocteau Twins and the beat mining of the Black Dog. A Strangely Isolated Place followed in 2003, which was much closer to shoegaze than U.K. techno. Schnauss has also had his hands in a number of other projects, including Hexaquart (minimal techno-house) and Ethereal 77 (drumnbass), in addition to engineering work for a number of other artists.