Engelsstaub – Ubi Luna Fabulas Somniat (Digital/Vinyl EP – 4 Dimensions)
Engelsstaub returns with four stylized tracks, crafted with a precision that seems uniquely their own. “Ubi Luna Fabulas Somniat” transports us to an imaginary, remote, and serene place—where even the moon finds room to dream.
Let’s face it: this EP sounds to me like a message of peace in a grim world. But first and foremost, there is the music, through which the German group, led by Mark Hofmann and Waldemar Zaremba, invites us on an almost ritualistic journey. Each track opens with a few spoken words before unfolding into an ethereal experience, carried by a heavenly female voice. The compositions are quite diverse, yet they form a cohesive and beautiful whole. At times, the music recalls pure troubadour-like elements; elsewhere, it becomes rousing, even epic, driven by more forceful and overwhelming arrangements. Occasionally, it feels as though you are on the verge of a pure trance experience. What continues to stand out about Engelsstaub is the authenticity of their work. This quality emerges not only from the instrumentation and vocals, but also from the refined finishing of every detail.
For me, Engelsstaub remains a reliable choice—a guarantee of creativity, marked by consistently high-quality execution. (Rating:8½).
Listen to: “Eagle Woman”:
About Engelsstaub
Engelsstaub is a German ethereal and darkwave group formed more than three decades ago, led by Mark Hofmann and Waldemar Zaremba. Its music mixes Ethereal, Neo-Folk and Chanson elements, carried by heavenly female vocals.
The group’s discography reaches back to albums such as “Anderswelt” in 1999 and includes “Mater Mortis” in 2019 and “Seelengeleiter” in 2024 on Musique Indépendante Noire. Side-Line covered that 2024 album in a 2025 interview with Engelsstaub.
“Ubi Luna Fabulas Somniat” was released on January 9, 2026 through 4 Dimensions as a four-track EP on digital and vinyl, running from “Harpyie” to “Walküre”. It is the release reviewed here.
I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.
Since you’re here …
… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. Unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can - and we refuse to add annoying advertising. So you can see why we need to ask for your help.
Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.
If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.
The donations are safely powered by Paypal.
