Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3

Download Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3

Berluc Unlike most DDR progressives who served a long apprenticeship before making an album, Berluc were virtually catapulted onto the scene in earlyonly a few of months after their formation. Unfortunately, further albums with a different guitarist and bassist each time paled Neighbor #1 - Jim Gaffigan - King Baby (DVD) in succession to a rather ordinary indistinguishable song-based 80's DDR rock mediocrity.

Between A most unusual and unique group, the Munich combo Between formed in as Between The Chairs were the brainchild of musical theorist and experimentalist Peter Michael Hamel. As Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3Between drew together a wide range of international musicians into a musical and cultural melting pot. Between were aptly in between everything, both musically and culturally. Featuring avant-garde tendencies within a music that blended the medieval, the ancient and the futuristic, with jazz and rock musics, the initial results on their debut EINSTEIG were most inspiring.

Arguably a step on from The Third Ear Band sans the mantric rhythms Between were invention in the extreme, in a music that was melodic yet challenging. There are some extraordinary cosmic excursions here too, all amounting to a revolutionary mixture of psychedelic and world musics. It's almost chilling! Both of these combined Indian and African musics into a larger Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 symphonic sound, notably so the lengthy excursions that encompassed the second side of each.

It's a great shame that Between split after this. Also, Roberto Dtre has continued his work with novel instrument creations. Its message is lost to non-German ears, and musically only some of it is real Between.

Approach with caution! Roberto Dtre guitar, moto-celloJimmy J. To Know Them - Erics Trip - Love Tara in as a Cologne student rock-band, Birth Control chose their name as a stab at Pope Paul's anti birth control policy. In their early days, dogged by military service commitments, and ideological differences, the line-up was in flux for many years. In fact, only two original members remained by the time of their first album, at which time they had moved base to Berlin for a while.

Their debut was released with a special mock birth control pill case type cover, and introduced them as an original hard-rock band with a classical edge, extensively featuring the keyboards of Reinhold Sobotta. Highly progressive with a psychedelic edge and with an original sound, they also paid homage to one of their influences with a highly creative version of The Doors' "Light My Fire". Comparable to many British bands of the era, Birth Control were accessible and creative, yet rarely on their studio albums did they ever show how talented they really were.

This was Birth Control the underground pop band, with a hard-rock based style. Birth Control were the straightest of rock bands on the Ohr label! Held as a major new asset. All change inadding two ex-Message members, and subsequent albums moved to a funky pop-rock, becoming less interesting with each release. A minor highlight was the LIVE '79 album, which recaptured some early magic.

Since this, Birth Control have reformed many times without any real success. The Blackbirds Amongst the earliest of Krautrock bands, The Blackbirds like Xhol started elsewhere before venturing on to experimental realms. In fact, they were originally a 60's pop band typical of the soul-beat era, but with a touch of the Mothers Of Invention type satire and some progressive touches.

Curiously it only ever gained a UK release. In fact, only one member Werner Breinig remained from the original line-up, and they had moved on to a classical spiced rock music of great invention, blending heavy and Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3. Strong songs form the basis of most tracks, all of which are sufficiently long enough to give plenty of room for solos from flute, violin, guitar and keyboards. It's a shame they never made a third album!

Black Spirit One of many obscure bands on the little-known independent label Brutkasten, Black Spirit were of Italo-German origins, and may actually have been Swiss. Their style was a basic heavy progressive, with some Cream, Man, Quicksilver influences, and some saving moments, but were largely uninspired, and of only marginal interest. Blackwater Park Amongst the most obscure of Berlin bands, Blackwater Park's sole album was nothing Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3being mainstream Anglo-American styled heavy rock with blues touches, with no real individuality or experimentation.

They were very basic Edgar Broughton Band type stuff really, nothing more. This said, the album only has one track of any real merit for Krautrock fans, which reflects Andreas Scholz's origins in Murphy Blend. With them he served a long apprenticeship, and made friends with many international musicians, achieving fame as one of the most dazzling fusion guitarists in Europe. His work as a soloist, as group leader, and with his own experimental band Electric Circus, has indeed been most varied.

Since then, Toto's ventured onto creating all sorts of fusions, from simple classical and jazz musics through to groundbreaking avant-garde, both as a multi-instrumental soloist and in collaboration with other musicians.

Sometimes Toto embraces technology and pushes it to the limits, and at other times he ignores it altogether. Such is his schizophrenic personality as a musician. Later releases however not listed here saw the rest of the band scarper, leaving Blonker as the vehicle for guitarist Dieter Geike with the aid of various session musicians Peter Franken, Dieter Horns, Jochen Petersen, etc.

Really, these albums are so wet and pretty, that they are not musically within the scope of this book! Hardly "psychedelic underground", of minor curiosity interest only. Bongers Project An obscure band, fronted by singer Marcel L. Bongers, of whom we know virtually nothing historically. Comparable to many other fellow late's progressives: Second Movement, Rousseau, Pancake, et al. Bongers Project had a slightly different angle, in that they made that spacey type of progressive, often more akin to the French band Pulsar.

They were a lot better than most, with thick wedges of keyboards, guitars and lots of flute, especially the lengthy suite covering side 1 of the LP. Georg Kobeck keyboardsMarcel L. Later, wisely changing name and becoming Brainstorm, they still attempted to shock with their debut album SMILE A WHILE, which caused Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 a scandal due to its outrageous cover that it was apparently withdrawn from release!

Highlighted by quality musicianship, notably a dizzying array of winds and keyboards, with complexly arranged instrumentals and, like the Dutch band Supersister, a penchant for eccentric tongue-in-cheek humour. Brainstorm lived up to their name, and both albums are classics of the genre. Roland Schaefer later became a bastion of Guru Guru, and Joachim Koinzer has fronted numerous fusion bands since. Brainticket The history of Brainticket is virtually undocumented, and their origins are also very confused.

And, although they are considered by many to be a Krautrock band, they were really a nomad troupe, going wherever the scene took them. Basically, Brainticket were born out of the 60's jazz and soul scenes, and a variety of groups featuring Belgian born keyboardist Joel Vandroogenbroeck.

Their origins can be traced back toas the nucleus of Dee Dee Barry And The Movements, with Joel Vandroogenbroeck organ, fluteRon Bryer guitarand Wolfgang Paap drumsthough this was far away from the music they were later to create.

Joel, along with a few like-minded musicians active in the South of Germany, inevitably got caught up in the fertile Krautrock scene, and like many other bands from the area they formed an international combo that drew on a wide range of influences. All but for the two short dreamy surreal tracks that open side 1 of the album which hint at the later Brainticket soundthe majority of the album is a long repetitive funky groove opus, propelled along by chunky organ and percussion.

It has the spirit of Can, the outrageousness of Funkadelic, and pre-empting Faust, and for it's certainly nothing less than revolutionary. Over this musical mantra, Dawn Muir recants vividly the experience of an extraordinary LSD trip, acting it out for us, including all the paranoia, visions of ecstasy, power and confusion, the pure surreal buzz of the experience. This is topped off by extraordinary use of special effects, sound-collage and electronics.

And, if that weren't enough, they also resort to all manner of trickery and surprising diversions. It all adds up to a strange and unique album that's still surprisingly startling and fresh over 25 years on, and as a result it's also been the subject of numerous homage's.

Moving base to Italy, some Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 the band split off and formed the Swiss hard-rock band Toad, and thus a new version of Brainticket evolved.

It was more your typical trippy progressive, with actual songs and compositions, sometimes in the vein of early Hawkwind, yet often closer to Quintessence and Group There are many facets to the music here, especially when venturing on to trippy folk territory, with female lead vocals, akin to Emtidi or Pentangle a little.

It's an album that saw a diversion to weirder more electronic realms, with strong use of ethnic instruments and a wealth of surprises. Though very different to the original Brainticket, they were still proving to be innovators.

This trio apparently existed for some time touring Germany, Switzerland and Italy in the mid's. We know that Brainticket carried on through the late's, as concert tapes have been advertised by some dealers, though nothing was released again until For the first time, Brainticket were a totally instrumental combo, leaving the music to speak for itself.

Apart from a proliferation of electronics, these albums strongly feature percussion and flute, and in the established tradition of Brainticket, Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 were groundbreaking stuff, again radical innovative albums, though far from the psychedelic realms of the 70's releases. In parallel, during the late's Wildside - Various - Warner Music United Kingdom New Releases through on to the 90's, Joel Vandroogenbroeck has also fronted other projects, he had is own jazz-rock band Joel, and has also done much solo work, as well as travelling the world researching obscure ethnic music cultures.

It seems that he is currently earning a living by recording music for film and TV. See Joel Vandroogenbroeck entry for more information. Chris Braun Band Female vocalist and band, with hints of Frumpy.

Brave New World's whole oeuvre was the concept of the Aldous Huxley science Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 novel. An unlikely "supergroup", and remarkably the music they created was unprecedented and original. Virtually instrumental, blending medieval musics, electronics, jazz and rock in a dazzlingly complex fusion, a big step beyond early Between, with the Krautrock feel of Annexus Quam, Achim Reichel, Tomorrow's Gift, et al.

And, dig that over-amplified stylophone! An all-time Krautrock classic. Breakfast An obscure mid's rock band, of the more mainstream type with notable American influences. Their album had its moments, with hints of Thirsty Moon and Karthago. Only of marginal interest. Brselmaschine Originating from traditional folk music, Brselmaschine were formed in Duisburg in autumnand were fronted by renowned guitarist, theorist and writer Peter Bursch.

The original band, who were inspired by Pentangle their quote, not ours and European folk musics, played a mixture of all sorts of cultures.

They wrapped vibrant songs in a hybrid of folk, Indian music, psychedelic rock and cosmic musics, all fused together to form a delicate spacious folk-fusion of great beauty. Their style was characterised by Jenni Schcker, who has a most sensual vocal style ideally suited to such music, all ready to wisp us off to the clouds with the "heads flying by" - to quote the surreal psychedelic lyrics of the opening "Gedanken".

The later incarnation made a different type of music, and was less of a proper band and more a vehicle for Bursch's own ego, though Willi Kismer from the original band also carried on through. Peter Bursch had become celebrated, with books published on his guitar techniques and was eager to show the world, though really neither of these later albums amounted to much. Brhwarm A really eccentric and bizarre political theatre troupe from we presume Hamburg.

The concoction they came up with certainly owed a debt to Floh De Cologne, though due to the overtly theatrical nature of their albums, lyrically Brhwarm can be very confusing to non-German ears! Bullfrog Bullfrog were a rather heavy-handed hard-rock and melodic progressive from the mid's, notable for their unusual Rod Stewart like gravel-voiced vocalist Gerd Hoch, but with little in the way of a distinctive style or originality.

Really, they sounded British, not at all Krautrock, and only Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 of interest to hard-rock fans and Sky Records collectors! There was another band could Bullfrog who should not be confused with these.

Michael Bundt Originally, as a bass guitarist, Michael Bundt started his career as the leader of the band Medusa, an obscure early's progressive who by a strange chain of events transmuted into the second incarnation of Nine Days Wonder. After leaving Nine Days Wonder, Michael Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 on Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 occasions to get a new band together. One of these was Nerve, but without any success Nerve soon disbanded, and then Michael made a surprising career change into synth music, teaming up with ex-Tritonus keyboardist Peter K.

Seiler as the duo Sirius. Not content to stay still, his next album NEON was a dodgy diversion into electro-pop, no doubt inspired by the success of Kraftwerk. Can One of the most celebrated and influential of all Krautrock bands, Can dared to bring the avantgarde to the masses and succeeded.

Can certainly had the credentials to do so too, with backgrounds in serious avant-garde studying with Stockhausen and in jazz.

Holger Czukay and Irmin Schmidt had known each other from their contemporary studies, though it was Holger meeting multi-instrumental talent Michael Karoli that set the formation of the band in motion. Being connected with the arts certainly had its advantages. A matter of days after getting a band together, then named "The Inner Space", they played their first concert at the Schloss Norvenich, near Cologne in June David Johnson an American jazz winds player who had also worked with Stockhausen was a member of the band at this time, and featured on Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 of the early Can sessions, he also acted as their engineer for a while.

After the addition of black American singer Malcolm Mooney came Can proper, moving to a more straight ahead rock, that many compare to the Velvet Underground. Due to his fascination with electronics as further evidenced on the Technical Space Composers Crew album and his ability to handle the recording equipment, Holger Czukay also became the bands recording engineer.

But, this phase of Can was short-lived, as Malcolm Mooney was forced to leave the band due to ill health. The next lead vocalist to front Can Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 an unlikely choice, a Japanese busker, one Kenji "Damo" Suzuki. His penchant for vocal experimentation led Can in a very different direction. Next was the greatest of Can albums, the monumental double album TAGO MAGO, which, although starting on safe ground, draws the listener in with a succession of even greater weirdness and invention, Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 least "Aumgn" with Jaki's manic drums and "Peking O.

Weird and radical innovation, that still sounds bizarre twenty odd years on! In contrast in fact in contrast with each other the other two albums to feature Damo were, on the whole, less extreme: EGE BAMYASI with a collection of mostly shorter accessible songs, though still odd and uniquely Can, unexpectedly breaking-out with the wild avant-garde 10 minute "Soup" on the second side, and FUTURE DAYS which is often quoted as Can's most well-balanced and successful album, with its dreamy cosmic otherworldly Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3understated songs and strong melodic content.

This is the era that brought Can international success, with many tours in Britain and the continent. Here we can hear songs that hint at Holger Czukay's solo project MOVIES, one of Can's most dazzling rock extravaganza's in "Vernal Equinox", Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 lastly their most esoteric and brooding opus, the aptly entitled free-form avant-garde "Unfinished".

However, by the time of their eponymous 70's finale they'd created a formula that worked, all be it safe Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 easy going compared to the Can of yore. It's a shame that more of this excellent music isn't officially documented.

After this, Can were put on ice for an unspecified period. But, not content to lay the ghost to rest however, a Can reunion was organised in with Malcolm Mooney. In it gained release as RITE TIME, a stylish yet emotionless throwback to the early Can era, understandably it was really "the wrong time" and it made little impact.

Meanwhile the various Can members are still active on the scene, check elsewhere in this book! Cardeilhac An obscure heavy Swiss progressive blending British 60's styles with the typically Teutonic 70's hard-rock sound, notably inspired by Deep Purple, along with some more progressive touches. Amateurishly produced, and with little in the way of originality, Cardeilhac are good, but really only of minor interest.

Carol Of Harvest A very English sounding folk-rock Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3and largely acoustic, fronted by a talented female vocalist. They had little individual style of their own, recalling the likes of Pentangle or Mellow Candle, with a nice dreamy trippy feel.

Chameleon A jazz-rock group from the Mannheim region, Chameleon played a richly textured and melodic fusion strongly featuring ex-Night Sun Knut Rssler as soloist on a variety of winds. Often akin to later Release Music Orchestra, and with some notable Intimacy - Ramsey Lewis - Tequila Mockingbird To Forever type stylisms, Chameleon chose an apt name considering the wide range of influences and moods their sole album contained.

Note that the Berlin Chameleon are a different band entirely. Checkpoint Charlie named after the notorious checkpoint in the Berlin Wall have often been Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 as the first truly German rock band. They originated from Karlsruhe, and, as early asthey were performing their own uniquely groundbreaking "Terror Rock" music in German! An extremely radical political rock band, especially so in their early days, Checkpoint Charlie were also innovators along with Floh De Cologne and Ton Steine Scherben of a unique German form of rock, blending all sorts of music into a complex and often aggressive rock music.

Their debut was very extreme, and very difficult to come to grips with, yet later albums saw more refinement instrumentally, with complex progressive rock styles akin to Oktober, Lokomotive Kreuzberg, et al. Throughout, even into the 80's, Checkpoint Charlie have proven to be amongst the most uncompromising of Krautrock bands. Cherubin These were amongst the most dismissably mainstream of "progressive" rock bands from Munich, typical of the mid's I suppose, with a light progressive edge, in the Audience cum Wishbone Ash type of Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3.

Andy Marx was previously with the similar but more folky styled Tanned Leather. Their debut is only of marginal interest, having some enjoyable moments. We haven't heard the second! Take note of the interesting cast of guests on both of these. Chicken Bones These were an obscure heavy progressive, who almost certainly had their roots in the late's, and were definitely inspired by Jimi Hendrix and early British bands, like Back Sabbath, Tractor, et al.

Despite the title of their album, Chicken Bones were not at all mundane hard rock, but were highly creative and often moved very close to May Blitz, early UFO or Cargo, but with lots of nice moves and flowery guitar work-outs. Basic, and gutsy admittedly, Chicken Bones were a lot better than the reputation that preceded them, and their album became quite a sought after obscurity.

Chicken Bones existed in various forms for around a decade, afterwards ending up as the vastly inferior more metal oriented Revanche, then eventually disbanding in the 80's.

Choice Choice are ex-Epidaurus, in fact they were virtually the same band, though Choice played a much straighter type of rock music, starting progressive akin to Eloy and Epitaph, but becoming rather bland as the album progresses.

Of very little interest really. More recently they reformed and just to confuse things again as Epidaurus, but this time round with an even blander offering! From Basle, Switzerland, Circus had much success in Europe, with three studio albums and a document of them in concert which we presume to be a bootleg. Formed inCircus took time to refine and hone their style, a complex rock with jazz and classical angles, and a rather unique instrumentation.

Yes, remarkably, Circus played rock music without any electric guitars or keyboards, instead they used processed bass guitar and wind instruments. Their debut Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 a promising first step, though it didn't quite reveal their potential, being a mite too lyrical. MOVIN' ON however, has become regarded as their classic, featuring lengthy tracks, Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 complex arrangements, dynamics, superb instrumentals and unusually crafted songs.

Circus, later transmuted Elder Black Throne Wood - Soultaker - Demo 1994 Blue Motion. Marco Cerletti now makes jazz and ethnic fusion, playing the Chapman Stick. City In their early days these were a very inventive and unique band.

Refining their sound for some five years, it took until to be able to release anything. Their debut originally untitled was an interesting blend of hard-rock and folky sounds, notable for the esoteric violin fronted side-long suite "Am Fenster", of which an edited single version became a surprise hit in both East and West Germany!

Avoiding the temptation to be controlled by the state or sell-out, the next album contained even more diverse elements, particularly notable is the lengthy "Bulgarian-Rock" The Dream - Mr. Review - XXV strangely recalls Guru Guru with its complex guitars and unusual rhythmic structures.

Later, Georgi left the ranks when the rest of the band wanted to follow a more commercial style, and thus the many subsequent albums not listed here lost the originality of his unique compositional style.

In essence the later City without Georgi were a different band. Actually, much touted as pioneers, Cluster are often quoted as innovators in ambient music, but in reality they were far more wide ranging, and have been important in the shaping all sorts of modern electronic music genres.

As the story goes, only armed with an organ, guitar and some electronic gadgets, Cluster approached Conny Plank with the idea to try and do something different. Both their debut and second albums are remarkable feats for featuring such basic instrumentation, and the results are as much down to the technical wizardry of Conny as Moebius and Roedelius' instrumental talents.

What they came up with was highly original, devoid of Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 musical structures or melody atonal, floating, oozing and pulsing masses of processed sound - a dark menacing industrial music. After an association with Neu! The next three albums all on the Sky label were much more ambient keyboard based music. An earlier session of Brian Eno with Harmonia lead to two of these albums being recorded together with him.

Although these latter two are not purely Cluster albums, this was their most commercially successful era. Ever the surprising band, after this Cluster made the very different GROSSES WASSER produced by Peter Baumann which found them on more experimental footing again, with one side of shorter varied synthesizer and guitar based pieces each an island unto itself and the second side "Grosses Wasser" itself, a Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 suite growing out of silence with atmospheric Florian Fricke like sustained piano tones, via bizarre crackling electronics onto almost tribalindustrial rock percussives.

After this, Cluster split for a while, with Moebius venturing on to other projects, and Roedelius pursuing a solo career. Momentarily, Cluster reappeared on the scene again inwith CURIOSUM, which is one of the most unusual and restrained of their output, whist being totally strange throughout. Nowadays this is revered as an ambient classic. Cobraa For such little output, Cobraa's history in fact goes back a long way! They were formed in originally as the beat group Q By the time of their debut single "Ride A Pony" they had changed name to Cobraa avoiding confusion with the Dutch band Q65 and they had moved on considerably, with a hard-edged psychedelic style.

This single was their finest moment as the album never really delivered, being a mellow lightweight rock with few progressive touches. A blend of atmospheric electronics with abstract use of voice and effects, via Reviens Chérie - Various - Chanson - Canción En Francés - The World Of French Song - Cançoes Em Fran folk and primeval percussives, onto a space-rock burn-out featuring Klaus Schulze at the drum stool, and returning to weird space music at the end.

It all adds up to a remarkable and unique album. Contact Trio On the more avant-garde end of jazz-rock, Contact Trio were an unusual combo, drawing on the new forms of jazz as developed by Wolfgang Dauner in the 60's and mixing in a bit of spaciness and ethnic flair, akin to Dzyan, Giger. Marron or Eberhard Weber. The live recording from presents them as a much more aggressive fusion combo. Cornucopia Quite an exceptional band, of whom we know little, except that they were discovered by Jochen Petersen.

Despite only releasing one album, Cornucopia a Latin term meaning "Horn of plenty" certainly lived up to their name, as FULL HORN is a wondrous cornucopia of delights, containing a dazzlingly complex rock and fusion, overflowing with invention. Typical of the era, Cornucopia. From the side-long "Day Of A Daydream Believer" onto the closing "And The Madness" Cornucopia ride from the weird psychedelic, via the absurd, onto raucous rock fusion with an ever-unpredictable surprise with each twist and turn.

The very spirit of eccentric Krautrock - a delight! No such band as The Cosmic Jokers ever existed, and these recordings were never actually intended for release.

They were the results of sketches for new ideas, extracts from wild LSD induced jams and the like. Fortunately for fans of Kosmische Musik, music from these sessions gained release by devious means, and the three albums that resulted are quite extraordinary examples of space-rock, fleshing out the Ash Ra Tempel type sound with dense wedges of keyboards and synthesizers.

Here we have the freaky "Galactic Joke" on side 1 with its synthesizer overload and feast of wah-wah guitar, sounding like Ash Ra Tempel crossed with early Hawkwind. But, especially Dust In The Wind - Kansas - MP3 Collection is the flip-side "Cosmic Joy", which thunders off into the cosmos towards the realms of Amon Dl II's equally stunning drum driven cosmic opus "The Chasmin Soundtrack", as it becomes ever more lost within itself amidst a muddle of effects and phasing.

Here Jrgen Dollase's Mellotron and piano ride alongside Klaus Schulze's synthesizer pyrotechnics, spurred on by Harald Grosskopf's phenomenally precise and intense drumming. In contrast the Drep Meg - Honningbarna - Goldenboy two albums had one track per side the third instalment of the series PLANETEN SIT-IN amounts to a patchwork of lots of snippets from various sessions, edited and mixed to flow together, resulting in a disjointed, unpredictable yet fascinating album combining everything from twittering and bubbling electronics through to crazed drums and back to the realms of Ash Ra Tempel and Wallenstein.

It does however feature a novel extract of "Galactic Joke" with over-dubbed vocals courtesy of Rolf and Gille. The Cosmic Jokers' project eventually came to a sticky end, when the musicians realised that RolfUlrich Kaiser was ripping them off.

Manuel Gttsching has often commented on the experience of. Reluctantly Klaus Schulze took the initiative and prosecuted Kaiser, and amidst much publicity the musicians eventually got the rights back. Naturally, as good taste prevails, and due to demand, CD's of all The Cosmic Jokers' and related releases are now widely available.

Cozmic Corridors A very obscure mid's band who made at least one album under the guidance of Toby Robinson. These were unknown until recently rediscovered.

They were a mysterious and lazy relaxed band, generally abstract and moody, often with the accent on Terry Riley styled organ, along with synthesizers and guitars. Apart from some female German spoken text, the mood often reminds of some such avant-garde cosmic Italian acts like Pierrot Lunaire or Franco Leprino, though it does also bridge the realms from Cluster through to Emtidi, on a more esoteric level. Cravinkel Cravinkel, lead by one Gert Krawinkel, were odd for a German band in the early's, as their sound was often closer to Nordic bands of the era like Culpepper's Orchard, blending in country and folk musics into Anglo-American type rock.

We've heard their first album, which was deadly dull. Whether this is true, we're yet to find out! A couple of years on, and after numerous personnel changes, but still with a nucleus of original members, a demo tape sent to Metronome gained them a contract. Promptly, they changed name to Creative Rock - a misnomer as their music contained much more jazz! Not unlike early Emergency, but with a good deal more invention and a powerful lead singer, their debut GORILLA Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 barely recognisable as German rock, yet despite this it was still rather good, full of complex brass arrangements and a most energetic rhythm section.

The last we know of Creative Rock was that in they were touring with an adventurous rock ballet production called "Die Creative Rock-Dekadenz-Show". The idea was partly a success, partly not. The Curt Cress Clan were most notable for Volker Kreigel's guitar Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3and lively keyboards from fellow Passport musician Kristian Schultze, all in a sophisticated and varied jazz-rock.

On the down-side, Ack van Rooyen's flugelhorn was no replacement for Doldinger's superb sax, and Dave King often tries to funk it up too much! The Passport albums released either side of this are infinitely superior.

Crew Blues Session These were one of the earliest of German progressive rock bands formed Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 and were the origins of Feel Good Inc (Stanton Warriors Radio Edit) - Stanton Warriors - Remixes was to eventually become Grobschnitt.

What they sounded like at the outset, we've no idea, though later they played a kind of acid-space-rock and blues, betwixt early Ash Ra Tempel and The Groundhogs, hinting at the early Grobschnitt sound. Unfortunately, Crew Blues Session never released an album, and their only recorded output two tracks is to be found on Eroc's EROC 3 anthology album, along with other historical recordings from related bands Wutpickel and Grobschnitt.

Cry Freedom These were originally Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 inventive fusion band, typical of the new lighter progressive fusion sound that was proliferating in Germany circa In essence, Cry Freedom mixed a wide range of musics into a style akin to Guru Guru of the era i.

The later releases however, were gravely disappointing, being rather lame and uninspired, and saw the more commercial elements of the Cry Freedom sound take over, reducing them to a jazz-funk band of little merit.

Curly Curve Curly Curve originated in Berlin in the late's, as an underground psychedelic rock band, and they existed some four years before recording an album. Reputedly Alex Conti was at one time a.

By the time of their debut LP, their style had mellowed somewhat as a heavy blues rock, obviously inspired by the late's British scene of John Mayall, Steamhammer, Groundhogs, etc.

Although considered collectable nowadays, their album is admittedly one of the less exciting of the Brain catalogue rarities. Holger Czukay Originally, Minino Feio - Djosinha - Nôs Dom in his early twenties, circaHolger Czukay earned the fame of being disqualified from a jazz festival, because the jury couldn't understand his music!

Naturally, being a radical and free thinker, fascinated with new possibilities in music, it was logical that he went on to study composition with Karlheinz Stockhausen at the Cologne WDR studios. There he learned studio techniques, composition and other things. But, ever wanting to try out new ideas in music, he found that Stockhausen's academic approach left him unsatisfied, which lead to him exploring new-music himself on other levels.

Holger was an essential part of the Can sound, being more than just a bassist, and he stayed with them until the mid's as both musician and engineer. His editing techniques, use of sound effects, radio, and tape collage, within Can learnt from those Cologne WDR studio daysconstantly added an air of the unexpected to their music. Holger's first solo album took several years to complete.

A diligent work combining music with a complex and precisely edited selection of texts from film clips, MOVIES was musically almost like a continuation from the lighter parts of Can's LANDED album, whilst also venturing to new pastures. Much lauded by the alternative music press, even before its completion, it was heralded as a critical success at the time, and has become a much quoted Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 on sampling in music.

All this lead to a much more diverse second solo album, not least so because of the cast of musicians involved. But, as a result of this move to more song based material, later albums ventured further into pop parody, a little towards The Flying Lizards or The Residents.

As with Irmin Schmidt's later solos, these are very much an acquired taste. And, even more so, Holger again proved his talent as both musician and engineer, on the two very strange experimental ambient albums made with ex-Japan member David Sylvian - these were a big surprise in that they went back to the realms of CANAXIS though on a much more esoteric and modern footing.

Da Capo offered a light guitar based bluesy rock, with hints of country and a slightly trippy sound. Not of much interest really, until the second. Though the album DA CAPO gained the reputation of being a quality collectable rarity in the 80's, the reissue destroyed the myth revealing it as nothing special - at least not to the Krautrock or progressive fan that is!

Wolfgang Dauner Despite general international apathy, Wolfgang Dauner should have been acclaimed as the most innovative force behind modern jazz and jazz-rock in Germany, in parallel to the pioneering work of Miles Davis in America. But no, Wolfgang Dauner never ever got the credit that he was due.

Born way back in in Stuttgart, Wolfgang Dauner became an accomplished music student at an early age, he chose piano initially as his favoured instrument, although he was trained as a trumpeter. Working in various jazz bands during the early's Dauner could almost be considered a veteran of the scene before he Dark Paranormal Calling - Limbonic Art - Ad Noctum: Dynasty Of Death his own band.

Such albums from or earlier should only be approached by real jazz fans. Byhowever, the psychedelic era had created new possibilities! Dauner had some of the finest young jazz musicians at his Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3and instead of doing the clichd jazz everyone else was doing at the time, they decided to break every rule they could.

They were doing to jazz what Faust would in turn do to rock a few years later! The results were the outrageous album FR which was not really jazz at all, but a variety of experiments aimed at breaking boundaries, revolutionary just for the sake of it.

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Rather predictably LaHost also did its duty as support act at the famous Marquee club. But just prior to a second demo tape, David left the band to be replaced by a character called Spindle. This line-up presented an almost live demo, which included some of their best material. Most of the lyrics are also quite dark. Later that year December the band had new drummer Dave Beckett. This had final guitarist Mark Wyatt in the folds and sees the band move more and more towards punchier songs.

After the split, the members went separate ways - some disappeared from the music scene completely, whilst others ventured on and some members even kept working together. Fudge became a drummer with Pendragon. Stephen Bennett later continued to write film and television music and formed the mentioned Fire Thieves for his solo outings. Later he reunited with Fudge in the highly acclaimed Henry Fool project.

The project also included No-Man vocalist Tim Bowness and might not be a one-off. This was to include many guest appearances. Nothing, however, has seen the light of day so far. One for completists and historicians. The other tracks bring fairly powerful yet not overly original neo prog. Answer: yes, in Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 cases. People who had the pleasure to be around in the s and early s like me may remember the excitement when you had discovered another new band who dared to play prog and presented itself to the world with a demo tape.

Sure, the cover often looked cheap and the music was not on hi-fi standards, but those things were not that important then. That demos are transferred to CD Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 is great, because of the ease of use and the availability to a greater audience. Danger, however, is that the weaknesses of the demo will be exposed all to seriously. As partly in this case. For prog archeologist a partly interesting item. King, Cher, Tina Turner and Rush.

Although being German, the band had several British members. Their first vocalist from to was Ian Cussick, who was replaced by Harrison with whom the debut was recorded in England. Keyboardist Detlef Petersen, who had written much of the material for the debut, joined officially before the second album was recorded.

This second generation of Lake only lasted a few years and one album before disappearing again. A great album that warrants them a place in the proper chapter of this book. Renaissance CD, ? Well, in both cases light, no make that very light versions of these styles. Poppy, accessible, slick. At times Borracho - Various - Calentito Calentito music reminds a bit of Steely Dan A Part Of Me - Roger Miller - The One And Only in itself is pretty positive.

Very enjoyable music as a musical backdrop or for in your car. LP Trend CD CD British singer, bassist and guitarist - a legend of rock so to say, having been a member of seminal bands like King Crimson on their first album! He was born 10 NovemberBournemouth, Dorset.

Lake had a short solo career in the early s, which was rather melodic hard rock oriented than progressive rock. At first Lake went to Los Angeles where he worked with Toto, but most of the material from these sessions was rejected. Lake went back to England where he eventually came across ex-Thin Lizzy guitarist Gary Moore and the partnership with him worked very fine.

The debut album presented a patchy Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 of tracks recorded with different musicians including Moore, but also Steve Lukather, Jeff Porcaro and David Hungate.

Actually it was an unfinished Dylan piece that Greg was allowed to use and finish. With a proper band to back him Greg started working on the second solo LP where some members especially Moore were invited to contribute to the songwriting. This one hurts a bit. Lake presents on his first solo LP is most of all mainstream hard rock with a few progressive but also funky sprinklers. Gary Moore shines on guitar, but both musically and lyrically the disc lacks substance.

One Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 in the car. Shame on them! Lakomy played also as a keyboardist in various other bands and projects.

Tasteful and melodic! Nils does most of the instruments on his first album himself incorporating elements of jazz, electronica and postrock. The second album presented this new six man line-up mentioned above with guests Karolin Rosalie Broosch and Ingeborg Marie Mohn on violin. My wife found the CD depressing, but I love the great tension, variation and dynamics. Recommended, especially if you like postrock.

Fine music, but a bit too standard and mainstream for my taste. What I can say, however, is that I found the CD to be a very coherent compilation with a pleasant kind of electronic music - clearly influenced by the greats of the German school. Most tracks are rather melodic with slowly developing themes and motives, with a fairly upbeat and rhythmic feel to them. They got together indriven together in a desire to express their passion for music, counting among their inspirations both gothic rock like Christian Death and progressive rock in the line of Pink Floyd and King Crimson, as well as jazz, tango and cabaret music.

Apparently Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 released no less than seven tapes until Note: The line-up mentioned above is the version.

French group fusing prog with ethnic elements sitar, ethnic flutes and the like. CD New Zealand multi-instrumentalist guitars, bass, tablas, sitar, flute, keys who makes psychedelic rock. His solo album brings music by Bach played on steel guitar. He also was the producer for acts like Kayak.

Musicians involved included Lancaster and musical partner Robin Lumley synths, keys and clarinet plus Gary Moore. The two were backed by drummer Barry Entre La Gente - Julio Jaramillo - El Trovador Del Pueblo and Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 English Chorale. Some brilliant pieces e. The music is very spacious, cosmic and celestial.

To be honest, I would have liked things to be a bit more rock-oriented. Probably one of my favourite versions of this piece. As a whole I find that the LP sounds very organic, keeping in mind that it is almost entirely done with electronic instruments. And it sounds very coherent. Strange this never got a follow-up.

For the second album John Buzby changed the entire line-up. The musicianship is quite astonishing and they Fools Rush In - The Brew Moore Quintet - The Brew Moore Quartet And Quintet to put variety in the songs. There is a lot of high energy and rhythmic stuff on this disc with some cooking percussives and heavy riffing and fine jazzy keyboard work.

The overall sound is pretty much in the jazz-rock and fusion mould with prog tendencies. John is just not a good vocalist. His voice is rather thin and weak and the vocal-lines are more suited for Echolyn, on the aforementioned ballads he somehow reminds me a little like Seal lacking strength. They wanted to play old-style prog with reggae elements. The trio worked with several keyboard players and in March Matt Giblin flute joined.

In may of the same year they recorded a six track demo but then the band fell apart. Clink joined some space rock groups and the others did session work. Long pieces in which they present their long winded music - somwhere between old Marillion and slowly creeping Pink Floyd.

By the musicians themselves would not call Lands End a band anymore but a project. The reason for calling them a project is that all musicians have not been together in the same room since February At least, it feels like a concept to me. If there is a storyline, I didn t get it, but to be honest I haven t really worked myself into the lyrics, so I can t tell you what can be found there.

A remarkable thing is that Land s End doesn t sound American at all. They have a typical British neo-prog sound. I think it may sound negative if I say that they sound like many other Cyclops-bands. They do, but that s not necessarely a bad thing.

What s more - there s a chance that you will find the CD too quiet, maybe even boring at first hearing. It surely takes some listening to get into the CD. After you get used to this, things get better and you ll discover some very nice musical parts on "Terra Serranum" like "A castle, mother, nanny and a warm soft bed" cool title or the final track on which some rockier parts can be found as well.

Also the contributions of Steve Anderson and Bruce Soord on guitar are impressive. But the musician who most of all colors the music Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 Fred Hunter. His playing on several other Lands End albums already made me realize that this man is a very talented musician. The many synthesizer solos and Mellotron sounding keyboards move the music more and more into a direction which is known as neo progressive rock.

The result in a superb album. Probably the best work so far. This CD thus took me a bit by surprise and managed not too make me enthusiastic for that the music is waay too laidback and relaxed but at least it left me with a majorly positive impression. The CD featured guest St. This version lacked the cover song, and had a different Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 without sitar on the title track.

When it was reissued a few years later through Record Heaven it presented a bonus track with Simon Steensland.

A new recording with drummer Jonas Lidholm appeared two years later, stylistically a bit modern. Both later appeared in Paatos. A great album, notably for Mellotron freaks those opening chords just give me shivers of pleasure! Highlights all around for retro proggers.

I just have to stress again that the opening Pete Lazonby - House Of Zen EP the album Mellotron galore! The songs that follow to have a slight alternative rock to them and regrettably do not follow the style of the fabulous debut like I hoped they would.

Lande is a gifted rock singer, but the music lacks a bit of originality to me. Little surprises make that none at all with regard to repertoire sounds as expected and deliverance typical hard rock posing and performance. Professionally done, alright, and probably mainly aimed at fans of the man and the style who get a satisfying product. But they were already playing Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 in different bands probably a year before that. They recorded three demos with singer Bob Daisly during that time.

After looking for a singer for some time, they Peacemaker - Loggins And Messina - Finale recorded one track for the first SI Magazine compilation which was their recording debut with Rob LewisJones.

He is an actor who also sings. He is at moment also working for television. When we met him he found it strange to sing with a microphone. He was not used to that. He was not really happy singing with us. He did not feel fine with our style. Shortly after, they found an exceptional singer in Damian Wilson. Inbetween, Landmarq had contributed a non-album track to the second SI compilation disc. But again the title track was not totally recorded when the album was ready for release.

Ian Gould, later found in Medicine Man was a Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 for some time and even performed with them on the second Planet Pul festival in Damian is a very busy man. It was always a problem to get everybody together. We all live very near each other but Damian was always very hard to get on rehearsals and concerts.

But that was not the main reason. When we came at the point of recording the new album, Damian had just released his first solo album. That was all right for us, but he simply had no time to work with us on the new album.

We had to wait a very long time and there was also no time for playing live. Tracy was our first choice 8 years ago. When we made our first album she came with her first solo album.

We thought that it would not be a good idea to let her sing in the band and at the same time have her own career. When Damian left, Tracy was available. With Tracy, the band band finally found a stable line-up and came with new material, concerts and even with their own record label, Synergy Records. On this label they did the first studio album with Tracy and some time later a live album, which suffered some serious delay through a production error until it finally appeared in late Due to time restrictions and personal reasons, the label was to be shortlived and inLandmarq completely turned to Cyclops, which label reissued their entire back catalogue as well as a new album.

In late Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3Steve Leigh retired from the band, due to personal and family commitments, as well as some musical differences. His place was taken by Spanish keyboardist Gonzalo Carrera, who used to be a member of Galadriel and Yes tribute band Fragile to name but a few of his many projects. The question is: how does Landmarq sound with her? Well, in the instrumental department little has changed. Now its time for a new era and the start is not too bad for neo proggies of course, the rest just Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 elsewhere.

The earth moved when I put it into my CD-player. All the recordings are wonderful done and the band plays in full strength. The band gives a great performance. Too bad that the CD has a time of only 58 minutes. Why not another 15 or 20 minutes extra to give the Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 its full length?

But we have to be satisfied with what the band has given us. On the CD are 4 songs which were originally sung by Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 Wilson. But then again they should have released a double album if they wanted fulfilled all my wishes.

In the end I can only be positive about this wonderful live document. It has not only perfect music, but they also had taken a lot of care on the layout. It has been released because it says to bare proof of Landmarq with Tracy Hitchings instead of Damian Wilson, being able to play music from the older albums as well. Because the instrumentalists are in top form and the sound-quality is very good remastering by Karl Groomthis album, though rather short for a live one, is well worth while listening to.

But I must confess that I always prefered Landmarq as a studio band. Neo proggies could do worse than buying this one, but I stick to the studio stuff. The second disc brings more pleasant neo prog in typical Landmarq style. Overall a really good album that will probably end up among the neo prog highlights of It sounds like a heavy folk song. It s not my cup of tea and what bothers me most is that I don t understand Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 Mateusz is singing about; his English is rather weak, to put it mildly.

The Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 track is probably one of the best songs on the album as it is rather diverse with an outstanding guitar solo.

All in all you could say that this isn t a bad album, but I Manhattan - Roundtree - Discocide heard it all before and better.

Maybe if these guys would work more on their own sound in the future then the next album will be a lot better. Listen and judge for yourself! Her husband and steady companion, producer and songwriter is Erik Norlander. Erik and I wanted to find a name that people could easily remember and that would roll off the tongue. London (London Everyday) II: Westminister - Eric Coates, Sir Arthur Sullivan, Eric Johnson & His Orc came from a musical family.

Her mother and her sister were singers in Europe in the s in a vocal group called The Vocal Touches with a record deal on Decca Records. Lana played Erik a tape of their music and asked if he would be interested in joining and he did. In LIAA had been recorded on a very tight budget and was in need or so Erik and Lana thought of some improvements. Three bonus tracks were recorded, some musical interludes Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 extended and most of the guitar parts were re-recorded.

The second disc was said to have a slightly more progressive orientation while the third CD from combined the styles from the first and second. The CD was a big success in Japan and sold ten times the number of the two previous releases.

After the release of a mini-album, she went to play live in Japan backed by Rocket Scientists and Citron and released a live album and a Japan only ballad compilation. The Japanese journalist who wrote the liner notes mentioned my name because I was a huge fan of Ayreon, but Arjen was not familiar with Lana Lane at the time. Arjen did a search on the Internet for me and found me through Think Tank Media, which is Erik s and my production company in Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 Angeles.

Arjen downloaded a few songs and really loved my voice. That s when he asked if I would sing on his albums and if Erik would play keyboards. But we all know what happened on Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 11th of September So the plan was canceled and put on ice.

Instead she asked a couple of people that already worked with her before, like Neil Citron guitarsMark McCrite guitars and Don Schiff Chapman stick. And also of course her husband Erik Norlander keyboards and production and Vinnie Appice drums, who by the way happens to be Lana s neighbourGerman guitar player Helge Engelke and singer Mark Wanna Move - Diddy* - Press Play. Lana kept up the release schedule of at least one album including live, cover collections and compilations a year.

In the liner notes Mary Moore - Various - Spotlight On Reggae Vol. 7 by keyboardist, co-composer and producer Erik Norlander, one can read that it is not just about the three coldest months of the year, but the concept of winter is explored metaphorically as well.

The songs deal about endings: of relationships, seasons and endings of life. In life endings bring new beginnings, hope for new life. Just like when the winter ends a new season gives new life every year. Fans of Lana Lane had to wait five long years for a new album. Therefore after nearly fifteen years of working nonstop it was time for a sabbatical of a few years in order to reload the batteries.

Also did she start a small bakery. AOR-like, lots of rhythm guitar, very lustily sung on the vocals - there is a similarity to Heart. Not to Maybe - Dave Grusin - The Gershwin Connection Tony Franklin on bass. The version is over 15 minutes longer because of the three extra tracks and sounds more serene and clear, maybe even more modern, whereas the version is a bit warmer.

So untrue! And so this album continues. Unfortunately the rock stops half way Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 the song, but as compensation I get a very nice guitar solo. His creative and imaginative play vaguely reminds me of Steve Vai.

The fact that I think the record collapses after the first half should not be a reason for you to leave this album alone. The musicianship and compositions are quite in order to say the least. All beautiful tracks with strong vocal performances of Lana herself and tasteful keyboard playing by Erik Norlander on Mellotron, synthesizers and Hammond.

She sings in about the same regions as the sisters but Lana seems to have Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 on a better singing school. It all just sounds so American, polished and slick.

The guitar, which by the way does not dominate, sometimes sounds rocky in a smooth REO Speedwagon-style. Also the guitar solos are pleasant; Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 too short, not too flashy, not too heavy, just like the whole record is: well balanced, well crafted, not excessive in any way. Just a pleasant album ready for listening at every moment of the day.

Lana Lane has more rock in her songs but we can certainly enjoy some fine synthesizer and guitar work on this album. It could be a Rocket Scientists song because it has all the ingredients this band uses. All in all a strong live album. To me this was the first time I actually had a proper excuse to listen to her music.

Pumping keyboards as wide as the mind. It has a real good production - a distinctive clear and polished sound. Also there is use of a wide variety of keyboards, such as Mellotron, Minimoog, Rhodes Piano and Hammond organ. But this does not change my opinion on the album as I have a programmable CD player.

Hope that last line makes sense to you. Nice stuff. Well, this time I was surprised in a pleasant way! Powerful bombastic melodic rock with a healthy dose of progressive elements.

Great music with much commercial potential. Well, just a matter of taste, I presume… Recently, a Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 double CD came out and offered a new start for my relationship with Lana. A postivive start this time!

The first disc contains all newly recorded material, while the second disc has been released successfully! The booklet contains all lyrics and extensive liner notes, which give insight in the recordings and thoughts behind the inclusion of certain songs. If you like melodic rock, but prefer it with a proggy edge, try this one.

Especially the keys are really delicious at times, and the sound is a few times close to a steamlined version of Ayreon with Lana on vocals. Not everything is great, however.

Apart from that this is one Samba Do Avião - Tom Jobim* - Millennium - 20 Músicas Do Século XX comes rather recommended.

Again full of both romantic and heavy prog, which I did enjoy quite a bit, until Lana does her attempt at the famous Andrea Boccellisong including the attempt at the American-Italian accent! Same concept, same musicians, same everything. This does it. Eject and forget. This album still is Lana s best to date as it features the most progressive tracks ever recorded by her.

But all albums can not be the same and Lana s plan for this album was to travel new paths in bringing a nice combination of ballads and up tempo tracks in AOR and progressive rock style together on one record. Another fine album indeed. I always loved them; no matter how strange some versions sometimes were performed. This time 11 tracks were recorded and all of them are worth listening to. The tracks that I did not know sounded as if they were written by Erik or Lana. This comes mainly by the production, song arrangements and keyboard playing done by Erik himself.

But most of all the strong vocals done by Lana. It only shows that she can sing anything she wants. The other well-known ones certainly added something extra to the original versions.

Oh, and don t forget your lighter. You certainly should take his advice because this is not just a DVD that you can watch while you are doing the dishes. Three Cry & Be On Your Way - Various - Collectors Records Of The 50s And 60s Vol.II of live, backstage and interview footage is a long sit in front of your TV.

It could have been much longer because they had a stack of videotapes, which reached the height of a pro basketball player. They had 60 candidates to choose from but finally 20 live tracks made it on the DVD. The new album has some musical references which remind me of this strong record. The same sequencer and synthesizer sounds are cleverly integrated in the newly written songs.

She certainly lifts C-Side - The Wytches - C-Side song to a higher level, but unfortunately the level of the album mentioned above is not be reached. Nevertheless I again enjoyed another Lana Lane release. As it appears little has changed on her side and little has changed in my appreciation Error #9 - Mono - Under The Pipal Tree this.

Main exception is the symphonic title track that closes the disc one to check out and the occasional ballads in-between are also worthwhile. This time Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 veteran symphonic rock diva takes the listener to a hotel with ten rooms behind Yankee Doodle Boy - Various - God Bless The USA doors of which you ll discover some fantastic music in different musical styles.

In general, the ten songs are based on AOR, melodic rock and progressive rock, but influences from folk rock, ethnic music and even Spanish music are noticeable as well. It s really striking how the marvellous keyboard playing by Norlander lifts the music to a higher level. Unfortunately, the band only released one LP with remarkably - English lyrics, unlike other folkies.

What sets Langsyne apart from other German progressive folk bands, is the use of English lyrics - accent free! The music, of course, is strongly on the acoustic side, but extremely varied and thoughtfully built with unusual sounds and instruments, giving it a fresh and original approach. The most surprising guest is Dominique Leonetti, the lead singer of the French prog band Lazuli.

We know that Mr. Lang is an excellent keyboard player which can be heard on all RPWLreleases. Many of his synthesizer solos sound as if Manfred Mann is sitting behind the controls of his MiniMoog.

His first musical love was classical music Mozart, Bach, Chopinlater he feel in love with the progressive rock of ELP and Ekseption and his two favourite instruments: piano and Hammond. In he pursued his love for progressive rock as the keyboardist in sympho-band Survival. This band lasted until After this Jack decided to make a solo album, which was a concept inspired by the Bible book of Revelations. Several years later also a CD by Survival appeared. Overall a fine instrumental symphonic keyboard album.

Another ten year break occurred until another album came out under the Jeromy moniker and then nearly ten years to his third. Several guests appear on the LPs, playing guitars and woodwind instruments.

Slight references to folk and over all probably a bit more proggy than the major labell LP that would follow. Short songs, pretty accessible Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 overall nice, although the instruments sound sometimes a bit offtune, which puts a certain tension in the music, preventing to make it too Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3.

Languirant has released several LPs. Word is, that his first three are the best and very good, equaling the level of his inspirations. There is a fine and dense instrumentation on the Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 and good French vocals.

One to check out! He started with two solo demos under the name of A. At least until now. On all three Lanvall albums Arne guitars, piano, keys, flute was backed by the rhythm section of Ulbi Ulbricht bass and Thomas Schaufler drums, percussionboth Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 which can be heard on many Aquarius - Cleo Laine With The John Dankworth Quartet - Cleo Laine In Australia WMMS releases.

As indicated by the titles of both tapes the meldoies are quite dreamy and suitable for both intense and background hearing. Classical influences are clearest through song structures and harmonies, reminding of people like J. Bach, and of course the adaption of classical pieces like Pachebel.

On one track we hear female vocals which adds an additional dimension and is recommended for further development, preferably with a singer who sings slightly higher. Also a band of flesh and blood would be a positive development. Arne is a highly talented guitar player and knows to write good melodies that make listening to this album pure joy.

In a way a very relaxing CD, even though the flowing music has a lot more power and spirit than the common new age oriented disc. The great instrumental guitar dominated symphonic-new-age-prog is continued here, but on about half of the tracks there is this choir. Giving it along with a church music feeling, also a definite kitsch factor and making this a step back compared to the debut. Would have been wise if Arne had restricted himself a bit more to his guitar work.

His success is much thanks to his crossing over in other genres at the same time such as rock, pop, jazz and prog. Lanz was born in in Seattle, Washington and started as keyboard player in various pop and rock groups. Besides playing in bands he also worked as a session musician. Gradually he started performing as a solo artist, playing in bars and smaller venues, developing his own style as he went along. He took part in a chakra workgroup and Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 a tape with meditative music that was received very well - many people at the course wanted a copy of the cassette!

The collaborative work of David and Paul was highly successful. I like Lanz a lot. Afterwards the two brothers formed an electropop duo called Triangolo. Note: Some source said the album was from They hailed from the town called Harjavalta where they were formed in Their were very popular in their home country especially from on with major airplay on radio, great reviews and chart notations, even before they came with an album on a major label. This partly caused by the hectic music that incorporates all kinds of styles from prog to alternative and not at least because of the high voice of the lead singer.

Over the entire playing time of the disc I find it a tad tiring because there are too few breathing points and things sound Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 similar as we get further on the album so after a few tracks I have to listen to something else. His solo work goes more into a jazz direction. AR CD French neo prog with lyrics in their mother tongue. Guitarist and singer was Magus Florin.

The second album was very much a solo effort by Artman. In the French Spalax label released a CD with previously unreleased work. The second piece then combines neurotic synths with slow eerie Garbarek-like sax and the third piece has jazz-rock guitar McLaughlin in a neurotic phase.

The longer the album lasts, the more we are in the field of e. The 12 songs on this CD album vary in length from just over three to just over five minutes and Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3 recorded between and Musically I was reminded to e. Horky Reels - Julie Fowlis - Mar A Tha Mo Chridhe (As My Heart Is) guest appearances.

Most of the releases featured Manuel Landy a. Gerhard Haensch, a. Delle Haensch who also cowrote much of the music. A rather large part of the LPs below appear to be library discs. This one clearly falls in the latter category: upbeat synth themes that would do very well on a fairground.

Nothing for me. CD This Swedish keyboard player studied in Vienna. But the project took some additional years… It was delayed because of the funding and the time required for recording the documentary.

His light and sparkling touch of the keys reveals a liking for jazz, but at the same time, the classical composers obviously influenced his compositions on WeaveWorld. This is pure prog heaven! These lengthy songs need time to develop, so the listener has a lot to enjoy. Looking forward to hear more from Lalle! In the late s he also joined Dixie Dregs. His solo CD was recorded with a. T Lavitz. CD This American keyboardist and composer had a Cherokee background.

She has been playing the keyboards since she was three years old or rather, young - ed. She is a tribal member of the federally recognized United Keetoowah Band of Cherokee Indians in Oklahoma, where she also serves as tribal historic preservation officer. Before working truly within the progressive rock genre, Lisa recorded an instrumental debut album, "Beloved Tribal Women", which was produced by Will Alexander Keith Emerson, Herbie Hancock, etc.


We Were Lovers (Theme The Sand Peebles) - John Klemmer With Quartet And With Strings - And We Were, Part 2 - Radio Massacre International - The God Of Electricity, Knock Me Down - Red Hot Chili Peppers - Devotion To Emotion, Variations Sur Lucis Creator - Jehan Alain / Wolfgang Rübsam - Orgelwerke Teil 1, Nanci Griffith - Late Night Grande Hotel, Fais Moi Le Couscous Chérie - Bob Azzam Et Son Orchestre - Les Papous - Abuglubu-Abugluba - Fais Moi, Untitled - None Of Your Fucking Business - 25 Song Ep Acid Edition, Extraxt 3 - Various - 16 Dance Party Smash Hits!, Mortuary Riot - Haemorrhage - The Kill Sessions, Ive Longed And Searched For My Mother - Donald Byrd - Im Tryin To Get Home, Valse No. 15 In A Major Op. Posth. - Tamás Vásáry - Frederik Chopin : 17 Waltzes, Shadows Of The Past - The Nightchild - Some Stories And Thoughts, Superstar - Andrew Lloyd Webber & Tim Rice - Jesus Christ Superstar, Ill Ones Resurrection - Illergic - Illergic Reaction

8 thoughts on “ Koto - Irmin Schmidt - Filmmusik Anthology Volume 1,2 & 3

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  7. Irmin Schmidt – Filmmusik Anthology 4 & 5 () Kontynuacja składanki „Anthology: Soundtracks ” z roku (wydanej ponownie w r. pod tytułem „Filmmusik Anthology Volume 1, 2 & 3”).
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