STAFF COMMENTSsays: As a hugely talented and constantly prolific musical force, there was always going to be a wealth of unreleased gems from Jimi Tenor. It turns out that Lehto's unreleased cuts are considerably more capable than the majority of other artists' released work. A quintessentially Bureau B offering, full of groove and soul, and perfectly suited to home listening or a sunny outside dancefloor.
A1. Exotic House Of The Beloved
A3. Dub De Pablo
A4. Baby It Hearts
A5. Anna Menna
A8. Another Space Travel
B4. Doin' Alright
B5. Walkie Talkie
B8. Plan 9
B9. Travellers Cape
B10. Super Beat
B11. My Woman
For this particular release, Bureau B chose a different approach. Instead of archiving early works from the 1980s, Wah-Wah Whispers focuses on Banabila's more recent output. It is a collection of works showcasing many facets of his music: a journey visiting the minimal and cinematic sample scape, contemplative ambient / fourth world scenes and more. The album ends with a kaleidoscope of atmospheres gradually building up to a noise climax.
As Karlheinz Stockhausen noted: “New methods change the experience. New experiences change man.”
Taking this as their lead, Michael Drummer (the drummer) and CAMERA surprise us once more on “Prosthuman” as they reinvent and reformulate their sound without sacrificing the project’s identity which has matured over the past decade. Less surprising is the fact that some record stores give CAMERA their own section, alongside Krautrock pioneers like NEU!, Can and La Düsseldorf. “Emotional Detox”, the predecessor to this album, was distinguished by the presence of two keyboard virtuosos (Steffen Kahles and CAMERA founder member Timm Brockmann). Finding replacements for “Prosthuman” was, as Michael Drummer stresses, “a difficult process.” The two keyboardists had – in different creative periods – formed the backbone of a band structure otherwise prone to fluctuations. Decisive input came from an unlikely source: Tim Schroeder, who first teamed up with CAMERA as a performance and video artist on their six-week tour of the USA in 2017.
Over the course of various jams and recording sessions, he was able to offer ample proof of his synthesizers skills. Alex Kozmidi, a musician and composer with a flair for experimentation, completed the triumvirate on guitar, with Michael Drummer adding his own guitar riffs here and there. Change and friction can be useful allies in pursuit of creativity, something to which Drummer has grown accustomed as the only ever-present member of CAMERA. The pleasures and pain of isolation – suddenly a mass phenomenon in pandemic times – are well known to the quasi frontman of the group. Over the years, he has spent many hours alone or with a shifting cast of co-musicians in the band’s basement studio, beneath a former factory site in a less than hip southern district of Berlin. Virus-induced social distancing and quarantine measures that came into force during the recording process (June 2019 to June 2020) thus posed no great challenge.
STAFF COMMENTSsays: It's always a delight when something hits the shelves from Bureau B. This time sees Camera revisiting their familiar heady kosmische groove, albeit with different staff. Drummer and Schroeder here perfect the warmingly organic duality of synthesiser and live percussion, resulting in a fluid but cohesive build and release narrative and a hypnotic, rhythmic nod.
3.Prosthuman / Apptime
4.Überall Teilchen / Teilchen Überall
4.Chords4 / Kurz Vor
Exclusive Dinked Bonus 12”:
A2 – Lloyd Cole Remix
Schmwarf – The Telescopes Threw A Way Through Experimental Health Version
Alar Alar – Love-Songs Remix
Prosthuman – Extnddntwrk Remix (Andrew Robert Lindsay Fearn Of Sleaford Mods)
Freundschaft – Dead Skeletons Planet Book Remix (Ryan Van Kriedt, Henrik Björnsson)
Inspired by the otherworldly exotica and imaginative electronics of library music’s golden age, Richard von der Schulenberg conjures palm trees and pyramids, promenades and portals, all observed from the heart of a Holodeck. Seven Of Nine tracks are named after the equipment used to create them, offering an additional journey through the patch bay-mayhem of the RVDS home studio, and paying homage to the tonal nuance among his collection.
Now whether he’s atop Mt. Acid with a molten 303, caressing tender Fender keys through an improvised jazz set or live scoring some stage-based theatrics, Richard’s music always offers an immersive experience, but perhaps never more directly than this latest opus.
We wash up on the digital shoreline of ‘Mrs Yamaha’s Summer Tune’, sparkling with salt water and the shimmer of polished mallets and subtle percussion. ‘Caravan of the Pentamatics’ heads inland through the tree line, carving a silk road through Ethiopian jazz tones and snaking rhythms until it encounters the mystical presence of The Farfisa Sphinx. Cryptic melodies float a top a bed of spheric bass, intangible and irresistible until they fade into the sand storm. The gentle and jazzy ‘Roland’s Night Walk’ provides a little rest from the desert deities, though distant gunshot and the unceasing cicadas add tension to the moonlit majesty of those delicate keys. The dawn brings heartbreak via the dewy melodies and tonal malady of Richard’s DX7, but somewhere someone’s dancing to the propulsive bassline, eerie vocals and Arabesque sounds of ‘The Space Pentas’, a little kosmische boogie which just builds and builds. But dervish whirls are thirsty business, so it follows you should take a drinks break at the ‘Wersimatic Space Bar’, a sophisticated kind of cantina awash with exotica. Then the boogie is back for the penultimate track, a deranged, demented and diabolical bit of commune chaos brought back from ‘Planet Dragon’, and translated into a Radiophonic workout. Parting is such sweet sorrow on any planet, and ‘The End (Lala)’ captures the sentiment superbly, serving space sirens, somnolent bass sounds and bursts of static at a stately tempo.
Though Library inspired, and undoubtedly indebted to the hardware in action, this intriguing intergalactic trip is more passionate than a pastiche; playful, poetic and enigmatic in true RVDS fashion.
STAFF COMMENTSsays: Hamburg's synth genius RVDS fires up the hardware to create a mystical homage to the Italian library records of old. Alongside the Balearic lullabies and digital exotica there are also a couple of groovers for the more adventurous dance floor ("Dance Of The Space Pentax" I'm looking at you!)
A1. Mrs Yamahas Summer Tune
A2. Caravan Of The Pentamatics
A3. Flowers For The Farfisa Sphinx
A4. Rolands Night Walk
A5. DX7s Broken Hearts
B1. Dance Of The Space Pentax
B2. Wersimatic Space Bar
B3. Planet Dragon
B4. The End (La La)
Texts which go beyond narration, opening up perspectives, locations confusions. Inside is outside is in-between, right, left, front, back, until you don't know whether you're coming or going. An endless drift, as the album title announces, the constant movement of waves generating currents on the water's surface. Frischauf deploys a wide range of instruments, adding a wealth of colour whilst balancing her playful approach with unfailing transparency, each element clearly arranged to create a particular sound. The complexity of simplicity. Sounds shimmer like kaleidoscopic reflections in a rush of echo loops, yet these are never used for mere effect, instead they represent careful brushstrokes on the broader fabric. All ten tracks on the album share an almost random, economically sketched intensity of effect, mirrored in Anna Weisser's cover art. Everything comes together on the closing track of the album, "Freundschaft" – in the end, friendship. Waves ripple outwards like a mantra, still in motion as they dissolve. All you have to do is let yourself fall in.
STAFF COMMENTSsays: Bureau B are one of the greatest labels out there for weird electronic music (some of my favourite acts of all time have been on BB), and Die Drift is every bit as exciting and groundbreaking as the rest of their roster. Hypnotic psychedelia mixed with classic krautrock and *that* German bass sound. It's a beautiful journey, and a rewarding one.
3. Fenster Zur Straße
5. Auf Wiedersehn
6. Zeit Verdrehen
8. Eingaben Und Ausnahmen
9. Private Geheimsache
A1. 1 Moment = 2 Sec
A2. Ich Hab Den Jordan Gesehen
A3. Get Out!
A4. Frisch Verliebt
A5. Die Paranoia Kritische Methode
A6. Kennen Sie Koln?
B1. Komm Zuruck!
B2. Wenn Du Nicht Zuhause Bist
B3. Kreuze Niemals Deinen Weg!
B4. Die Geschichte Des Schwarzen Goldes
B5. Bleib Gold!
B6. Press G Punkt!
B7. 1 Mann, 1 Ball
B8. Bye Bye!
A1. Es Werde Licht
A2. Die Peitsche Des Lebens
A3. Anders Sein
A4. Wenn Wir Beide Auseinander Gehn
A5. Kathedrale Der Konzentration
A6. Alles Ist Sinnlos
A7. Alter Mann
A8. Vive La Vie
B1. Wir Babies
B2. Kleiner Junge
B3. El Cigarro
B4. Live At The Village Vanguard
B5. Das Bose Kommt Auf Leisen Sohlen
B6. Erst Ich Dann Du
B7. Spiel 77
B8. Das War So Schon
It was early 2019 when, led by their very own energy coach Ali Europa, the band ensconced themselves in an offseason hotel on Lake Constance to record the album, the same procedure that spawned their afore-mentioned
EP. Between a mothballed breakfast buffet and darkened wood furnishings, bright winter sunshine and lonely nights, Wandt and Gottmanns set about conjuring up smoke clouds. The two protagonists have always been drawn to the most contradictory scenes of local nightlife, indeed the project was born in the underground bars of Berlin. On their lakeside sojourn, they paid a quotidianal visit to the neighbourhood watering hole, where a “No Problems” playlist - parts 1 to 5 - blared out of the jukebox and semi-anonymous players lost themselves in a blur of numbers and fruit as the slot machines whirred and flashed at one end of the room. Many a Euro coin was lost here, but a valuable concentrate seeped through the ether which would allow new tracks to grow. A mixture of dark brown artificial leather upholstery and grey FRG decor and synthetics, cosiness and a railway station milieu, aching heads and excitement. The magic ultimately reached completion in the converted studio suite; a pile of analog synthesizers and rhythm machines, a Studer desk, computer, a vocal booth in the shower. Irregular working ours, and paradoxical daily routines caused considerable friction and, at times, the two musicians worked separately from each other. When contradictions reach breaking point, how rewarding it is for everything falls into place, just like that. Crack open the champagne, pour an Averna and Arabian Mocha.
One eventful year later, the finishing touches were applied in Vienna 1070, or to be more accurate, in Sam Irl’s home studio and the International Major Label Studio just around the corner: Gelb's Groove emerged from smokeladen nothingness in February 2020. The end product was honed with overdubs, refinements and vocals. Finally, the title track, Der große Preis, based on supercharged lyrics that had been floating aound for some time, was completed with Daniel Meuzard piloting his spaceship-like EMS synthesizer. A month later, cultural activities came to an end and Neuzeitliche Bodenbeläge had their debut album in the bag, like one big promise. Sounds evoking fragrances of yesteryear, yet as young as the present day. Tales of long nights and hot mornings, a market square and leather car seats, all as fresh as the day after tomorrow, having outgrown any scene imaginable. Everything pulsating, every one breathing, the expansion of now.
STAFF COMMENTSsays: Ja ja ja! Utter gees Niklas Wandt and Joshua Gottmanns are back on an N.B. tip, treating us to a weird, wavey and wonderful LP on the rejuvenated Bureau B! Blending Deutsche boogie and wonky electronics the duo conjure up the stickiest synth funk imaginable on an LP packed with treacle dancers and junk food hallucinations.
A1. Der Grosse Preis
A2. Gelb's Groove (feat Sam Irl)
B1. Keramik & Konflikte
Selbstauflöser Teil 2
Tisch Mit Drei Weinen
A1. At The Beach
A2. Smoz Opera
A3. How To Find The Exit In Case Of Fire
A4. Harvest III
A6. Walking Running
A7. A Gap In The Step
B1. Phrase Paraphrase
B2. Get Up High
B3. Infinity Pool
A 38 minutes exorcism, dionysac sexyness fueled with romanticism, made of mechanical incantations mixed with spectral vocals of forgotten imaginary tribes, words from a physicist (Incomprehensible Image), and mystical breathings… To remind you that music is demanding your soul and body, fully. A master irritator, disclosing this talent all the way, down to every chosen title, for the album itself and all of its components (would you put Milk in Water ?). As repetitive or minimalist music may already make some of you feel nervous, it seems more accurate to talk here about primitive music - notwithstanding a non violent anarchism. But those are only words and vain attempts to attach TLT to a region or a family. Neither the burden of classical European music legacy, which eventually lead to pop music, seemed to interfere with his wild mind, and if it is no surprising to hear Bach in German electronic music, there is here a clear statement that you are out of this sirupy prison… For D.W. is a sorcerer. He’s been empirically learning the speaking of trance with years of touring and experimenting with all kinds of audience and venues, from clubs to museums, from Mongolia to Brazil, from his performances with his bands Kreidler or Toresch to solo ones, sustained by a steady limited set up, as the one used when he’s recording : one MPC, rudimentary synths, few effects and a mixer. No sound engineer on stage as only he knows his secret language… Raw dubmaking, leaning towards
hip hop, indubitably underlining here a significant distanciation from his previous industrial inspirations. The bewitchment of this record is operating with no warning from the very first seconds until the last epiphany of Sales Pitch. He is using his knowledge of techno, psychedelism (Inverted Sea), UK bass (Jumping Dead Leafs), only to bring you out of it. We all tend to be slaves, without even being conscious about it, and a balance must be existing between being a slave and showing off. Mr. Weinrich’s answer is unsettling because it is an utter call to this balance, in our world of black and white and political correctness. There is no morality in music… Don’t expect anything else than an unaccountable liberating immediate experience. Don’t expect any kind of music because you are already in the past or the future… From his recording technique mainly relying on one takes, his adoration of mistakes and jeopardy, to the core essence of repetitive music, it is all hereabout being in the present. No ears no glasses.
STAFF COMMENTSsays: Dusseldorf's dance floor Derrida comes correct with his first solo album in six years, providing a little club deconstruction for the fringe DJ and haunted home listener! Frankly, no one sounds like Detlef, and as this LP blazes its hazy trail through warehouse smog, dislocated dubspace and an entirely crepuscular strand of psychedelia, it becomes increasingly clear how much we've missed him.
A1. Inverted Sea
A2. Berrytone Souvenier
A3. The Incomprehensible Image
B1. Jumping Dead Leafs
B2. Milk In Water
B3. Dawn Is Temporal
B4. Pulse Skit
B5. Sales Pitch
"I was busy experimenting with noisy rhythms when Bureau B asked me if I would like to release an album on their label. I was aiming for a more industrial sound; backwards cymbals, loops generated from non-musical sources such as slamming doors, and had the feeling that this would align nicely with Bureau B’s own story." Stefan Schwander’s new album Plong is something of a hybrid in the discography of Harmonious Thelonious, drawing on his existing strengths plus a sense of adventure in a mix of all his musical predilections. Dipping into the music, Middle Eastern elements can be heard on "Original Member Of A Wedding Band" and "Mumba", whilst tracks like "Höhlenmenschenmuziek" are characterized by more pronounced bass structures. Tuned down xylophones, evocative of ritual drums, sub bass and electrifying basslines catalyse the idiosyncratic sound of Plong: hypnotic, danceable, irresistible. A powerful head of steam builds across the nine tracks, with subtle changes in harmony ("Geistertrio Booking") or unexpected cameos such as a new wave bassline on "Abu Synth" shaking things up before the album hurtles onward with renewed force. Take "Interpretation de reve" as a case in point – floating sequences and themes sweep ashore in wave after wave of melody; analogous to dreams which enter the subconscious in episodes, their apparent randomness gradually shifting into a correlative pattern. "Totentanz" closes the album in a homage to the Basle club of the same name, a place which played a decisive role in Schwander’s musical socialisation: "I was lucky enough to see bands like Liquid Liquid, Gun Club, Jonathan Richman and a very young Aztec Camera there".
Harmonious Thelonious comes off with an exceptional work in the genre of electronic music, successfully embracing the physical power of a club night soundtrack whilst exploring the dramatic depths of sonic worlds to create an intensive listening experience in total solitude.
STAFF COMMENTSsays: Durian Bro and Dusseldorf sorcerer Stefan Schwander gets industrial and middle eastern on this Bureau B LP, translating his usual sonic manipulations into a hypnotic set of trance dancers for the alternative club kids. I'm gonna buy like 5 copies of this!
A1. Original Member Of A Wedding Band
A3. Geistertrio Booking
A4. Abu Synth
B1. Young Kong
B2. Interpretation De Reve±
B3. The Roller
STAFF COMMENTSsays: Total grail of the German underground this! Falling somewhere between NDW, tribal electronics and avant jazz, this killer LP balances ethno-industrial freakouts and noise experiments with absolute floor fillers for the weirdo dancefloor.
1. Das Afrikateil
4. Advanced Medicine
5. The Wisp
6. Jalan Bai
7. Bresnjev Rap
8. Yang Sun, Ein Stellungloser Flieger
9. Next Stop
10. Je Veux Partir
11. Le Beat (Continue)
13. Hammer (Live Mitschnitt)
You don't get to make 17 albums and stay out of the public eye unless you live and breathe music. Focus on nothing else. Commercial success may come your way, but will always be subordinated to the goal of making music on your own terms rather than music designed to sell. Listener, meet Serge Blenner.
Blenner was born in 1955 in Alsace, the easternmost region of France. He studied composition and harmony at the Conservatoire de Mulhouse. He loved listening to electronic music from the Berlin School: Klaus Schulze, Tangerine Dream, Ash Ra Tempel/Manuel Göttsching, whom he got to know when they played in Alsatian churches and chapels. Such locations added a magical dimension to what was already extraordinary music. Blenner the proselyte had seen enough to realise: it was time to move to Germany, whence this music came.
The year was 1975. He soon began experimenting with electronic music himself and graduated to live performances by 1978 and finally settled in Hamburg in 1979. One of the most important electronic music labels of the period, Sky Records, was based here, releasing music by such illustrious artists as Cluster, Michael Rother, Brian Eno and Conny Plank. Within the space of six months Blenner had recorded the tracks which would become La Vogue and sent them to Sky Records. A deal was done and La Vogue was officially released before the year ended.
The record was a resounding success, some tracks even made it onto the radio - crucially, aired at hours of the day when significant numbers of listeners were tuning in, instead of being confined to the niche programmes or graveyard shifts more commonly associated with the genre. The longest track on La Vogue by far clocks up 8 minutes, 49 seconds, a rarity in Blenner's oeuvre, well outside his usual range of three to five minutes.
La Vogue is an album of two halves. Through the first four tracks, Blenner still seems to be searching for his own style, beginning with the minimalistic, rather sombre fanfare of Phrase I built around a single melodic pattern. Next up is the almost poppy, harmonically rich Phrase II, followed by the spherical Phrase III and the crystalline, chiming Phrase IV. If the first four cuts are linked only by heterogeneity, tracks five to eight are very much of a piece. Together they represent a frosty, menacing soundtrack worthy of the apocalyptic mood which hung over the early 1980s, particularly in West Germany. With Cold War angst at its peak, many people feared a Soviet nuclear attack was imminent.
Blenner doesn't really see the connection, "I wasn't thinking along those lines at all, I wouldn't say I have a depressive streak. Although one filmmaker did ask if he could use Phrase V on a soundtrack for a horror film. And someone has added Phrase V to a YouTube video of underground trains passing through East Berlin ghost stations in the early 1980s. I didn't consciously set out to evoke such a dark mood, but if that's what others hear - then who am I to argue?"
1. Phrase I (6:43)
2. Phrase II (4:34)
3. Phrase III (6:05)
4. Phrase IV (4:00)
5. Phrase V (3:07)
6. Phrase VI (3:53)
7. Phrase VII (8:48)
8. Phrase VIII (3:53)
Cold, concise analogue synthesizer instrumentals — on his second album Serge Blenner remained true to his style, albeit shifting course slightly towards pop territory. The juxtaposition of dark harmonies and pop structures is what makes this album so appealing. In places, it feels like a blueprint for early Depeche Mode.
Having seen his first album La Vogue snapped up by the Sky label and fast tracked for release in 1980, Blenner delivered his second LP (Magazin Frivole) the following year. Mindful of the success of its predecessor, Blenner added the name of his debut in big letters to the front cover of the new sleeve. Better to be safe than sorry.
Blenner remained faithful to his musical style, albeit adding more of a pop flavour. Magazin Frivole would not look out of place filed alongside Depeche Mode on the record shelf, as a certain resemblance is undeniable. Moreover, Blenner was one of the few proponents of electronic music who preferred to keep his songs concise, in contrast to the meandering odysseys of many of his electronic contemporaries. The far better known French artist Jean-Michel Jarre adhered to similar principles, yet although Blenner was often compared to his compatriot, he claims only to have heard his music long after La Vogue had appeared.
Blenner’s creative approach is quite remarkable. He is at pains to point out that he is a composer, not a musician. Improvisation does not play a part in his music. Minor chords dominate his harmonies, the bass performs octave leaps which mirror the zeitgeist. Unexpected key changes abound, adding a restless, almost disquieting quality. Overall, Magazin Frivole is less dark than the preceding album, but a picture of cheerfulness it is not. Nevertheless, a poppy drum computer introduces a lighter note.
From the very first track, chord changes pop up at unexpected junctures — they seem to come in prematurely, before harmonic sequences have run their course. Blenner doesn’t have any explanation for this curiosity, other than to note that “most of the music was played by hand, so of course it wasn’t all perfect.” Maybe it just wasn’t meant to be too catchy. “I did all I could to avoid being successful — on a subconscious level, at least. Unpredictable metrics and irregular beats were definitely part of the process” Blenner admits with an enigmatic smile.
As a matter of fact, Blenner prefers not to listen to his older recordings, dismissive of their adolescent air. Juxtaposed with Blenner’s more recent works, one can see what he means. His latest album Musique de Chambre (2008) comprises modern classical chamber music, built on digitally sampled real instruments. Besides, Blenner points out, handling all of those analogue devices was a convoluted and complex undertaking. Help was at hand. With an impeccable sense of timing, his friend Wolfgang Palm launched the PPG Wave, the first commercially available digital synthesizer. Blenner sings the praises of the PPG (Palm Products GmbH) today as enthusiastically as when he first got his hands on one. “Suddenly I had all the equipment I needed in one box.” He never used analogue equipment again, leaving his first two albums as the only ones of their kind. Which is a real shame.
1. Magazin Frivole (6:46)
2. Envoutement (4:11)
3. Derivatif (3:57)
4. A L’Ouest (3:45)
5. Métropole Agile (4:50)
6. Phonique (5:03)
7. Frivolité (2:44)
8. Polyphase (4:52)
Conditions of the Gas Giant reflected the atmosphere associated with the music, clouds of manifold colours, whirling nervously above a gaseous planet. A methane and helium tryst in sonic form - fireworks, pyrotechnics for the eyes, like the surface of Jupiter, just as Schnitzler's tracks are pyrotechnics for the ears.
Clouds of Glory
His second solo effort, was released on the French label New Rose in 1985, although the recordings on Clouds Of Glory actually dated back to the earlier part of the decade, following on from the Suicide sessions for the duo’s second album. Martin Rev remembers: “Clouds of Glory was produced from visual and musical sketches I had in mind which then coincidedwith an invitation by Marty Thau, previously Suicide’s manager, to take advantage of studio time he had accumulated from other projects. The essence of my ideas was then realized in the studio. Clouds was started in 1981 and completed in 1984 when additionalstudio time was made possible to complete it, based on the offer by New Rose Records.” In spite of Clouds Of Glory having been recorded with the sameequipment as the Alan Vega / Martin Rev Suicide album, it occupies a completely different space, evoking the solemnity of religious music through its underlying meditative tone. “I look now upon the album as part of a personal journey into the frontier of music; a process which is never ending in its revealing of possibilities to satisfy my musical aspirations.”
1 Rocking Horse (5:45)
2 Parade (6:45)
3 Whisper (4:04)
4 Rodeo (6:37)
5 Metatron (6:25)
6 Clouds Of Glory (6:22)
Although it was not released until 1991, Martin Rev’s third solo album features a wealth of material from the year 1980. For “Cheyenne”, Rev created instrumental versions of many of the tracks which had formed the basis of the second Suicide LP entitled “Alan Vega / Martin Rev”. The sphere of Martin Rev’s influence and the relevance of his music may well be related to the fact that he was one of the first artists who succeeded in grasping the abstraction of electronic music, infusing it with a sense of immediacy built on raw energy. Whilst the likes of La Monte Young, Terry Riley, Steve Reich, Philip Glass and Kraftwerk were busy digging in the electronic music garden, Martin Rev found inspiration in the streets of New York. Rev’s music is informed by characteristic influences of the city, a place where doo-wop harmonies intermingle with the hiss and hum of the metropolis, dissolving into a collage of noise. So it is that dreamy, chiming melodies blur into ominous whirrs and drones emanating from rhythm machines and layers of distorted synthesizer. This polarity between convergence and alienation describes something deeply American, as reflected in the track names and the cover image of a rodeo rider: “The idea came from the way the tracks sounded as instrumentals. They took on a different visually descriptive dimension, even more so in combination. The visualization was an immediate sound- scape of the American landscape. That’s where the titles and cover came from.” Many of the pieces found on Cheyenne can be traced back to the sessions for the second Suicide album Alan Vega / Martin Rev (1980) which was produced by Ric Ocasek, singer for The Cars. Almost a decade passed before Martin Rev got around to editing and developing the material. “Most of the album was recorded in 1980, but the remaining few tracks from 1988 into the early 90’s. The 80’s tracks all went under a concerted editing process, to make them work for me even better as instrumentals. I didn’t get around to that until there was an offer to release them, which was in the early 90’s as well.” Indeed, Cheyenne plays out like a rural, yet intense road movie, crossing a landscape rich in beauty and contradictions.
1 Wings Of The Wind (7:58)
2 Red Sierra (6:36)
3 Dakota (2:58)
4 Cheyenne (3:09)
5 River Of Tears (3:49)
6 Buckeye (2:15)
7 Little Rock (7:00)
8 Prairie Star (2:27)
9 Mustang (2:40)
Bernard Xolotl on the creating process of "Last Wave": The first "Last Wave" I started early on while still living in San Francisco, as a simple and longish piece which could be used as a background for the concerts I was giving with Daniel Kobialka and Richard Horowitz, both of whom I saw almost every day at that time. However, after I moved to the residential suburb of Marin to build up my studio, I kept adding tracks to it so it just became part of my next album. This was going to have more instruments and progressively, I got to do everything myself, playing and recording one track at a time. But mixing there was still out of the question, so I had to wait for the right opportunity to use the proper San Francisco studio with the best reverbs and acoustics. This took several years in the end and was the last album I didn't mix at home.
Interviewed by "Electronics & Music Maker" magazine in 1982, Richard Pinhas spoke in buoyant terms about the future of his recording career. Having just unveiled his fifth solo album, L'Ethique, he was already scheming towards its follow-up. The next record. It would see him shift from analogue-based methods to digital systems. He expected the album to arrive in 1984. Little did anybody know that the mooted record would not actually materialise.
The year after that interview took place, Pinhas was plunged into a long period of depression. "I stopped everything and didn't think I would ever come back to music," he remembers. "I decided music was no longer for me. I'd said what I had to wanted to say, and it was done. It was out of my head and out of my life." Thus, he sold all his synthesisers and tried to survive on their profits along with royalties from his back catalogue. L'Ethique now looked as though it was Pinhas' final artistic statement. It was a strong collection to go out on. L'Ethique saw Pinhas return to bigger and bolder band-like methods. His collaborators included bassist Bernard Paganotti and Clément Bailly, both of whom performed stints in the prog band Magma. Moog player Patrick Gauthier made a reappearance too. The line-up brought a phat and forceful feel to the crunching jazz-rock fusion of 'Belfast' and 'Dedicated To K.C.', a vibrant space-rock stomper that lurks on some distant planet between the extraterrestrial habitats of King Crimson, Pink Floyd and Hawkwind.
Part 1 of 'The Western Wall' has a particularly fast tempo. Interspersing these rockers sit some mellower moments. The title of the gorgeous synth rumination 'Melodic Simple Transition' seems far too modest. Despite its dark and brooding synth chords, the second instalment of 'The Western Wall' has a strangely calming effect on the senses. Pinhas disappeared from the limelight for nearly a decade under the weight of his depression. On the strength of this record, not to mention the works that preceded it, there's little wonder that so many labels and promoters were falling over themselves to persuade Pinhas to return to music, which he eventually did in the 1990s. "The real miracle is that I reconnected with the music-making process," says Pinhas on overcoming his reclusive years. "It is easy to fall, but very difficult to come back."
A1. L'Ethique (part 1)
A2. Dedicated To KC
A3. Melodic Simple Transition
B1. L'Ethique (part 2)
B2. The Western Wail (part 1)
B3. L'Ethique (part 3)
B4. The Western Wail (part 2)
B5. L'Ethique (part 4)
Carl Matthews is by no means immune to the maelstrom of geo-caching notebooks. Krautrock (tick), guerrilla D-I-Y cassette-era artist (tick), under-rated UK electronic composer (tick). Man with a beard, surrounded by synths. (tick). Best of all, he was once described as the Edgar Froese of Cumbria.
Is there a suspension bridge which connects Carl Matthews to the mainland European tradition of Harmonia, Cluster and Tangerine Dream?
East West’s average track length is four minutes, indicating greater accessibility. It also has a David Bowie cover, although Pinhas naturally chose one of the thin white duke’s more avant-garde moments: the foreboding 'Sense Of Doubt' from Heroes. East West’s synth-centric tracks, resemble siblings to the groundbreaking work of Kraftwerk. Others evoke Brian Eno or Tangerine Dream but hold their own distinct flavour.
A1. Houston 69: The Crash Landing (part 1)
A2. London: Sense Of Doubt
A3. Kyoto: Kyoto Number 3
A4. XXXXX: La Ville Sans Nom
A5. Home: Ruitor
B1. New York: West Side
B2. Paris: Beautiful May
B3. Keflavik: The Whale Dance
B4. Houston 69: Houston 69 (part 2)
The seven and a half minute title track, which faUSt deliberately placed at the beginning of the album ("so you can enjoy it for a long time," says Zappi Diermaier), begins with the poem by a French school friend of Péron (translated and recited in Polish) and ends in an industrial sound inferno. The singer cries for "Fresh Air" as if it is being taken away from him. Jean-Hervé Péron offers a political reading: "Can you breathe calmly here, or are we being poisoned?" "Engajouez vous!" Péron presents this franco-faUStian artificial word to the audience and rewrites the Marseillaise for the here and now in the track "Chlorophyl": "Allons enfants de l'Anarchie, notre jour de jouir est arrivé". The call results from wild horror at a collapsing world: "Artists, engage through your songs, L'art pour l'art is finished." Péron quotes with his voice, above the polyphonic undergrowth that colleague Zappi so nimbly unleashes, and Barbara Manning sneaks word sketches from her bag of tricks into the hymn. And finally, Zappi has his mini-dada performance with "Schnobs" and "Bia": a small dialect-based text piece, which starts with Chlorophyl, goes over the meadow past the cow and lands with the farmer who drinks a beer and a schnapps and suddenly sees two cows. "Is it from the chlorophyl?" Good question, but no answer comes. At the last moment, these texts also want to join in the shuffle. The words and music and noise fall together continuously, sometimes a track is created completely from the free interplay of the forces that emerge when the musicians in the session approach each other. "Enlightened dilettantism" is the term used by faUSt.
The story of the band can tell that tale nicely. As Krautrockers, Faust (as the name was written before they later reformed) had a worldwide career. On their first three albums in the early 1970s, they inhabited the vast field from improvisation to bricolage to rock'n'roll with the ease of rogues and the determination of declared sonic renegades. They were big in Britain before the notion of Krautrock had made the rounds in Germany. One can still feel the breathing of this music, the bubbling of this primal soup, in current faUSt pieces, in the stone-age thudding of "Fish", which Faust anticipated in 1972 on "Mamie Is Blue". But you will also be able to distinguish the as-yet-unheard if you allow yourself enough audio time. The sound of a squeaky door from the house of Jean-Hervé Péron, for which the musician has the same kind of enthusiasm others might reserve for a brilliant guitar riff ("gripping, touching"); or the minute-long fadeout of "Fish", which Zappi Diermaier is so excited about. The only plan is for the band to take off without a plan. "We let the music play through us," says Jean-Hervé Péron. Everything else is up to the listener, to make his own film. Jean-Hervé Péron has a little tip for us: Listen to the fish.
compiled by Jestram, Konden, Lippok, Papenfuß
CD and LP including linernotes by Alexander Pehlemann.
Inspired by Punk and Post Punk, vibrant scenes dedicated to independent self-actualisation by means of sound circulated on self-distributed cassettes, in the 80s the cheapest and fastest medium, were developing not only in the FRG but also in the GDR (=DDR). The artefacts from that era tell of a stance of refusal in practice, and of the possibility to charge up on a high level, in spite of everything. "Magnetband" features 14 exciting experimental-electronic pieces from the GDR that originally have been released between 1984 and 1989 on cassettes only.
01 A. F. Moebius – Erika
02 Kriminelle Tanzkapelle –Klatschmohn
03 Heinz & Franz – Immer
04 Magdalene Keibel Combo – Er Hat’s Geschafft
05 Choo Choo Flame – Nein
06 Stoffwechsel – Fly, Fliege, Fly
07 Corp Cruid – 37°C
08 Taymur Streng/Ornament & Verbrechen – Das Sentimentale Ufo
09 Der Demokratische Konsum – Die Kuh
10 A. F. Moebius – Böser Traum
11 Gesichter – SK 8 Gesichter
12 Ihr Arschlöcher – Urtramp
13 Aponeuron – Jab Gab Hej
14 Robert Linke – Musik Zum Weltuntergang
With Peter Baumann on board, Tangerine Dream grew into one of the most influential bands in electronic Krautrock, sited somewhere between experimental electronica and progressive rock. Open to new ideas, Baumann's positive aura and eagerness to experiment galvanized the band's music almost instantaneously. His catchy melodies, rich in positivity, propelled Tangerine Dream into the charts.
After five years of chart appearances and extensive touring through Europe and North America, punctuated by several albums-including "Atem", John Peel's nominated import album of 1973-Baumann called time on his solo career with "Romance 76". "We found some time between tours and record productions, so Edgar recorded a solo disc and helped Christoph and me to develop our own music too. 'Romance 76' resulted from the urge to create new music. I felt we had begun repeating ourselves in Tangerine Dream and I was keen to discover new things, to carry on experimenting. Improvisation had been common to us all, but on your own it isn't quite so simple. I started to work on my own pieces." This shift in focus led him to leave Tangerine Dream towards the end of 1977. He and a friend set up the Paragon Studio in Berlin, which would earn a prominent place in music production history, but that's another story.
Still a member of the band in 1976, Baumann rented a hall in the ufaFabrik, Berlin to record "Romance 76". Sonic similarities to Tangerine Dream can be explained by the fact that the group used the same space for gig rehearsals, giving Baumann access to their instruments. The distinctive sound of a modular synthesizer system christened "The Big One" can be detected on "Romance 76", for example, along with a Mellotron.
Some tracks on the album, such as "Romance" and "Phase By Phase", are relatively minimalist in character. This airiness lends the unusual synth sounds space to unfold in all their glory. A state of affairs for which David Bowie is partially responsible, as Baumann recalls: "We were in Berlin and met him for dinner, then he would call in while I was recording the album, listening carefully to what I was working on. I explained to him what still needed to be done, but Bowie suggested: 'Leave it as it is, there's enough there already.'" At which point Baumann decided to look at the tracks in question as finished.
1. Bicentennial Presentation (4:52)
2. Romance (6:08)
3. Phase By Phase (7:41)
4. Meadow Of Infinity Part I (3:48)
5. The Glass Bridge (3:45)
6. Meadow Of Infinity Part II (6:45)
He recalls: "To make the best use of my evenings, I finally bought a second-hand synthesizer, various electronic keyboard instruments and a tape machine, plus a few bits and pieces you need to make music. If I didn't have enough money, I asked the bank. During the day I worked as a retoucher for a newspaper and in the evenings, I composed my celestial electronic sounds, invariably deep into the night. It took me around eight months to finish my first compositions. I made tape copies which I sent out to various record companies. I struck lucky straight away: Sky Records in Hamburg were interested in my music and my first record was granted a worldwide release in 1978. I called it Sternzeit and I painted the cover myself."
This was indeed a stroke of luck for a newcomer like Adelbert von Deyen. Founded by Gunter Kurber in 1975, the label had already hosted acclaimed releases from electronic and Krautrock stars like Michael Rother, Hans-Joachim Roedelius and even Brian Eno. A decent level of public interest was thus guaranteed.
The Sternzeit album was issued as catalogue number SKY 019, one of the early releases on the label.In principle, many elements on this first album reappear on the two which followed (to be reissued January 2017): rich analogue layers, the swirling winds of the ARP Odyssey, masterful synth effects sprinkled so delicately.
The second side of the record is devoted to a single track which is based on an incessant organ tone and played with vibrato, engendering a hypnotic sense of weightlessness. Keyboarders often taped down keys on their organs or synthesizers to create such effects back in the day. Adelbert von Deyen is an unconventional musician. When he performs, he sits down with his back to the audience, focussed on his arsenal of equipment. The way he has unreservedly followed his passions for music and artistic creativity speaks volumes about his free-thinking nature. Adelbert von Deyen mixed and produced this album in his own small studio on a Revox A77 tape recorder.
Tired of the rock format and excited by the freedoms promised by electronic music, Harald Grosskopf quit Wallenstein, a conventional rock band, in the mid-seventies to turn his attention to electronica. Grosskopf thus became the first drummer to specialize in the electronic music field. He played drums on Klaus Schulze’s albums “Moondawn” and “Body Love” and on YOU’s “Electric Day”. When Manuel Göttsching from Ash Ra Tempel asked him if he would consider enrolling as the regular drummer in the group now rechristened Ashra, he did not need to think about it for long. Grosskopf changed course again in the eighties, this time in pursuit of commercial success: he played in the NDW (Neue Deutsche Welle) group Lilli Berlin and backed Joachim Witt on his best-selling “Silberblick” LP, which featured the hit “Goldener Reiter”.
Sky, the record company, were more than a little disappointed with the performance of Grosskopf’s first solo effort “Synthesist”, so there was no great sense of urgency as far as its successor was concerned. “They even halved my advance!” Grosskopf recalls. “Oceanheart” was released some six years after “Synthesist”. “The album title reflects my love of transcendental meditation, of course it might be taken for watery esoterics.” (A similar vibe was evident in the cover art, hence fresh artwork has been created for the reissue.) Musical equipment for the production was limited by the label’s ongoing thrift programme. The first “Oceanheart” recordings took place “under the roof” in the Lilli Berlin Studio, Kreuzberg. They were completed at the Spandauer Studio by former Tangerine Dream member Christoph Franke. “We mixed everything down and recorded the drums there.” Harald Grosskopf again played everything himself, except for the tablas. In keeping with its predecessor, “Oceanheart” was no bestseller, but, like “Synthesist”, it attained cult status, rediscovered in recent years through the internet by a younger generation. Harald Grosskopf himself needed time to appreciate the work: “I only really discovered the musical quality of ‘Oceanheart’ years later. I finally realized that I had created something quite special.” - Christoph Dallach
1. Eve On The Hill (10:30)
2. While I'm Walking (4:44)
3. Oceanheart (4:59)
4. Coming Out (3:25)
5. Pondicherry Dream (3:42)
6. Minimal Boogie (10:54)
2014 sees the 20th anniversary of German electronic pioneers Kreidler. There'll be a tour, a movie by Heinz Emigholz and new album release “ABC” (which has been recorded in Tbilisi, Georgia). Featured here is an unreleased outtake from the album session. Jochen Arbeit, Achim Färber and Georg Zeitblom have been collaborating under the name Automat since the end of 2011. Their debut album will be available from 4th April 2014, featured here are three unreleased outtakes from the album. The song “Berlin Wall” is a collaboration with Throbbing Gristle’s & Psychic TV’s Genesis Breyer POrridge.
A1: KREIDLER: Snowblind /
B1: AUTOMAT: Berlin Wall (Feat. Genesis Breyer P-Orridge)
B2: AUTOMAT: MTY
Ulrich Schnauss, born in the industrial port town of Kiel in northern Germany in 1977, emerged in Berlin's drum 'n bass scene in the mid-1990s. Mark Peters was born in Liverpool in 1975 and embraced a deeply euphonic pop aesthetic that incorporated intricate formal structures. The two musicians met years ago when both were making shoegaze music and formed a close friendship. Schnauss joined Peters's band Engineers as a keyboardist in 2010. After the collapse of the second-wave shoegaze movement in the early 2000s, both musicians drifted away from the genre's dreamy, shimmering aesthetic and returned solidly to their own musical roots. Peters has subsequently explored classic, guitar-based music and Schnauss has returned to his origins as an electronica producer.
Tomorrow is Another Day represents a maturing of the pair's creative process. Following their first collaborative album titled Underrated Silence (2012), which seamlessly blends the two instrumental voices into an integrated sonic landscape that delivers surprisingly intense emotion beneath the surface of its delicate composition, Schnauss and Peters subsequently began to craft a musical exchange in which each musician's contribution was emphasized in contrast to the other's voice. The differences in Schnauss' and Peters's musical backgrounds are highlighted and embraced as their two voices emerge in dialogue. Here, the synths are drier, the guitars more discreet. The shifting tonality of the music's richly layered patterning defines its composition with punctuated gestures as melodic lines emerge in sharper relief. With neither musical style overpowering the other, the effect is that of two equally masterful voices in coherent conversation, celebrating the dynamic nature of instrumental combination and exploring a new method of creative approach - one that allows for concurrence and dissent, in turn.
1. Slow Southern Skies
2. Tomorrow Is Another Day
3. Das Volk Hat Keine Seele
4. Inconvenient Truths
5. One Finger And Someone Else's Chords
6. Additional Ghosts
7. Walking With My Eyes Closed
9. Bound By Lies
10. There's Always Tomorrow
'Den' is Kreidler's eleventh regular album It could be said that 'Tank' - Kreidler's critically acclaimed previous album - is a drum album. Not in the sense of the brute force of a Ginger Baker or a John Bonham, but more in terms of the elastic muscularity of a Budgie, a Robert Görl or a Klaus Dinger. So in the case of 'Den', if attempting yet another such broad categorization, one might draw attention to the album's viscous musicality. Indeed, for recording and mixing, Kreidler chose to work at LowSwing, a studio renowned for its round sonic character, with the magnificent Guy Sternberg at the controls. The album's opening track 'Sun' displays an inspired beauty that is perhaps reminiscent of Eno during those periods in which he was interested in songwriting. Pan-Asian counter-melodies interplay around the stoic but light architecture of 'Deadwringer'. And 'Rote Wuste' is a mysterious painting, spanning a vast emotional arc between it's dark beginnings and the possibility of a conciliatory resolution. The heavily grooving 'Cascade' finds an utterly mesmerized Alex Paulick on guitar - just how many chord changes does Andreas Reihse get through? But one nice aspect of Kreidler is that those kinds of things hardly matter. Kreidler never burden the listener with strict didacticism. Everything flows naturally.
The so-called Berlin School (Berliner Schule) - with Konrad Schnitzler one of their number - had developed its own style of minimalist music. Clearly distinct from Anglo-American pop music, and no less removed from the minimalist art music of Steve Reich or Philip Glass, the focus here was on electronics and elementary rhythmics. The Berlin musicians showed no great interest in instrumental or vocal virtuosity, nor were they in thrall to exuberant interleaving of rhythm. With the aid of synthesizers and studio technology, they were bent on breaking into territory hitherto considered the province of a privileged elite, clouded in mystery and secrecy, resonating with uncharted sounds and noise. "Blau" is an archetypal example of this very phenomenon. Schnitzler's style was really too idiosyncratic ever to set a precedent, but he was, and still is, one of the most significant inspirations for pop music in more recent times. Already a figure of prominence, perhaps he will one day be elevated to the status of a legend.
1. Die Rebellen Haben Sich In Den Bergen Versteckt
3. Wild Space 1 (Bonus Track)
4. Wild Space 2 (Bonus Track)
5. Wild Space 3 (Bonus Track)
6. Wild Space 4 (Bonus Track)
7. Wild Space 5 (Bonus Track)
8. Wild Space 6 (Bonus Track)
Originally released in 1979 on Warning Records (later Ata Tak)
Reissue in digipak with liner notes, rare photos and memorabilia.
True DAF connoisseurs will, of course, be aware of the early phase of the Dusseldorf-Wuppertal combo. But most fans of the subsequently world famous duo may well be taken aback when confronted with their debut album: forceful synth bass sounds, snappy rhythms, Gabi Delgado and leather all conspicuously absent. In their place, pure instrumental, unstructured noise-rock, played by long-haired and moustachioed types! A band can barely have undergone a more extreme metamorphosis. Gabi Delgado joined the band before the band discarded the name of YOU and christened themselves Deutsch- Amerikanische Freundschaft. A tape machine and two microphones were set up in Wolfgang Spelmans living room and ten days of unbounded improvisation ensued. And thus it was completed, Produkt der Deutsch- Amerikanischen Freundschaft ; 22 tracks, ranging from 19 seconds to three minutes in length. The influence of Can is clearly audible. Considering the fact that other prominent noise-rock bands such as Chrome, Flipper or even Sonic Youth recorded similar music at a much later date, this 'product of Deutsch-Amerikanische Freundschaf¨ should certainly be recognized as a pioneering work. Possibly even the first noise-rock album.
Produced by the team at Machines With Magnets who have worked with Lightning Bolt, Clap Your Hands, Say Yeah, Fang Island and Battles
'Ersatz' was originally released in 1990 on the Pinpoint label.
The music: surrealist, minimal / experimental electronics. "Adventures in sound, a world brought to life by the most remarkable characters and atmospheres." (Asmus Tietchens)
Dieter Moebius is one of the most important protagonists of avant-garde electronic music in Germany. Alongside his bands Cluster and Harmonia he participated in numerous collabo-rations (e.g. with Brian Eno, Mani Neumeier/Guru Guru and Conny Plank).
1990 sees Dieter Moebius enter new musical territory, cautiously reconnoitering the digital world. His companion on this excursion is Karl Renziehausen, a visual artist and constructor of sound sculptures. The two of them distance themselves sonically and musically from existing Moebius collaborations with Conny Plank and Gerd Beerbohm (almost all of which have been reissued on Bureau B); similarly, only sporadic echoes can be heard of Cluster and Harmonia, two projects whose style Moebius influenced significantly over a number of years. There is an exactness to the music of Moebius und Renzie-hausen, who allow nothing to stray from their chosen path. They stage seven little musical comedies with different plots, much as if they were writing for the theatre. Common to each of the pieces is a prevailing mood of surrealism. Although Moebius and Renziehausen frequently cross the boundaries of tonality, they still remain firmly grounded. The connection to the real world is never completely severed. Which is what makes this music so puzzling to anyone willing to engage with it: the occasional fleeting sense of something familiar, yet no sooner than something appears which one might have heard before, it disappears again, replaced by something new and unrecognizable. Listeners can look forward to nine meticulously crafted soundscapes of uncharted, fantastic regions.
The music: synthesizer, piano, guitar and drum computer, a reduced, yet bacchanal instrumental combination of ambient, electronica and shoegaze sounds. Transporting the sound of shoegazer aesthetics into an electronic context, this is how Ulrich Schnauss once described his artistic goal. Influenced by bands such as My Bloody Valentine, Slowdive, Cocteau Twins and Chapterhouse on the one hand, yet wholly at ease with the electronica of bands like The Orb, Bionaut, Orbital, 808 State and unequivocally appreciative of veterans of the genre, Tangerine Dream or Manuel Gottsching for example. A brother in spirit of Robin Guthrie one might say, an apposite epithet for Schnauss. His collaborative partner Mark Peters might also be considered his soul brother. Through his band, Engineers, he has similarly found success in following the footsteps of his musical paragons. Engineers have released wonderful albums of dream pop, infused with the same spirit as the solo efforts of Schnauss.
1. The Messiah Is Falling
2. Long Distance Call
4. Yesterday Didn't Exist
5. Rosen Im Asphalt
6. The Child Or The Pigeon
9. Gift Horse's Mouth
10. Underrated Silence
On “Gift of the Moment” Roedelius broke away unequivocally from purely electronic music. If “Lustwandel” and “Jardin au fou” had seen the process set in motion, this was the album that completed the transition. Following the “Selbstportraits”, which had at least been created through the use of electric organ and synthesizers, Roedelius focussed on the grand piano, sometimes accompanied by a cello, violin and guitar. Distant echoes of a not so distant musical past could only be detected in the occasional appearance of sparse chords played on a polyphonic synthesizer. The album wore a veil of delicate melancholy: no vibrant folk dances, no colourful carousels, no cheerful melodies. Instead, Roedelius offered a calm, almost detached form of music, openly acknowledging romantic heritage. “Gift of the Moment” eluded contemporary definitions of the “experimental” concept, as Roedelius was now experimenting in new, eclectic areas, too weighty, too grainy to be labelled “Proto New Age”. Roedelius was not striving for perfection, but for authenticity, a music stripped of disguise; and to this end he left little playing errors in the mix, fading out tracks rigorously to eliminate any bigger blunders.
The band: founded in 1971 by Hans-Joachim Roedelius and Dieter Moebius, both key figures in the German experimental scene for electronic and ambient music.
The music: abstract, meandering streams of sound and noise. Epochal, experimental electronics - "Cluster 71" was the duo's debut album. According to The Wire "Cluster 71" is one of the 'One Hundred Records That Set The World On Fire'. Very few albums from Germany can lay claim to this honour. "Cluster 71" is a monster: the debut work from the year 1971 (actually just called Cluster) contains a mere three tracks (untitled) and is quite an ordeal for untrained ears - back then, at least. Yet the album pointed the way forward like no other electronic opus.
Phantom Band is: Jaki Liebezeit (Can etc.), Rosko Gee (Can, Traffic), Helmut Zerlett (eg Dunkelziffer, Unknown Cases), Dominik von Senger (eg Dunkelziffer, Damo Suzuki Band/Network), Olek Gelba, Sheldon Ancel.
Guest musician: Holger Czukay
The music on “Phantom Band”: Can-style monotonic polyrhythms meets afrobeat, funk, jazz, disco, reggae, dub.
'The evocative toybox melodies (usually the Roedelius compositions) on 1974's "Zuckerzeit" reached their peak with "Sowiesoso", courtesy of ambling pieces like "Dem Wanderer", the title track, and the vaguely Oriental "Halwa". The drum programs are still irresistibly simplistic (not to say simple), but even when Sowiesoso stretches out into primarily beatless terrain ("Es War Einmal", "Zum Wohl"), the album retains its power.' (All Music Guide)
192 NEW ITEMS
Sun 18th - 10:58
Fri 16th - 2:22
Fri 16th - 9:15
Thu 15th - 5:01