Krautrock

[papapavle]

* bump! *Meni ovo skroz krautski.Edit: a dobra je i živa verzija, malo duža i psihodeličnija, i fin

. Edited December 16, 2010 by papapavle

[DarkAttraktor]

Julian Cope i DA preporucuju:http://www.youtube.com/watch?v=26ifzotRCAg

[Indy]

celovecernji nau plejing

On August 4, 2007, Klaus Schulze celebrated his 60th birthday. Most electronica providers of 2007 and 2008 were not as old as Schulze, but then, Schulze is someone who -- like Brian Eno and Kraftwerk -- was using synthesizers before they were truly in vogue and before many of today's electronica artists were even born. Thankfully, Schulze hasn't run out of ideas after all these years, and on Farscape, he fulfills a longtime ambition: collaborating with Australian singer Lisa Gerrard (of Dead Can Dance fame). This two-CD set is best described as an extended piece that lasts 153 minutes; that piece, which is titled "Liquid Coincidence," is broken down into seven parts. Schulze handles the electronic programming on this 2008 release, while Gerrard provides all of the vocals -- and all seven parts of "Liquid Coincidence" have a floating, airy, atmospheric quality. Some listeners might find "Liquid Coincidence" to be overly repetitive and argue that the piece drags on too long, but to complain that "Liquid Coincidence" is repetitious sort of misses the point. Farscape is not about showing Schulze's diversity; it is about mood, atmosphere, and ambience. Schulze is going for musical hypnosis, and Gerrard's haunting performances help him to achieve that. Yes, "Liquid Coincidence" is repetitive; it was meant to be, and it is repetitive in a good way. Together, Schulze and Gerrard create a hauntingly attractive mood, and the fact that they maintain that mood for 153 minutes is a plus rather than a minus. That said, Farscape is not among Schulze's essential albums, and Gerrard's performances don't quite rise to the level of her best work with Dead Can Dance. But all things considered, Schulze and Gerrard's collaboration is an appealing, if predictable, success.

[DarkAttraktor]

Sad ce palfoot da me zadavi, al evo ja otkrio Dome... juce :D http://www.youtube.com/watch?v=MM7eUQnQO-Q

[Indy]

jetzt spielen

Affenstunde is the debut recording by composer and multi-instrumentalist Florian Fricke's Popol Vuh, named for the sacred Mayan text. ... For those completely dislocated by Tangerine Dream's early experiments in sonic terror and dynamics, Affenstunde is somehow akin yet very different. Fricke's synthesizers are more interested in pulse and circularity, not utter dislocation and shock. The music here all seems of a piece, despite the different selection titles and the single percussion piece on the set, "Dream, Pt. 5" -- primitive hand drums run through the middle of the mix. Other than this selection, the entire album would have made a fantastic soundtrack for Andrei Tarkovsky's film Solaris. The sheer momentum of the title cut, which closes the album and integrates spacious electronic soundscapes, ever deepening tonalities, found taped choral vocals whispering in the background, and percussion is one of the most provocative pieces to come from the Krautrock generation. This is an auspicious debut, which holds up wonderfully in the 21st century.

[Indy]

js

	
1		Soap Shop Rock: Burning Sister/Halluzination Guillotine/Gulp a Sonata	Amon Duul II, Loch	13:47
2		She Came Through the Chimney	Amon Duul II, Loch	3:01
3		Archangels Thunderbird	Amon Duul II, Loch	3:33
4		Cerberus	Amon Duul II, Loch	4:21
5		The Return of Ruebezahl	Amon Duul II, Loch	1:41
6		Eye-Shaking King	Amon Duul II, Loch	5:40
7		Pale Gallery	Amon Duul II, Loch	2:16
8		Yeti (Improvisation)	Amon Duul II	18:12
9		Yeti Talks to Yogi (Improvisation)	Amon Duul II	6:18
10		Sandoz in the Rain (Improvisation)	Amon Duul II	9:00

The second album by Amon Düül II [1970] (not to be confused with the more anarchic radicals Amon Düül), 1970's Yeti, is their first masterpiece, one of the defining early albums of Krautrock. A double album on vinyl, Yeti consists of a set of structured songs and a second disc of improvisations. It's testament to the group's fluidity and improvisational grace that the two albums don't actually sound that different from each other, and that the improvisational disc may actually be even better than the composed disc. The first disc opens with "Soap Shop Rock," a 12-minute suite that recalls King Crimson's early work in the way it switches easily between lyrical, contemplative passages and a more violent, charging sound, and continues through a series of six more songs in the two- to six-minute range, from the ominous, threatening "Archangels Thunderbird" (featuring a great doomy vocal by mono-named female singer Renate) to the delicate, almost folky acoustic tune "Cerberus." The improvisational disc contains only three tracks, closing with a nine-minute stunner called "Sandoz in the Rain" that's considered by many to be the birth of the entire space rock subgenre. A delicate, almost ambient wash of sound featuring delicately strummed phased acoustic guitars and a meandering flute, it's possibly the high point of Amon Düül II's entire career.

[transcending]

js

	
1		Soap Shop Rock: Burning Sister/Halluzination Guillotine/Gulp a Sonata	Amon Duul II, Loch	13:47
2		She Came Through the Chimney	Amon Duul II, Loch	3:01
3		Archangels Thunderbird	Amon Duul II, Loch	3:33
4		Cerberus	Amon Duul II, Loch	4:21
5		The Return of Ruebezahl	Amon Duul II, Loch	1:41
6		Eye-Shaking King	Amon Duul II, Loch	5:40
7		Pale Gallery	Amon Duul II, Loch	2:16
8		Yeti (Improvisation)	Amon Duul II	18:12
9		Yeti Talks to Yogi (Improvisation)	Amon Duul II	6:18
10		Sandoz in the Rain (Improvisation)	Amon Duul II	9:00

hier gilt das gleiche, sie sind wunderbarverdammt deutsch! <_<

[Indy]

thnx skloanci:)Cosmic-kraut lost masterpiece! We knew we would get your attention with that, and for good reason because this is a record that any fan of spaced out kosmiche needs to own. Released in 1978, "Wunderbar" was the only solo album by Wolfgang Riechmann, as he was tragically murdered just a few weeks before this record originally came out.Influenced by the sounds around him in Germany you can hear bits of Tangerine Dream, Klaus Schulze, Neu!, Kraftwerk, etc. The record has a fluidity to it that just soars and flows with such a shimmering grace. Makes a lot of sense that he was in a band in the early '70s with Michael Rother (Neu!, Harmonia) and Wolfgang Flur (Kraftwerk) called Spirits Of Sound. Recorded over thirty years ago, you can definitely hear Wunderbar's possible influence in the music of folks like Lindstrom, Prins Thomas, Arp, Jonas Reinhardt, Delia Gonzalez & Gavin Russom, Growing, Emeralds, etc. Riechmann would have sounded right at home on the Pilooski curated Dirty Space Disco compilation we love so much, which connected the dots between the spaced out electronic sounds of '70s Germany and cosmic disco dancefloors. We wouldn't be surprised if Matmos was listening to this as inspiration before they made "Supreme Balloon". "Wunderbar" is that rare kind of album that allows you to get lost in space while never losing its keen melodic sense, a sound that is fresh and alive, never stagnant or pointlessly self absorbed. Mind boggling to think how his music would have evolved over the years if his life wasn't ended so abruptly, but here's hoping that "Wunderbar" finally gets the recognition and respect is so rightfully deserves!

[kim_philby]

thnx skloanci:)Cosmic-kraut lost masterpiece! We knew we would get your attention with that, and for good reason because this is a record that any fan of spaced out kosmiche needs to own. Released in 1978, "Wunderbar" was the only solo album by Wolfgang Riechmann, as he was tragically murdered just a few weeks before this record originally came out.Influenced by the sounds around him in Germany you can hear bits of Tangerine Dream, Klaus Schulze, Neu!, Kraftwerk, etc. The record has a fluidity to it that just soars and flows with such a shimmering grace. Makes a lot of sense that he was in a band in the early '70s with Michael Rother (Neu!, Harmonia) and Wolfgang Flur (Kraftwerk) called Spirits Of Sound. Recorded over thirty years ago, you can definitely hear Wunderbar's possible influence in the music of folks like Lindstrom, Prins Thomas, Arp, Jonas Reinhardt, Delia Gonzalez & Gavin Russom, Growing, Emeralds, etc. Riechmann would have sounded right at home on the Pilooski curated Dirty Space Disco compilation we love so much, which connected the dots between the spaced out electronic sounds of '70s Germany and cosmic disco dancefloors. We wouldn't be surprised if Matmos was listening to this as inspiration before they made "Supreme Balloon". "Wunderbar" is that rare kind of album that allows you to get lost in space while never losing its keen melodic sense, a sound that is fresh and alive, never stagnant or pointlessly self absorbed. Mind boggling to think how his music would have evolved over the years if his life wasn't ended so abruptly, but here's hoping that "Wunderbar" finally gets the recognition and respect is so rightfully deserves!

[DarkAttraktor]

Evo malo sirotinjskog krauta za vredan i radan narod:http://www.youtube.com/watch?v=6jQcjWGcpq4http://www.youtube.com/watch?v=pGCoM-l4E9s

[Indy]

Cluster & Eno, 1977.1 Ho Renomo2 Schöne Hände3 Steinsame4 Wehrmut5 Mit Simaen6 Selange7 Die Bunge8 One9 Für LuiseLP: Sky Records LP, 1977;CD reissue: Bureau B, 2009.Neki detalji oko Enoovog boravka u Nemackoj ~77, Bowiea i drugih zanimljivosti iz istorije krauta mogu se naci u intervjuu Michael Rothera ovde.

[Kampokei]

http://www.youtube.com/watch?v=n3Yfe1-Ge2A&feature=related Edited February 8, 2011 by Kampokei

[Indy]

Now tripping

Heat-haze harmonics begin "Amboss", the opening side long track of Ash Ra Tempel. Intense cymbals and frenzied rumbling bass catch a rhythm, ride it, then it descends once more. It is the power-trio playing as meditational force. When Klaus Schultze's drumming comes in after about three minutes, the thunder is highly charged and superfit, right on The Beat, bash bash bash. Then it's off on the wildest 20 minutes of freakout blitzkrieg. At one point, everything breaks down into a guitar blaze of feedback fed through FX for minutes on end, until the drums tear back in so crazily and in comes Larry Graham's bass playing of the Swoopingest kind. Oh fuck man, this is the greatest Detroit-est trip of all time. Not a heavy metal assault but a methodical breaking down of all your senses until you are crushed and insensible. And if Track 1 pulverised you, then the 25 minute "Traummaschine (Dream Machine)" lets you lie there in the afterglow and never disturbs you beyond the slightest disruption of Vibrations. A percussionless dreamscape of sounds cascades around the room, and a wailing woman-voiced beauty fills the air. Then, rising out of the peace comes the guitar shimmer and finally the hollow congas of Klaus Schultze. And the fuzz beauty of Manuel Gottsching's guitar scythed all down the great rush through space. Then it's off into yet another inspiring dimension as Ash Ra Tempel fly around the universe... Ash Ra Tempel is at its greatest when it's impossible to work out what instrument makes which sound.It's one of the greatest rock 'n' roll LPs ever made.[Julian Cope]

[Lancia]

Carobni cileanski kiseljak od dve stvari u nekih dvaestak minuta. Rally voznja.http://www.youtube.com/watch?v=eBh7tiuJVRg

[palfoot]

fino ti ovo lancia :)mali presek krauta i progresiv elektronike, odn tamo gde se najbolje chuje u novom mileniju, kranky uzdanica jonas reinhardt (nazhalost nema da se iskopa hit how to adjust people)>http://www.youtube.com/watch?v=YoNVc098cao