The Wire - 3/98, p.56
"...As a sketchbook of ideas, TRACKS AND TRACES is interesting....'Sometimes In Autumn' conjures a beautifully bleak soundscape, with Rother's delay guitar ticking across vast space. The album closes with two 90 second miniatures...that are so exquisite, you're left asking why they don't go on forever..."
Q (Magazine) - p.1243 stars out of 5
-- "[M]otoring along in finest Krautrock fashion in between moments of glacial beauty."
Record Collector (magazine) - p.924 stars out of 5
-- "[I]t's amazing to think that this is the sound of four men improvising electronics rather than painstakingly applying coat upon coat of gloss in the studio."
TRACKS & TRACES contains previously unreleased works from the first meeting of Harmonia and Brian Eno in 1976.
Harmonia: Michael Rother (guitar, keyboards, drum programming); Hans Joachim Roedelius (keyboards); Dieter Moebius (synthesizer, mini-harp).
Additional personnel: Brian Eno (vocals, synthesizer, bass).
Liner Note Author: Stephen Lliffe.
Recording information: Harmonia Studio, Forst (09/1976).
Photographer: Christine Roedelius.
Recorded in 1976--after Brian Eno had proclaimed them one of the best groups around--but not released until 20 years later, TRACKS & TRACES is a fascinating release not merely for Eno's participation but for the hints of music that would become mainstream in the future. Indeed, opening cut "Vamos Companeros" has an intense guitar line from Rother that in its nervous, choppy way suggests everything from Wire to Bauhaus, not to mention Eno's own noted production clients, U2. Having already created two excellent albums, the core Harmonia trio was easily placed to whip up a third, with Eno the wild-card factor that turned out to be a perfect addition. Contributing lyrics and singing at a time when he was steering away from both in his own solo work, much of the time Eno lets the band speak for itself musically, most notably adding snaking, quietly threatening basslines. Compositions range from the lengthy to just fragments, and while it feels at points more like a collection of sessions than necessarily a complete stand-alone album conceived as such, the end results are still worth hearing. The contemplative "By the Riverside," which could easily have turned up on Eno's BEFORE AND AFTER SCIENCE (where his related collaboration with Cluster, "By This River," appeared) is a slow treasure, a core keyboard loop providing the slow-paced rhythm. "Almost" is another killer, with a lead guitar/piano melody that's pure gentle heartbreak. If there's less of the glittering glaze of the earlier Harmonia albums, the explorations in ambient sound and mysterious and murky textures make for more than a fair exchange.