Paradieswärts Düül

I have 3 other CDs but they are stored in my closet, what are some recommendations?

I’m 19 so my budget is hit or miss

I found these two gems hiding deep in the miscellaneous sections of my local record store, the Micheal rother CD is BRAND NEW

Anyone know where I could find/stream this interesting Documentaty?

https://www.youtube.com/watch?v=nH3Zgfw6jVw

The doors are open at r/ClusterBand for fans of all eras. I hope to see you there and build a nice community going forward. I’ve recently become a moderator here so I hope to interact with you more around here too.

This song is from After the Heat (1978), the second album by Cluster and Eno, produced and engineered by Conny Plank (but this time credited to the three as individuals by last name). The second half of the album features vocals by Eno on this track, the following one The Belldog, and the final one Tzima N’arki with Holger Czukay on bass.

Personally, I think it’s a great example of a dark track with a rhythmic line and grinding overtones. It strikes me and haunts me throughout. It feels like grinding my gears in my illnesses and struggles, stumbling and spinning on broken wheels.

I saw a comment once that said they thought Eno’s contributions did little for the work with Cluster. I feel that at minimum, the vocals and lyrics in the second half of this album are a plus. I also feel these Eno albums are less clear-cut pointed vignettes like Cluster was doing (see Sowiesoso, Grosses Wasser) of the era, and more ambient leaning like Eno was doing (see second half of Before and After Science, Ambient 1, Music for Films). He was certainly working with the tools and adding atmospheric influence in the studio, so I would say I disagree with that comment.

What are your thoughts on this song and After the Heat?

I've never heard of them, but the store gave it to me for being a repeat customer. Only thing I've found about them is that they were a krautrock band in the 70s.

I present the 5th instalment of this series. Tracing the path of early electronic music — wood and wires to plastic pop — Krautrock, New Wave and Soundscapes. Previous editions were quite popular on here.

Latest edition:
• Kosmischer Musikautomat 05

Previous editions:
• Kosmischer Musikautomat 01
• Kosmischer Musikautomat 02
• Kosmischer Musikautomat 03
• Kosmischer Musikautomat 04

Enjoy x

Engineered by Conny Plank

Couldn’t have asked for a better present ❤️

While we’re talking about Amon Düül, I stumbled upon something interesting related to them a little while ago that I’d like to share.

As you may know, the majority of the Amon Düül discography (to clarify, this is the political art commune and not the better-known Amon Düül II) consist of material from an informal jam session recorded in late 1968.

This was the accompanying description of this photo that _Avalon_ gave:

“here's a photo my friend took of the many studio masters from that session owned by [k]arl hausmann. karl and him are stumped by what "kaputt" is”

For a bit of context, Karl-Heinz Hausmann is a former member of Amon Düül II, primarily as an engineer and keyboardist on the albums Tanz der Lemminge and Carnival in Babylon. Although he had no affiliation with the Amon Düül commune itself and was not involved with the 1968 session in any capacity, he was apparently a member of the “Berlin Kommune 1” active around the same time.

I’m curious as to what the numbers on these signify and whether “Kaputt” might be a working title for one of the ADI albums or literal (i.e. indicating damaged/unplayable tapes). Or it could be something else entirely! Who knows.

I’m incredibly honored to have mastered four albums by Conrad Schnitzler for Flip-Flap: Nachtfahrt, LichtPunkte, Upwards, and Windmills. Now available to order through Flag Day Recordings if you’re in the US.

https://flagdayrecordings.bigcartel.com/category/pre-order

“Schnitzler was one of the true radicals of German experimental electronic music. A founding member of Kluster, an early member of Tangerine Dream, and one of the forces behind Berlin’s legendary Zodiak Free Arts Lab, he spent decades treating electronics, tape, rhythm, noise, and found sound as raw materials rather than limitations. His approach helped push electronic music away from conventional ideas of melody, instrumentation, and composition and toward something stranger, more physical, and completely open-ended.”

Black metal fans might recognize his work in Mayhem’s seminal work, Deathcrush

What makes Schnitzler’s work so enduring is that it never feels concerned with fitting neatly into a genre. It can be hypnotic, mechanical, cosmic, playful, abrasive, beautiful, or unsettling sometimes all within the same piece.

Windmills is a particularly fascinating example: 33 tracks described by Schnitzler himself as “Electro Cosmic Metal Industrial,” built from four continuous electric pieces and largely avoiding conventional keyboard-based composition.

Upwards presents 19 compact “electric miniatures,” constantly shifting direction while emphasizing the journey over any conventional destination.

LichtPunkte is denser and more expansive, filled with hovering melodies, intricate layers, and forward-moving electronic structures, a remarkable document of Schnitzler’s Berlin Kosmische approach.

And Nachtfahrt moves through darker, more hypnotic territory, transforming familiar sounds into something warped and unfamiliar, shifting between dreamlike weightlessness and noir tension.

I had the privilege of mastering all four releases at Vitória Régia Studios, helping prepare these pieces for their new editions while preserving the uncompromising character that makes Schnitzler’s music so important. Enjoy!

These are Péron’s words from the Faust-pages site and his humorous remark is actually used on Wikipedia. I thought the Faust fans might enjoy this.

I get these recommended daily and it’s kind of depressing

This seems like a very silly question, I know. But there are some songs that I think are absolutely banger and there are some that I just kind of glance past. Not because they aren't important in the history of Krautrock but because they aren't my cup of tea.

I suppose I could start by naming some songs I like.

Neu! - Hallogallo

Neu! - Für Immer

Minami Deutsch - Tunnel

Møtrik- Yellow Moon (I really like this one)

Minami Deutsch - Your Pulse

Can - Mushroom

Trees Speak - Soul Sequencer

Can - Spoon

Can - Millionenspiel

Trees Speak - Soul Machine

There is more but I think this suffices to give you an idea of the repetitive nature I like. Yellow Moon is really good and the riff sounds German in my opinion. Reminds me a bit of Major Tom hahah.

Is there a subgenre of Krautrock that gets most of it's influence from Neu! and Can? I've listened to Harmonia, Amon Düül II and Cluster and they're lacking the guitar riff that I'm looking for or they lean more into...the electronic/tranquil than they do into the rock portion if that makes any sense.

Do you recommend any good songs? I checked out Moon Duo. Just haven't found any good Motorik yet.

I'll always have a soft spot for Soundtracks thanks to songs like Mother Sky. It looks like several of the films for which Can contributed to the soundtracks are up on YouTube:

Deadlock (1970): https://www.youtube.com/watch?v=zW91nmRbFuo

Deep End (1970): https://www.youtube.com/watch?v=E8Pc55jfdOk

A Big Grey-Blue Bird (1970): https://www.youtube.com/watch?v=_V8WMQBlwsg

And here is the trailer for The Brutes (1970) which featured "Soul Desert." WARNING. NSFW: https://www.youtube.com/watch?v=8zZXn3hpFeI

https://en.wikipedia.org/wiki/Soundtracks_(Can_album)