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Michael Rother


    The ‘Solo’ boxset includes the first four solo albums from Krautrock legend Michael Rother (Kraftwerk, NEU!, Harmonia): ‘Flammende Herzen’, ‘Sterntaler’, ‘Katzenmusik’ and ‘Fernwärme’. It also features a selection of soundtrack work, as well as previously unreleased remixes and live recordings, featuring reworks for Paul Weller and Boxed In.

    The boxset also contains a lush 36-page booklet, original stickers from the 70s and a digital download code.

    ‘Flammende Herzen’, ‘Sterntaler’, ‘Katzenmusik’ and ‘Fernwärme’ are also being made available as separate digital albums.

    “This is a special guy. Rare among fine musicians is one who never bit the industry weenie. This guy never did. He’s done nothing but superior work just the way he hears it. An understanding of space within the music, nothing there that doesn’t need to be and an attention to every note. It’s an exceptional talent and one that’s heavily influenced all sorts of people for a long long time. He hit all the right notes in the post-war evolution of German music.” - Iggy Pop


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    Imagori II

      It is not uncommon for artists’ lives to be littered with fractures, a circumstance that seems to grow with the intensity of an artist’s creative will. A musician like Hans-Joachim Roedelius, who has played in so very many definitive musical ensembles, knows that all too well. Born in 1934, Roedelius was part of what was a “who’s who” of celebrated musical innovators in the bands Harmonia and Cluster and constantly kept company with eccentric artistic personalities. It is lovely when such fractures aren’t seen as a burden but as what they should be to an artist: an indescribable treasure trove of experiences; Roedelius exploits this rich array of experiences elevates them and continually restyles them.

      Paris-based Swiss musician Christoph H. Müller looks back upon a similarly broad-ranging wellspring of experiences, despite being the younger partner in this synergetic duo. With bands like Gotan Project he emancipated the idea of world music from its constraints, enriching it with a plethora of celebrated productions. Müller belongs to a generation of musicians that invariably profited from Roedelius’s pioneering work in the realm of electronic music, augmenting it and sharing in it with a constructive élan – them joining to collaborate was mere providence.

      In 2015 their debut, IMAGORI, was released on Groenland Records. It is an album that readily demonstrated how well their musical visions fit together. Roedelius’s soundscapes joined Christoph H. Müller’s electronic productions and beats and they entered into a dynamic symbiosis that gave rise to music that, instead of uniting two worlds, created a new one.

      That process continues seamlessly. The title itself implies as much: IMAGORI II. The second joint album from these electronic music virtuosos shows new facets of their collaborative efforts and reveals all the new discoveries there are to be made when two explorers join forces. IMAGORI II’s twelve tracks oscillate between tender and hard-edged, between science fiction and the Garden of Eden; they call forth organic orchestral sounds that then fragment; they create moods ranging from melancholy to euphoria and are all the while accompanied by Roedelius’s filmic pathos, which has no use for extravagant gestures and instead tests the limits of minimalism.

      Language is employed strikingly often; for instance, on the first track “FRACTURED BEING,” which is sung by “Miss Kenichi,” alias Katrin Hahner. The song “ICH DU WIR” is a family affair in which Rosa Roedelius gradually allows the listener to observe how soundscapes allow deconstructed language to fuse into structured form once again. Then, on “LA VIE EN BLUE” we hear Christoph H. Müller’s daughter illustrate the boundlessness of her father’s music in while singing in French.

      Thus, we witness new experiments on IMAGORI II that are well aware of the foundations they are built upon and that sometimes let us forget the present with their future-oriented perspective while never descending into pure escapism. The twelve tracks allow the listener to close his or her eyes and enter a dream that could not sound more beautiful – we experience this phantasm as IMAGORI II. It contains no fractures, merely passages that provide a plane on which something new emerges.

      The album ends with a song that could not be more defining and that recapitulates the production’s musical harmony one final time: “HIMMLISCHER FRIEDEN.” Hopefully, this will go on for a long time.

      David Sylvian & Holger Czukay

      Plight & Premonition Flux & Mutability

      "Plight & Premonition, Flux & Mutability", both titles are predicated on instability. Meanings are equally mutable, perhaps the beginning of a spiritual journey, a climate of uncertainty, the experience of improvisation, a door opening (that may quickly close again). That first nocturnal session in the Can studio began unconsciously, or at least without initial awareness that music was being made, Sylvian enjoying the opportunity to play a pump organ, then growing aware of a slippage in the room as Czukay played orchestral samples through the fold back system: “I fell into a trance.” Ethereal sounds looped through the space. He moved to the piano, searching for something concrete. After ten or fifteen minutes he found it, only to hear Czukay tell him to move on: “He’d only wanted the process, the uncertainty, the ambiguity of the searching out of ideas.” The night wore on; as soon as fixity or some compositional motif crept in, so the machines would be taken out of record, as if establishing an equilibrium between the transience of making and the indelibility of recording. 


      Patrick says: Two superbly esoteric electronic recordings from the very late eighties get their first ever vinyl reissue thanks to those fine folks at Gronland. The work of musical auteurs David Sylvian and Holger Czukay, these four pieces offer a purity of sound, progressive approach to audio and immersive arrangement. Far out!

      Holger Czukay


        “Holger has been probably the best editor with tape I ever came across,” says producer and recording engineer René Tinner, who worked closely with his studio partner Czukay from the seventies to the nineties. “He could have 90 or 100 slices of tape on a table, and he could by magic put them back together with music, perfectly. In that, he was a pure master.”

        The music in this box set does indeed demonstrate masterful arrangements of sounds and sources, movement and melody, humour and seriousness, that can well be described as magical. It is also a set of unpredictable keys and ciphers, revealing a unique worldview where high artistic rigour meets continual openness to chance and serendipity. In this, Holger not only cut and pasted music, but time, place and mindsets, when such things in popular culture were not only technically near impossible, but virtually unprecedented. (Ian Harrison / Mojo)


        5xLP Box Set Info: This boxset contains 5 vinyl including previously unreleased material, a DVD, a VinylVideo, a lush 36page booklet and a download code.

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        Für Immer

          In 1982, DAF (Deutsch Amerikanische Freundschaft) released fifth album ‘Für Immer’, their third in the space of a year and half, then promptly split up. Despite the band’s meteoric career, the Düsseldorf twosome left its mark, creating bare bones pulsing electronic music that delighted in both stiff dancefloor experimentation and homoerotic tease.

          Though the album is overall moodier than the previous two, it still has its share of lighthearted numbers, such as a rerecording of the band’s first single, ‘Kebabträume’ (initially issued when DAF still used guitars), or ‘prinzessin’, which comes dangerously close to a love song - or at least what passed for a love song in 1982 Düsseldorf.


          DAS IST DAF

            The box contains their classic 4 albums: "Die Kleinen Und Die Bösen", "Alles Ist Gut", "Gold und Liebe" and "Für Immer", as well as a separate disc with remixes. and a poster.

            The vinyl edition also includes a 7" with 2 brand new, unreleased songs, plus lush booklet, original autograph card, a DAF slipmat and a download code.


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            Klaus Dinger & PreJapandorf



              Previously unreleased album from German Kosmische Musik legend Klaus Dinger (NEU!, La Dusseldorf, et al).

              Beautifully manufactured LP sleeve with artistic ‘inside out’ paper.

              Released for RSD because it's the last album of Klaus Dinger that isn't available yet.

              For this special recording, Klaus Dinger teamed up with various musicians in order to create a new recording experience, “turning documentary into art” would indeed be the best way to describe this album.

              Limited to 500 copies for the UK and Eire.


              Musik Von Harmonia - Remastered

              Musik Von Harmonia is the debut album from the highly influential Krautrock/Kosmische Musik group Harmonia. Harmonia, was formed by the addition of Neu! guitarist Michael Rother to Cluster, the duo of Hans-Joachim Roedelius and Dieter Moebius. They recorded the album from June to November 1973, in Forst Germany.

              Ned Raggett's review for Allmusic opens: "The debut Harmonia album is at once a product of their source bands and a fine new twist on them, resulting in music that captures what for many is the Krautrock ideal..." He adds "'s at once playful and murky, steady and mechanical, a supergroup of sorts who easily achieves and maintains such a seemingly overstated status by embracing a variety of approaches that work wonders."

              STAFF COMMENTS

              Darryl says: Sublime Krautrock album, and one of the best in my humble opinion, from the combined talents of Michael Rother from Neu! and Moebius and Roedelius of Cluster fame.

              Harmonia was a Krautrock supergroup, containing Roedelius and Moebius from Cluster and Michael Rother from Neu! Recorded and released in 1975, this was a perfect combination of the sounds of the two bands, ESSENTIAL!!!

              Ned Raggett's review for Allmusic opens: "A touch more immediate and song-oriented than its predecessor, but no less enchanting and lovely to hear, Deluxe again features the trio experimenting with a variety of approaches, most particularly including vocals here and there for the first time."

              Les Vampyrettes

              Les Vampyrettes

                Previously unreleased collaboration between German record producer and musician Conny Plank and Holger Czukay (Can).

                Available as a lavish triple 10” hand-numbered box set complete with mobile

                Since their inception in 1978 with the legendary "Damaged Goods" EP and debut album "Entertainment!", Gang Of Four, have been one of the most radical and radically important groups of the last thirty years.

                Gang Of Four have triumphantly defined their place on the musical landscape, influencing a wide range of bands including R.E.M., Red Hot Chili Peppers, Sonic Youth, Bloc Party, The Rapture and Franz Ferdinand.

                "Content" is their first new studio album in 16 years, and is the catalyst for a year long international marketing plan in 2011, driven primarily by massive press and online interest in the band, and supported by an aggressive live performance schedule and radio and TV exposure. ·

                FORMAT INFORMATION

                Ltd CD Info: Limited to 500 copies, this edition contains six booklets: the new album on CD, a history art piece (a series of twenty drawings and montages), a book of lyrics, a book of Rotoscoped photographs of the band’s emotions, a book containing sachets of the band’s blood and a scratch and sniff booklet which reflects the key areas of human activity.

                Release of the NEU! album "86", which Klaus Dinger and Michael Rother originally recorded in 1985 / 86.

                'I'm thrilled about the release of the album NEU! '86 which Klaus Dinger and I originally recorded in 1985/86, but left unfinished back then and which led to some unfortunate problems between Klaus and myself in the 90s. I now completely reworked the album from original multitrack and master tapes, and unearthed a few yet unknown tracks which are essential for a full understanding of what Klaus and I focussed on for NEU! in the mid 80s. It was my aim to present Klaus Dinger´s musical strengths and visions just as much as my own ideas. The best musical result was to be my only guideline, not the ego. All during the emotional process of reworking our album Klaus was on my mind and I contemplated what he would think about my decisions. I was very relieved and moved to hear from his heir, Miki Yui, who contributed many valuable ideas to the making of the box set, that she was pleased with the result I presented with the album NEU! '86'. - Michael Rother.

                The second album from krautrock legends Michael Rother and Klaus Dinger, now remastered at long last and issued officially for the first time.

                Rother and Dinger with their third (and for many years) their last studio work together. The insistent rhythms and the phased guitar and drums are as timeless as ever and in this new, official remastered edition the music seems as vital as it did when it came out all those years ago. This is probably their finest album, essential stuff!!

                Fresh after leaving Kraftwerk in the fall of 1971 for what they perceived to be a lack of vision, guitarist Michael Rother and drummer Klaus Dinger formed their own unit and changed the face of German rock forever. Dinger's mechanical, cut time drumming and Rother's two-note bass runs adorned with cleverly manipulated and dreamy guitar riffs and fills were the hallmarks of the "motorik" sound that would become the band's trademark. Neu!'s debut album was driving music for the apocalypse in 1971. 

                STAFF COMMENTS

                Martin says: It is almost impossible to do justice to an album like this. The wellspring of the genre that came to be known as Krautrock - and possibly its finest hour - emerged from Dusseldorf in 1971, part of a cultural watershed marking the point at which a nation began to look to the future instead of over it's shoulder. The very definition of 'modern'.

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