Wax Treasure (Vinyl)
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After a great week with my students in Zandvoort and some new music played digitally (mostly Kraut driven), picked this tonight.
Was in need of some new illusions.
A record bought in the late 80’.
A Bam Caruso sampler.
Played a ton and never got the clue why.
But also never heard it as clearly as tonight ;-).
https://www.discogs.com/release/1156947-Various-Illusions-From-The-Crackling-Void
https://youtube.com/playlist?list=PLrkhiTrW17gGc_OZLjBaUEFSYwRlUgtBG&feature=shared
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Last Week …
Originally selfreleased from Conrad in 1973!
Second song called Kraut is definitely misleading @GraemeE…
there are some twin color records to explore (red/blue, silver/gold, green/yellow).Covertext…
„
Doesn't get much more outlandish than this…There was a particular type of artist who could only have emerged in the legendary early 1970s.
Few musicians fit the bill better than Konrad Schnitzler. Revolution, pop art and Fluxus created a climate which engendered unbridled artistic and social development. Radical utopias, exces-sive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. The magic words were "subculture", "progressivity" and "avant-gardism". West Berlin, with its unique political status, was a crucible of turbulence. Founded in 1968, Zodiak was the ultimate point of convergence for subculture in West Berlin, with Konrad Schnitzler the driving force behind it. It was also here that Tangerine Dream and Kluster first met
The red album ("Rot") was Schnitzler's first solo effort. As a member of Tangerine Dream, ho-wever, he had participated in the band's debut release "Electronic Meditation" some three years earlier (1970). He, Dieter Moebius and Hans-Joachim Roedelius had also already founded Kluster, whose first album "Klopfzeichen" attracted a wealth of attention. On "Rot", meanwhile, Schnitzler uncompromisingly pursued his very own vision of electronic music. As an acolyte of action and object artist Joseph Beuys, Schnitzler embraced the former's "extended definition of art", in which controlled randomness assumed an important role. Schnitzler actually extended the concept of
"music". Or to put it another way: he cared not one iota for existing rules of music, preferring to create his own or conceptualizing a certain degree of lawlessness. Improvisation grew in impor-tance. The most exciting aspect of Schnitzler's music is not the fact that he only used synthetic sound and noise; the apparently chaotic movements of his microscopic particles of sound draw the listener into a paradoxical, yet also crystalline and vibrant artistic world. It doesn't get much more outlandish than this. Schnitzler's debut surpassed virtually every other pioneering artist of the day in terms of radicalness. Not content merely with making psychedelic soundtracks, he turned these on their head with his defiant artistic will. The rigour of his approach has never been matched.
Schnitzler's inimitable cascades of sound and their transparency were, and remain, unique.
The rather odd track titles "Meditation" and "Krautrock" on the red album were perhaps inspired by the spirit of the age. I cannot be sure, but I think I detect an element of tongue in cheek in their names. For the album itself is untitled, packaged in a blank red cover and is known as "Rot" on account of its red sleeve. And what role did "Rot" play for René Block? René Block ran Galerie Block in Berlin, specializing in Fluxus and action art and also managing the Gelbe Musik record store, which also purveyed the acoustic efforts of visual artists, often unique items, autographed and meticulously crafted. Written in small letters on the labels of "Rot": Edition René Block. Did Galerie Block release / finance the album? Or did Konrad Schnitzler release "Rot", his solo debut, all by himself to begin with? Quite possibly, as nothing mattered more to him than artistic and financial independence.
Asmus Tietchens. 2012“ -
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One of my sons records. Incredibly well played and recorded
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@prpx said in Wax Treasure (Vinyl):
@Aetas - love this stuff, thank you for this Krautrock lessons!
I wholeheartedly agree.
Being introduced to all these artists is like a free college course combined with a delightfully weird , late night, public access TV show
The Aetas Krautrock Korner
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New Jon Spencer record with the rythm session of the great Bobby Lees !! Great little album
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GURU GURU - 1974 Dance of the Flames
Shitty day, so I heard the Funpunks of Kraut at first in the car and then with headphones on.
Founded in 1968, we can find Mani Neumeier and his Guru Guru still touring till today!
Choosed ‘Dance of the flames’ because it represents their band peak.
This LP and ‘Don’t call us, we call you’ are not listed on Spotify, but Känguru, another recommendation. -
Tonights tunes for the kids hot tub time
https://open.spotify.com/album/55Y9bquwC5U5KrJqI9WlW9?si=RnMVFtnfRyKIh0RBu6DmVA
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Finally scored some speakers today. Klipsch Fortes 1’s, these things are a freaking time capsule - I’ve not seen speakers of this age in such pristine condition. They sound amazing and look good doing it. Enjoying the Juggaknots ‘Clear Blue Skies’
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@Inorganic your setup looks dope.
I'm eagerly awaiting my youngests getting old enough to where we can reintroduce 90 degree angles/hard corners into our living room.
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Thanks @GraemeE , I appreciate that. I remember the days of my son bumping into shit, stressful. They are truly pro’s at harshing one’s mellow.
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@Inorganic dude those are my dream speakers. I grew up listening to vinyl through some Heresy’s and love the Klipsch sound. Bet they sound incredible
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@SKT you have good taste. I was on the hunt for some Heresys for a while, the IV’s to be specific because my wife & I both like our music to be rich in bass and supposedly the IVs with the ported backs have an improved low end. These Fortes popped up online today for $1,300 and I just had to have them. They create a HUGE wall of crisp sound. I’m beyond stoked.
