An emotional vision, a debut-album, a continuation and restart. SURROGATE SIBLING is the current creative location of composer and musician Dieter Dolezel. His musical diction appeals to the imagination of those who define themselves based on their musical tastes.It is about listening closely and the chance of being affected by the music to such an extent, that it mirrors the essence of our existence. Beyond conventions. Kate Bush and Frank Zappa did comprehend that boundless musical notions were not mere conducts but necessities for music’s productive forces and music-enthusiasts alike. SURROGATE SIBLING, the album, picks up the tracks of the great freethinking-navigators to continue those realms. Without it being musically complimentary. The album welcomes engagement. It doesn’t refuse accessibility and recompenses preoccupation with its contents bountifully. Ultimately it had never been of any relevance how music was being perceived stylistically – as long as it came across. The album’s title says it all: SURROGATE SIBLING, the ersatz-brother, the ersatz-sister, paraphrases the phenomenon admirably that’s being known by everyone who has ever been affected by music. When the musical world with its tones, pulses and rhythms becomes one’s corresponding surrogate, the path to dialogues with the soul is being paved. It is due to music’s artistry that it can be everything it should be. SURROGATE SIBLING turns the multidimensional into musical art and by the same token it stays clear of being arty music – countless variables and possibilities included.SURROGATE SIBLING could be read as a band-name. But even though six musicians are being heard on the album, SURROGATE SIBLING is rather being synonymous with Dieter Dolezel’s think tank. The album is opening up some additional ways of expression for the thirty-something. Since 1999 the Munich-born composes concertante music, he had been awarded prestigious awards and scholarships, his music had been performed by renowned Ensemble Modern and the popular King’s Singers. Without doubt, he could have become a professor to cover up subsistence for the rest of his life, but the need for direct dialogues with an audience led towards his broadened self-conception as a composer. “I missed being able to communicate with my listeners, but also missed the sense of my music reaching someone somewhere”, he reflects. “I opened up to some new ways but I am not burning any bridges to my past with this. For Surrogate Sibling I merely opened up another door to my work, but thereby I didn’t close the door to New Music. My music might be a bit more accessible now, if you like, but that’s not reprehensible in my perspective. Despite music being generally divided for its easy or rather difficult accessibility, to me it is all about good music, ultimately.”Whether or not SURROGATE SIBLING could actually be attributed as Dieter Dolezel light, the easy form of his contributions to Contemporary Classical Music, is a comprehensible question to him. He categorically addresses it with a decided “no”, though. He merely chose a different musical language for SURROGATE SIBLING and decided to compose inclusive, allowing different hosts of his musical fabric to become audible. In its attractiveness for movie-directors, SURROGATE SIBLING’s music is contemplating Max Richter. Many parts of the album lend themselves exquisitely well for visual realizations.Most of all, though, SURROGATE SIBLING, the album, needs to be music. Dieter Dolezel contradicts the profoundly romantic attitude of the 19th century, which dictated that titles suggested morales, by number-mapping the album’s 13 pieces. 2014’s music shall be perceivable as such, he thinks. In a G-minor triad, “CIV” builds up an album that taunts with expectations in its musical impetus. Crescendos don’t predict their respective final tones within the record, they’re composed to create enthralling moments, space for the imagination. “CXLIX” could be the illustrated inferno of the album that rushes in between Manhattan’s skyscrapers to illuminate a microcosm in a macrocosm. The album’s pulse that is being stretched through the songs like a guideline, nudges the melody, the putative queen of music, off its throne with dynamics as instigators. Stravinsky who had been named an important rhythmist by Pat Metheny and Zappa alike, would have been much delighted by the notion of SURROGATE SIBLING. The art of finely formed phase shifts makes “LIX” to appear as a vehicle for guitar-improvisations, but it is in fact a fully fleshed out composition. “D/LIV” underlines the importance of sound-aesthetics in the conception of the album with a piano-tone that defies the religious belief of many a classical album in hi-fidelity. Young Munich-based Carlos Cipa accommodates Dieter Dolezel’s quality-requirements towards the album’s instrumentalists with his pianist-expertise. The four string-players of New York’s Sirius Quartet lend a multidimensional understanding of the album’s libertine-diction with their nonchalant propagandized non-academical understanding of music.Dieter Dolezel will probably not be able to avoid the gruelling explanation of what SURROGATE SIBLING actually is. “Neo-classical”? “Post-classical”? The album is passionately devoid of classical music and of so-called new classical music. As guitarist Dieter Dolzel acts as if the blues never existed. How about calling the albums contend inspired music, then? How about music that is inspired by the need for dialogues with its listeners? Sure, those are not your common categories. But must they therefore not exist? Frank Zappa said: “Without deviation from the norm progress is not possible”. SURROGATE SIBLING is the opponent of conservative music-conceptions. It is blazing with improving emotional intensity.