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$Kindle # Can's Tago Mago \ Download$ Can's Tago Mago / Doc < DNKV8EDOSH Can's Tago Mago By Alan Warner Bloomsbury Publishing Plc. Paperback. Book Condition: new. BRAND NEW, Can's Tago Mago, Alan Warner, Finally, a brilliant exploration of the German rock band Can's 1971 album Tago Mago. This hugely unique and influential album deserves close analysis from a fan, rather than a musicologist. Novelist Alan Warner details the concrete music we hear on the album, how it was composed, executed and recorded--including the history of the album in terms of its release, promotion and art work. This tale of Tago Mago is also the tale of a young man obsessed with record collecting in the dark and mysterious period of pop music before Google. Warner includes a backtracking of the history of the band up to that point and also some description of Can's unique recording approach taking into account their home studio set up. Interviews with the two surviving members: drummer Jaki Liebezeit, keyboardist Irmin Schmidt and bassist Holger Czukay make this a hilariously personal and illuminating picture of Can. READ ONLINE [ 9.34 MB ] Reviews An incredibly wonderful book with perfect and lucid explanations. It normally is not going to price a lot of. I am just very happy to tell you that this is the greatest pdf we have go through within my personal lifestyle and could be he finest book for at any time. -- Bart Lowe This is basically the greatest pdf i actually have go through till now. It is definitely simplistic but surprises within the fifty percent in the ebook. I am easily will get a delight of studying a published ebook. -- Hyman O'Conner III DMCA Notice | Terms.

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ZVIMZOGVKZMA < eBook < Can's Tago Mago Can's Tago Mago Filesize: 4.03 MB Reviews Simply no words to explain. It really is basic but shocks from the fifty percent of the ebook. I am just happy to explain how this is the finest pdf we have read within my personal life and could be he best ebook for possibly. (Blair Monahan) DISCLAIMER | DMCA K3QZLZZUT07P ^ Book < Can's Tago Mago CAN'S TAGO MAGO To get Can's Tago Mago PDF, please access the button under and save the file or get access to additional information that are in conjuction with CAN'S TAGO MAGO book. Bloomsbury Publishing Plc. Paperback. Book Condition: new. BRAND NEW, Can's Tago Mago, Alan Warner, Finally, a brilliant exploration of the German rock band Can's 1971 album Tago Mago. This hugely unique and influential album deserves close analysis from a fan, rather than a musicologist. Novelist Alan Warner details the concrete music we hear on the album, how it was composed, executed and recorded--including the history of the album in terms of its release, promotion and art work. This tale of Tago Mago is also the tale of a young man obsessed with record collecting in the dark and mysterious period of pop music before Google. Warner includes a backtracking of the history of the band up to that point and also some description of Can's unique recording approach taking into account their home studio set up. Interviews with the two surviving members: drummer Jaki Liebezeit, keyboardist Irmin Schmidt and bassist Holger Czukay make this a hilariously personal and illuminating picture of Can.
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Classic Albums: the Berlin/Germany Edition
Course Title Classic Albums: The Berlin/Germany Edition Course Number REMU-UT 9817 D01 Spring 2019 Syllabus last updated on: 23-Dec-2018 Lecturer Contact Information Course Details Wednesdays, 6:15pm to 7:30pm (14 weeks) Location NYU Berlin Academic Center, Room BLAC 101 Prerequisites No pre-requisites Units earned 2 credits Course Description A classic album is one that has been deemed by many —or even just a select influential few — as a standard bearer within or without its genre. In this class—a companion to the Classic Albums class offered in New York—we will look and listen at a selection of classic albums recorded in Berlin, or recorded in Germany more broadly, and how the city/country shaped them – from David Bowie's famous Berlin trilogy from 1977 – 79 to Ricardo Villalobos' minimal house masterpiece Alcachofa. We will deconstruct the music and production of these albums, putting them in full social and political context and exploring the range of reasons why they have garnered classic status. Artists, producers and engineers involved in the making of these albums will be invited to discuss their seminal works with the students. Along the way we will also consider the history of German electronic music. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s as well as the arrival of Techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall in 1989, up to the present.
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FUTURE SOUNDS Wie Ein Paar Krautrocker Die Popwelt Revolutionierten
FVTVRE 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. Presskit
C.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 Carlock
APRIZEPACKAGEFROM 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 Trio
ada–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 Gormenghast
A 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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CAN – TAGO MAGO 40Th ANNIVERSARY 2CD EDITION Veröffentlichung: 18
CAN – TAGO MAGO 40th ANNIVERSARY 2CD EDITION Veröffentlichung: 18. NOVEMBER 2011 Plus HALLELUWAH! Ausstellungen in Stuttgart und Berlin Vorankündigung für Frühjahr 2012: DELUXE VINYL BOX SET und LOST TAPES BOX SET (unveröffentlichtes Material aus dem Can Archiv) A “landmark release in the history of rock ‘n’ roll” – MOJO Honours List winner of Classic Album Award “stunning” – John Lydon “sounds only like itself, like no-one before or after” – Julian Cope “mind expanding” – Q “The music was like nothing I'd ever heard before, not American, not rock & roll but mysterious and European." – Bobby Gillespie, Primal Scream Warner Music Group Germany und Spoon Records präsentieren, in Zusammenarbeit mit Mute Records, die Veröffentlichung der „40th Anniversary Edition“ des Can-Albumklassikers „Tago Mago“ am 18. November 2011. Die Neuausgabe dieses Genres definierenden Albums erscheint erstmals im Original- Artwork der englischen Erstausgabe und enthält auf einer zweiten CD 50 Minuten bislang unveröffentlichtes Live-Material aus dem Jahre 1972 (remastert 2011). „Tago Mago“ war das erste Can-Album mit Sänger Damo Suzuki, begleitet vom Gründungs-Lineup bestehend aus Holger Czukay (Bass), Michael Karoli (Gitarre), Jaki Liebezeit (Schlagzeug) und Irmin Schmidt (Keyboards). Das Album wurde 1971 auf Schloss Nörvenich aufgenommen und im selben Jahr erstmals veröffentlicht. Can's Einfluss auf die heutige Rockmusik ist sowohl bekannt wie nachhaltig und auch 40 Jahre später noch immer intensiv spürbar. Besonders das Album „Tago Mago“ wird wieder und wieder als Quelle genannt. John Lydon, Radiohead, The Fall, Sonic Youth, Julian Cope, Queens Of The Stone, Red Hot Chili Peppers und viele andere nennen Can immer wieder als einen der wichtigsten Einflüsse auf ihre Musik.
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ETTA JAMES Etta James: the Montreux Years Release Date: May 28, 2021
ada–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 Dusen
Krautrock: 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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Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 A Dissertation Presented by Jason James Hanley to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philsophy in Music (Music History) Stony Brook University August 2011 Copyright by Jason James Hanley 2011 Stony Brook University The Graduate School Jason James Hanley We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Judith Lochhead – Dissertation Advisor Professor, Department of Music Peter Winkler - Chairperson of Defense Professor, Department of Music Joseph Auner Professor, Department of Music David Brackett Professor, Department of Music McGill University This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 by Jason James Hanley Doctor of Philosophy in Music (Music History) Stony Brook University 2011 The British band Throbbing Gristle first used the term Industrial in the mid-1970s to describe the intense noise of their music while simultaneously tapping into a related set of aesthetics and ideas connected to early twentieth century modernist movements including a strong sense of history and an intense self-consciousness. This model was expanded upon by musicians in England and Germany during the late-1970s who developed the popular music style called Industrial as a fusion of experimental popular music sounds, performance art theatricality, and avant-garde composition.
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