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												  FUTURE SOUNDS Wie Ein Paar Krautrocker Die Popwelt RevolutioniertenFVTVRE SOVNDS Wie ein paar »Krautrocker« Christoph Dallach die Popwelt revolutionierten Suhrkamp SV Christoph Dallach FUTURE SOUNDS Wie ein paar Krautrocker die Popwelt revolutionierten Suhrkamp Für Maria (MoisE) Erste Auflage 2021 suhrkamp taschenbuch 4598 Originalausgabe © Suhrkamp Verlag Berlin 2021 Suhrkamp Taschenbuch Verlag Alle Rechte vorbehalten, insbesondere das der Übersetzung, des öffentlichen Vortrags sowie der Übertragung durch Rundfunk und Fernsehen, auch einzelner Teile. Kein Teil des Werkes darf in irgendeiner Form (durch Fotografie, Mikrofilm oder andere Verfahren) ohne schriftliche Genehmigung des Verlages reproduziert oder unter Verwendung elektronischer Systeme verarbeitet, vervielfältigt oder verbreitet werden. Umschlaggestaltung : Büro Dirk Rudolph Druck : C.H.Beck, Nördlingen Printed in Germany ISBN 978-3-518-46598-1 Inhalt Vorwort von Christoph Dallach 7 Kraut 11 DIE FÜNFZIGER Nachkriegsjugend 21 Jazz 50 DIE SECHZIGER Beat 71 Haare 86 WGs 94 1968 103 Neuanfang 127 Drogen 143 Zodiak 153 Kluster 163 DIE SIEBZIGER Kessler 173 Tangerine Dream 187 Kommerz 211 Moog 215 Amon Düül 225 A. R & Machines 244 Eigenpfade 252 Weltenbummler 271 Faust 280 Austausch 314 Can 320 Plank 367 Kraftwerk 376 Neu ! 384 Forst 393 Ausland 404 Staatsfeinde 413 Rolf-Ulrich Kaiser 427 Deutsch 464 Ende 469 Heute 472 Für immer (always) 478 Biografische Notizen 493 Bildnachweise 511 Danksagung 512 Vorwort von Christoph Dallach Meine erste Krautrockplatte gewann ich in einem Preisaus- schreiben. Die Aufgabe bestand darin, innerhalb eines knap- pen Zeitfensters irgendwo anzurufen. Ich kam sofort durch. Vielleicht hatte ich Glück, vielleicht war ich aber auch der einzige Anrufer. Egal, eine Woche darauf war die Platte da : »Movies« von Holger Czukay, mit krakeliger Kugelschreiber- Signatur vom Künstler höchstpersönlich.
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												  C.A.R. PresskitC.A.R. Presskit We could go the long way around and talk about German post- war music history such as “Krautrock” , “Kosmische” and “Jazz- Rock” and what these terms mean to us. But we could also just say: “Hello, we are C.A.R. from Cologne and we play music as we like it: A little bit acoustic, a little bit electronic; on a trip, but without a specific destination; intense but not brutal; spherical, but not arbitrary; excessive, yet precise. Does this help you? No? Then stay a while and listen!” http://thisiscar.de https://www.facebook.com/thisiscar/ https://thisiscar.bandcamp.com/releases Contact Kenn Hartwig +49 176 23567404 [email protected] C.A.R. @ G5A, Mumbai, 2017 This is C.A.R. C.A.R. was founded in 2011 by Johannes Klingebiel and Kenn Hartwig in Cologne, Germany. After an early period of artistic orientation they released “Beyond The Zero” (2014), the “Interlude EP” (2017), “Look Behind You” (2018) and „Befunde ab 1999“ (2020). Originally playing experimental jazz, the media recently labeled their music as Krautrock, Kosmische, Electronica and experimental Pop. Among the highlights of the band´s career were gigs and residencies such as Fusion Festival, Jazzfest Kolkata and Casa Banchel in Madrid. By invitation of the Goethe Institute C.A.R. went on a four week long tour playing concerts in Pakistan, Sri Lanka and India in 2017. In November 2018 they went to China to play four concerts, taking part in the Jazz Improvise Meeting Festival. In 2019, C.A.R. curated and hosted the concert series “C.A.R.
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												  Keith CarlockAPRIZEPACKAGEFROM 2%!3/.34/,/6%"),,"25&/2$s.%/.42%%3 7). 3ABIANWORTHOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 'ET'OOD 4(%$25--%23/& !,)#)!+%93 $!.'%2-/53% #/(%%$ 0,!.4+2!533 /.345$)/3/5.$3 34!249/52/7. 4%!#().'02!#4)#% 3TEELY$AN7AYNE+RANTZS ,&*5)$"3-0$,7(9(%34(%-!.4/7!4#( s,/52%%$34/.9h4(5.$%2v3-)4( s*!+),)%"%:%)4/&#!. s$/5",%"!3335"34)454% 2%6)%7%$ -/$%2.$25--%2#/- '2%43#(052%7//$"%%#(3/5,4/.%/,$3#(//,3*/9&5,./)3%%,)4%3.!2%3%6!.34/-0/7%2#%.4%23 Volume 35, Number 3 • Cover photo by Rick Malkin CONTENTS 48 31 GET GOOD: STUDIO SOUNDS Four of today’s most skilled recording drummers, whose tones Rick Malkin have graced the work of Gnarls Barkley, Alicia Keys, Robert Plant & Alison Krauss, and Coheed And Cambria, among many others, share their thoughts on getting what you’re after. 40 TONY “THUNDER” SMITH Lou Reed’s sensitive powerhouse traveled a long and twisting musical path to his current destination. He might not have realized it at the time, but the lessons and skills he learned along the way prepared him per- fectly for Reed’s relentlessly exploratory rock ’n’ roll. 48 KEITH CARLOCK The drummer behind platinum-selling records and SRO tours reveals his secrets on his first-ever DVD, The Big Picture: Phrasing, Improvisation, Style & Technique. Modern Drummer gets the inside scoop. 31 40 12 UPDATE 7 Walkers’ BILL KREUTZMANN EJ DeCoske STEWART COPELAND’s World Percussion Concerto Neon Trees’ ELAINE BRADLEY 16 GIMME 10! Hot Hot Heat’s PAUL HAWLEY 82 PORTRAITS The Black Keys’ PATRICK CARNEY 84 9 REASONS TO LOVE Paul La Raia BILL BRUFORD 82 84 96
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												  Dan Dechellis Trioada–music.com @ada_music NEW RELEASE GUIDE February 19 February 26 ORDERS DUE JANUARY 15 ORDERS DUE JANUARY 22 2021 ISSUE 5 February 19 ORDERS DUE JANUARY 15 OVERVIEW: NECTAR TRACKLIST: Japan-born singer and producer Joji is a multi-talented visionary, with a cult following from every corner of the inter- net. Joji is one of the most enthralling artists of the digital age. He has a total vision for his work, not just in the writ- 1. Ew ing and producing of his music, but artwork, videos, merch, and live performances as well. It’s a fully realized world 2. MODUS that his fans can inhabit and explore—and see themselves in. “My music is not biographical,” he says, but even still, 3. Tick Tock the deep, heavily shaded emotions in his songs are genuine and they speak to anyone who has ever felt stuck on 4. Daylight (w/ Diplo) the outside looking in, who knows what it means to not belong. In 2019, Joji sold-out his North America tour within 5. Upgrade minutes and performed at some of the most coveted festivals across the world, including Reading & Leeds in the UK 6. Gimme Love and Lollapalooza. As Joji surpasses 5 billion global streams, 2020 promises to be his biggest year to date. 7. Run 8. Sanctuary Joji’s sophomore studio album, Nectar, arrives September 25. With a star-studded cast of features across the 9. High Hopes (feat. Omar Apollo) 18- track album, Nectar is Joji’s most ambitious project to date. From the first 4 singles alon , Nectar has already 10.
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												  Krautrock and the West German Counterculture“Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.
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												  Booklet GormenghastA FANTASY OPERA BY IRMIN SCHMI DT Irmin Schmidt, founder of the legendary group CAN, has written an opera: GORMENGHAST. Commissioned by Wuppertaler Bühnen, the work was performed in the English language and premiered at the Operahouse Wuppertal on 15. November 1998. Inspired by Mervyn Peake’s masterpiece of gothic fantasy, English novelist Duncan Fallowell wrote the libretto in St. Petersburg, combining romance, comedy and futurism into an adventure of epic strangeness peopled by unforgettable characters. The opera is in 3 acts and centres on the rise and fall of Steerpike, a courageous, clever and charming kitchen-boy who becomes by degrees the murderous tyrant of Gormenghast Castle and its domain. In the process he bewitches and destroys Fuchsia the daughter of Gormen ghast’s opium-addicted ruler. Finally he meets his own dramatic death. The other inhabitants of this vivid decaying realm are drawn into the terrible tale. Irmin Schmidt, who studied under Ligeti and Stockhausen, not only created in CAN one of the most influential of avant garde groups, but is also a classical conductor and pianist and has com- posed music for over 70 film productions. His work transforms elements of the popular, ethnic and classical into a wholly original musical language . In both libretto and music, this integration of high culture and popular culture is not like any- thing which has gone before: it is achieved with perfect naturalness, carrying the art of opera forward into a new phase. The result is both accessible and magically unexpected: GORMENGHAST is a major addition to the world of musical theatre.
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												  ETTA JAMES Etta James: the Montreux Years Release Date: May 28, 2021ada–music.com @ada_music NEW RELEASE GUIDE May 28 June 4 ORDERS DUE APRIL 23 ORDERS DUE APRIL 30 2021 ISSUE 12 May 28 ORDERS DUE APRIL 23 CAN LIVE IN STUTTGART 1975 Street Date: 5/28/2021 Neu!, Faust, Cluster, Harmonia, Mute are delighted to announce the release of Can FOR FANS OF: Amon Düül II, Tangerine Dream Live in Stuttgart 1975, the first in a series of Can live 3xLP: 5400863043391 concerts available in full for the first time on vinyl, SLRP: 49.98 File Under: Alternative CD and digital formats. LP Non-Returnable Limited Edition Orange Vinyl NOT FOR EXPORT Originally recorded on tape, these carefully restored 2xCD: 5400863043407 live albums will comprise the entirety of each show SLRP: 17.98 in the format of a story with a beginning, middle File Under: Alternative and end, with Can’s performances taking on a life of NOT FOR EXPORT their own. Digital UPC: 5400863043414 TRACKLISTING: Can Live in Stuttgart 1975 will be available on limited edition triple orange vinyl and double CD. 1. Stuttgart 75 Eins 4. Stuttgart 75 Vier Both formats include booklets with extensive sleeve 2. Stuttgart 75 Zwei 5. Stuttgart 75 Fünf notes by novelist Alan Warner, archivist Andy Hall 3. Stuttgart 75 Drei and manager Sandra Podmore Schmidt. ALSO AVAILABLE FROM CAN: The band’s line up for this legendary 1975 Tago Mago performance features all four original members— 2xLP: 724596951934 CD: 724596937723 Irmin Schmidt on keys, Jaki Leibezeit on drums, SLRP: 30.98 SLRP: 11.98 Michel Karoli on guitar, and Holger Czukay on bass.
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												  Krautrock: the Obscure Genre That Changed the Sound of Rock by Zane Van DusenKrautrock: The Obscure Genre That Changed the Sound of Rock By Zane Van Dusen In 1968, a new genre of music appeared in Germany. This music, which had elements of 1960’s rock and experimental music, received the patronizing nickname ‘Krautrock,’ from the British press.1 Due to the relatively small size of this musical movement and the somewhat offensive moniker, Krautrock was all but forgotten in the 1980s and 1990s. Music critics and historians placed the bands from this movement (like Faust, Neu!, Kraftwerk, Tangerine Dream) in broad genres like “progressive rock” and “psychedelic rock,” and the “press would [not] give such bands more than a jokey note in the 'Where are they now' columns.”2 Then, in 1995, Julian Cope released a book titled Krautrocksampler. The book outlined a history of the Krautrock genre, including reviews of important bands, albums and concerts, and concluded with a list of Cope’s top 50 Krautrock albums. Cope’s book received much praise and started a huge revival of interest within the underground music scene, in addition to introducing “the word 'Krautrock' in a positive, pouting glam rock way.”3 Since the release of Krautrocksampler, Krautrock has become a buzzword in experimental, indie and electronic music publications, like Wire, Pitchfork, and Electronic Musician, and its wide ranging influence is often noted. Although Krautrock was a small and localized movement, this unique genre had a profound impact on modern music, and is just starting to get recognition for it. History and Cultural Background In the 1950s and 1960s, British and American rock music had taken the music world by storm.
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												  Rock Album Discography Last Up-Date: September 27Th, 2021Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least.
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												  Flexatone 1 FlexatoneFlexatone 1 Flexatone The flexatone is a modern percussion instrument (an indirectly struck idiophone) consisting of a small flexible metal sheet suspended in a wire frame ending in a handle. [1] History, construction and technique An invention for a flexatone occurs in the British Patent Records of 1922 and 1923. In 1924 the 'Flex-a-tone' was patented in the USA by the Playatone Company of New York. A wooden knob mounted on a strip of spring steel lies on each side of the metal sheet. The player holds the flexatone in one hand with the palm around the wire frame and the thumb on the free end of the spring steel. The player then shakes the instrument with a trembling movement which causes the beaters to strike the sides of the metal sheet. While shaking the handle, the musician makes a high- or low-pitched sound depending on the curve given to the blade by the Flexatone pressure from his thumb. A vibrato is thus produced. An alternate technique involves removing the two wooden knobs and their mounting springs, and then using a small metal rod (e.g., a triangle beater) held in the free hand striking the strip of spring steel. The pitch is altered in the same manner as the previous technique. This method of playing results in a different, more constrained sound. Uses The flexatone is sometimes heard in funk music, and occasionally in pop music for special effect. It is occasionally used in the soundtracks of films or cartoons to represent "ghosts" or other paranormal phenomena.
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												  Order Form FullPROG/KRAUT ARTIST TITLE LABEL RETAIL ACID MOTHERS TEMPLE THOSE WHO CAME NEVER BEFORE NOD AND SMILE RM132.00 ACID MOTHERS TEMPLE/STEARICA SPLIT LP HOMEOPATHIC RM152.00 AMON DUUL II DANCE OF THE LEMMINGS (180 GR) CLEOPATRA RM153.00 AMON DUUL II DUULIRIUM CLEOPATRA RM108.00 AMON DUUL II MEETINGS WITH MENMACHINES INGLORIOU KLIMT RM125.00 AMON DUUL II VIVE LA TRANCE CLEOPATRA RM135.00 AMON DUUL II YETI (BLUE-DELUXE EDITION) CLEOPATRA RM227.00 ANDERSON PONTY BAND BETTER LATE THAN NEVER (PIC) VINYL LEGACY RM147.00 ATOMIC ROOSTER DEATH WALKS BEHIND YOU MUSIC ON VINYL RM153.00 BEACON STREET UNION CLOWN DIED IN MARVIN GARDENS AKARMA RM149.00 BRAINTICKET PAST PRESENT & FUTURE PURPLE PYRAMID RM127.00 BRAINTICKET PSYCHONAUT CLEOPATRA RM102.00 BROWN, PETE & PIBLOKTO! THE ART SCHOOL DANCE GOES ON FOREVE TIMELESS RM134.00 CAMEL LIVE AT BBC 1977 B13 RM136.00 CAN CAN MUTE RM120.00 CAN DELAY MUTE RM120.00 CAN EGE BAMYASI MUTE RM120.00 CAN FLOW MOTION MUTE RM120.00 CAN FUTURE DAYS MUTE RM120.00 CAN LANDED MUTE RM120.00 CAN LIVE IN HANNOVER B13 RM136.00 CAN MONSTER MOVIE MUTE RM120.00 CAN OUT OF REACH MUTE RM120.00 CAN RITE TIME MUTE RM120.00 CAN SOON OVER BABALUNA MUTE RM120.00 CAN SOUNDTRACKS MUTE RM120.00 CAN TAGO MAGO MUTE RM137.00 CAN UNLIMITED EDITION MUTE RM137.00 CIRCLE TRIUMPH FOURTH DIMENSI0 RM108.00 CLUSTER QUA BUREAU B RM125.00 FAUST FAUST (180 GR) LILITH RECORDS RM125.00 FAUST FAUST IV (180 GR) CAPITOL RM132.00 FAUST JUST US BUREAU B RM136.00 GURU GURU LIVE IN WIESBADEN 1972/1973 B13 RM136.00 HARMONIA DELUXE GROENLAND RM114.00 HARMONIA DOCUMENTS
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												  Pédagogie De La Mouche Et Rock Progressif : Même Combat, Même LangageCOURRIER COURRIER COURRIER COURRIER Pédagogie de la mouche et rock progressif : même combat, même langage Il y a quelques jours,je faisais part à mes camarades Je n’avais pas fait le rapprochement entre Bernard de turbin du concert exceptionnel de Damo Suzuki Collot et CAN mais c’est vrai que la forme est rela- auquel j’avais assisté. Pour expliquer mon intérêt tivement similaire ! pour les japonais hirsutes, je narrais avec jubilation son arrivée dans l’excellent groupe allemand CAN. Du coup,depuis,j’ai observé ma classe de très près et j’ai constaté qu’il lui manquait une assise ryth- Les gars jouaient un espèce de rock progressif mique solide . hypnotique et improvisé pendant des heures comme à leur habitude, en bons élèves de Stoc- La question c’est de savoir qui tient la rythmique ? kausen qu’ils étaient tous, lorsqu’un soir, Damo s’incrusta pour chanter dans un jargon mi japo- Je crois que c’est le rôle du maître de faire la basse nais-mi anglais si hallucinant qu’il fut intronisé et la batterie... chanteur de CAN le soir même. Comme James Brown, Frank Zappa , Miles Davis, AAron Copland et tant d’autres ! Il s’en suivit quatre disques majeurs du rock des seventees que je vous recommande si vous voulez Stéphane Daubilly capter la musique populaire actuelle tous genres CM1-CM2, école Marie-Curie - Bobigny confondus (Tago mago,Ege Bamyasi,Future Days, Soon over Babaluma). Dans ces quatre chefs d’œuvre, la basse et la batterie définissent une (1) Nous retrouverons Bernard Collot dans le trame hypnotique et funky dansante et glaciale : prochain numéro du Nouvel Éducateur en réponse paradoxe !!! Autour de cette trame, les instruments harmo- au dossier « Tous enfants, tous différents ».