Transmissions from Echo Beach with Derek Westerholm and DJ Babs:
Playlist
from June 15, 2023
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Description: Exuberance/Ebullience, banter, possibly an interview, context and connection, the familiar, the strange.
Find: Symphonies of Treble, Words Of Expectation, stab, skronk, shimmer, sheen, The New Sound of Now, Ideas for Walls, pleasure, pith, Flutter and Wow, Motorik, cowbells, disco akimbo, at least one Cantankerous Singer, The German Language, shards of glass, Ethiopian Punk, organic, synthetic, sawtooths & squarewaves, Library Riffage, yesterday's recipes, the wrong speed, intentional static, floating, ethereal, time and timelessness.
Thursday
8 - 10pm
(EDT)
|
On
WFMU's
Sheena's Jungle Room
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| Artist | Track | Album | Label | Year | Comments | Approx. start time |
|---|---|---|---|---|---|---|
Music behind DJ: Neu! |
Im Glück (Intro only / Faded)
|
Neu! |
Brain / Grönland Records / Astralwerks |
1973 / 2001 |
The legendary Krautrock duo of Michael Rother and the late Klaus Dinger originally released this track on their 1972 self-titled LP. "There are many terms that always crop up during discussion of the bewildering variety of leftfield rock and electronic music that came out of Germany in the late 60s and 70s. The most commonly occurring nomenclature is the only partially useful and slightly disagreeable umbrella name of Krautrock. Probably the second most popular term is the much more useful motorik. The word, which literally means 'motor skill' in German, was originally coined by journalists to describe the minimal yet propulsive four four beat that underpins just a small amount of the music from this time and place. However, if this non-existent genre has anything approaching a definable quality, then this beat is it. It was a hallmark of Klaus Dinger's drumming for Neu!, although he rejected the term, preferring to call the rhythm the 'Apache beat'. This metronome was first used in this context by Kraftwerk on tracks such as 'Ruckzuck', and Can on the blistering 'Mother Sky'. //// This beat was the war drum of modernity, pushing the listener forwards into the future. It is often associated with the great transport networks of Germany, the railway lines and the autobahns. In fact the rhythm even mimics that of a car speeding along the open road or a train clattering along the rails: fast, measured, travel never ending. It was the rock beat stripped back to a glittering chassis. It was the minimalist framework on which improvisation could take place. //// Michael Rother "was recruited between the release of Kraftwerk's first and second eponymous album. He explains "Ralf Hutter was the first musician I had met who was on the same harmonic and melodic wavelength as me. We really understood each other without talking." It was then that he met drummer and future musical partner Klaus Dinger. It was during this intense period of creativity that the motorik beat was created - the thumping rhythm that would power the new German sound out of art galleries, universities and communes into the charts and the global consciousness. There was a hint of it in the aforementioned 'Rucksuck', which featured on Kraftwerk's 1970 debut album. The song is barely recognisable as being by today's synth titans with its heavily phased flute solo and fuzzy freak-out guitars. But the metronomic beat is unmistakably taking form. The first clear cut example of this rhythm however is on 'Hallo Gallo', the opening track of Neu!'s debut album. (Kraftwerk would later complete the circle by adapting the rhythm back for the closing section of their break-through song 'Autobahn'.)" //// "This said, the young musician felt that Kraftwerk lacked the necessary drive and direction and he left soon afterwards, taking Dinger with him to form Neu!: "When the atmosphere wasn't right, the sound wasn't right. I think it was quite terrible and apart from those good times on stage there were a lot of arguments, especially between Florian and Klaus. They were arguing a lot. So we tried to do the sessions for the second Kraftwerk album in summer of '72 and that failed because it was quite clear that we were dependent on some rough live atmosphere to make us create that enormous noise and heavy beat that we did. So it was just natural for us to separate. Klaus and I, we had the idea that our aims were closer so we should carry on together. So we got in touch with Conny again and so in December we recorded the first Neu! album." The name Neu! was suggested by Klaus whose girlfriend was working in advertising. It fitted neatly with their relatively stark modernist sound and broke from all of the rock traditions of the past. But after the release of their fantastic debut, which sold 35,000 copies on release, and a poorly received follow up, things started to disintegrate. (The pair ran out of money recording 'Neu 2' and the B-side is made up of tracks from the A-side recorded at different speeds. The techniques used to make the second side can retrospectively be claimed as far-sighted but at the time people felt a joke was being played on them.) The arguments that had spoiled their time in Kraftwerk were now beginning to affect Neu! Whatever fueled the animosity between Klaus and Michael (it was arguably drugs as Michael is fairly clean living and Klaus has gone on record saying that he is proud of his consumption of over a thousand LSD tabs) it caused him to seek a hiatus and while visiting "Kosmische" electronica band Cluster (his friends Hans-Joachim Roedelius and Dieter Moebius) at their studio in Forst, Rother had such a good time he ended up moving in with them. It was during this period that the trio conceived of the group Harmonia. This would all but signal the end of Neu!" |
0:00:00 (Pop-up) |
| Snakefinger |
The Model
|
Chewing Hides The Sound | Ralph/Klanggalerie | 1979 | "Philip Charles Lithman (17 June 1949 – 1 July 1987), who performed under the stage name Snakefinger, was an English musician, singer and songwriter. A multi-instrumentalist, he was best known for his guitar and violin work and his collaborations with The Residents... His first album on Ralph was Chewing Hides the Sound in 1979, featuring original material co-written with The Residents as well as esoteric covers like Kraftwerk's "The Model". The songs showcased Lithman's distinctive slide guitar playing and often surreal imagery... On 1 July 1987, Snakefinger and his band, The Vestal Virgins, arrived in Linz, Austria, on the European Night tour. The next morning, he was found dead in a guestroom of the Posthof Club, where the band had been due to perform. He had suffered a heart attack. His single "There's No Justice in Life" was released the same day." | 0:03:04 (Pop-up) |
Music behind DJ: La Düsseldorf |
Silver Cloud
|
La Düsseldorf |
Decca / Telefunken / Warner Brothers |
1976 |
"Striking up a stylistic compromise with Michael Rother, the other half of Neu!, Klaus Dinger had recruited his brother Thomas and friend Hans Lampe to play on side two of Neu! '75, taking the band in a more rocking direction than the ambient-inclined Rother cared for. With the split up of Neu! after Neu! '75's release, the remaining members recorded this LP with Neu!/Kraftwerk producer Conny Plank. The result is an album reminiscent of Neu!'s characteristic motorik beat set under atmospheric swathes of keyboard and guitar, but with more emphasis on vocals than the mostly instrumental Neu! had made room for."... ..."In La Düsseldorf’s eponymous debut, Dinger poked his head into disco and punk and opened himself in ways previously unheard in the more art-focused Neu!." |
0:07:00 (Pop-up) |
| Fatboy Slim |
Radioactivity
|
Late Night Tales: Fatboy Slim | Night Time Stories Ltd | 2013 | Late Night Tales is one of the most renowned artist-curated compilation series of all time. Founded in 2001 by the author A.W. Wilde, Late Night Tales prides itself with a unique concept. On top of crafting a night-themed mixtape of the artist’s design, each edition features an unreleased cover song by that artist and a spoken word story read by an actor or musician at the end. This version of Radioactivity was Norman Cook's original contribution. It slaps! | 0:12:36 (Pop-up) |
| Eläkeläiset |
Poro
|
Humppakäräjät | Stupido Records | 1994 | Eläkeläiset (Finnish for "pensioners") are a Finnish humppa band founded in 1993. They specialise in humppa and jenkka music and have been successful in Germany, Finland and elsewhere. Eläkeläiset mainly play cover versions of famous pop and rock hits in a fast humppa or slow jenkka style with Finnish lyrics — the original songs are barely recognizable. They also publish bootleg recordings of their own concerts. Eläkeläiset are very popular among some OpenBSD developers and frequently played at their hackathons, where they claim they are "thwarting evil with humppa and math. This is a most excellent, short and sweet cover! | 0:16:09 (Pop-up) |
| Stereo Total |
Tour De France
|
Baby Ouh! | Stereo Total | 2020 | Stereo Total was a Berlin-based multilingual, French-German[1] duo which comprised Françoise Cactus (born Françoise van Hove and formerly co-leader of the West Berlin band Les Lolitas) and Brezel Göring. Their music is a playful, wildly eclectic mash-up of synthpop, new wave, electronica, and pop music. The most consistent element in their cut and paste compositions is a retro-hip European 1960s style, with references to psych and garage-rock as well as to 1960s French-pop in the vein of Françoise Hardy, Jacques Dutronc, France Gall, and Brigitte Bardot. Some of their most recognized tracks are kitschy lo-fi covers of pop, rock and soul songs, such as their self-consciously trashy version of Salt-N-Pepa's electro rap hit "Push It...and this most charming version of Trans Europe Express... | 0:17:06 (Pop-up) |
| Harry Pussy |
Showroom Dummies
|
You'll Never Play This Town Again | Load Records | 2008 | Harry Pussy was an American noise rock band from Miami, active from 1992 to 1997. The main members were Bill Orcutt on guitar and vocals and Adris Hoyos on drums and vocals. Other members included Mark Feehan on guitar, later replaced by Dan Hosker. They recorded primarily for the Siltbreeze label. The often violent and sexually charged music of Harry Pussy is still well-regarded and highly influential in the noise and noise rock scenes. Following the dissolution of Harry Pussy, Hoyos began playing sporadically in improv groups and Orcutt focused on film-making. Bill Orcutt started playing live and releasing albums again in 2009. | 0:19:42 (Pop-up) |
| Melt Banana |
Showroom Dummies
|
Musique Non Stop - A Tribute to Kraftwerk | EMI | 1998 | Covering Kraftwerk is extremely risky. The task presents a problem that few, if any other music groups in the world do. Their music is so sublime, so perfectly crafted, that it cannot be easily imitated or duplicated, even with the best intentions. It's like painting a Picasso to honor Picasso. Why look at the imitation to remember the original? Because it's FUCKING MELT BANANA THAT'S WHY. The band has shied away from any classification, saying they "don't write music according to genre", and has described their music as "like a chimera". The band is known for playing an "eclectic" selection of cover songs, both live and on studio recordings. Melt-Banana was inspired to do so after touring with Mr. Bungle and seeing them perform several cover songs, and thinking it would be fun for both the audience and the band themselves. Songs that Melt-Banana has covered include "Surfin' U.S.A." (The Beach Boys), "Neat Neat Neat" (The Damned) and "Paint It Black" (The Rolling Stones). In choosing the songs, Melt-Banana simply "play songs that [they] like." | 0:21:25 (Pop-up) |
| Wollita & Stereo Total |
Wollmensch- Maschine
|
Ausser Kontrolle | Martin Shmitz Verlag | 2005 | Wollita, a sort of inflatable doll made of wool, is the main character of the novel "Wollita - Vom Wollknäuel zum Superstar", written by Françoise Cactus (Stereo Total) & Wolfgang Müller | 0:22:53 (Pop-up) |
| The Routes |
Pocket Calculator
|
The Twang Machine (Surf Covers of Kraftwerk!) | Topsy Turvy Records | 2022 | This is the album that inspired this episode! Imagine a bizarre alternate universe in which the Moog synthesizer was invented before the guitar, and visiting thrift stores you'd find records such as THE VENTURES 'Guitar Indigo' and DICK DALE 'Twanged On Bach!?!' Well, here is a record that could well be from that universe! All through the album, Chris Jack and his band are paying a great homage to a clash between 70’s Düsseldorf and 50’s California, a mash-up that surprisingly works so well. Blasphemy and bastardisation or the perfect alchemy? Kraftwerk purists might fall on the former, but that’s sure going to be their loss. | 0:25:08 (Pop-up) |
Music behind DJ: Señor Coconut |
Tour De France
|
El Baile Alemán |
NN |
2000 |
We can't do this show without Senor Coconut...these versions are widely considered to be the gold standard when it comes to Kraftwerk reimaginings. Señor Coconut is actually German electronic music prankster Uwe Schmidt, better known as Atom Heart. Schmidt is reportedly hiding from the fascist German music underground in sunny South America (Santiago, Chile to be exact), much as his fellow countryman Adolph Eichmann once hid from the Nuremberg prosecutors. While taking in the local culture, Schmidt was struck with a vision: why not take the songs of Florian Schneider and Ralf Hütter and jazz them up to sound like they were performed by Ricky Ricardo's orchestra? And so, we doff our sombreros to Señor Coconut for creating such a fun little diversion: Felicitaciones, Señor Coconut, para un trabajo hecho bien. |
0:28:18 (Pop-up) |
Music behind DJ: Ebony Steel Band |
Computer Love
|
Pan Machine |
OM Swagger |
2019 |
Perfection. Utter perfection. This is everything I love. Pan Machine is the fruits of Record Collector editor Ian Shirley’s challenge to the band to cover material from 1973’s Ralf & Floran to 1983’s well versed Tour De France. The results are a joyous revelation of usage of steel drums. The similarity of the synthesizers is uncanny, fitting in with these versions supremely well. The melodies translate expertly throughout the set delivering wonderfully complex soundscapes effortlessly. |
0:31:54 (Pop-up) |
Music behind DJ: Ebony Steel Band |
Spacelab
|
Pan Machine |
OM Swagger |
2019 |
I could not think of a better instrument to cover this song. Truly I cannot. |
0:35:17 (Pop-up) |
| Neu! |
Super (Man Man Remix)
|
NEU! – 50! Boxset / NEU! / Tribute Album | Grönland Records | 2022 | "Neu! is the German krautrock band formed in Düsseldorf in 1971 by Klaus Dinger and Michael Rother, after their split from Kraftwerk. The group's albums were produced by Conny Plank, who has been regarded as the group's "hidden member". Though Neu! had minimal commercial success during its existence, the band is retrospectively considered one of the founders of krautrock and a significant influence on a variety of subsequent rock, post-punk, and electronic music artists." | 0:39:49 (Pop-up) |
| Neu! |
Super 16
|
Neu! 2 | Brain / Grönland Records / Astralwerks | 1973 / 2001 | "Neu! 2 is the second studio album by the Krautrock band Neu!. It was recorded in January 1973 and mixed in February 1973, both at Windrose-Dumont-Time Studios in Hamburg, West Germany, and released in 1973 by Brain Records. It was officially reissued by Astralwerks in the US and by Grönland in the UK and Europe on 29 May 2001... Side 2 of the record caused consternation at the time. Neu! had quite simply run out of money to finish recording the album, so the second side consists entirely of their previously released single "Neuschnee/Super", manipulated at various playback speeds on a record player, or mangled in a cassette recorder. Critics at the time dismissed this as a cheap gimmick and a rip-off. While it was indeed an experiment born of desperation and necessity, it was entirely in keeping with Neu!'s pop art aesthetics, taking a "ready-made" sound object and re-presenting it with a series of stylized manipulations, and also quite in keeping with the way Neu!'s music deconstructed and pared down the form of rock music. Dinger subsequently pointed to side 2 as being a prototype of the now ubiquitous multiple remixes which typically accompany any pop single release." | 0:44:37 (Pop-up) |
| Legendary Pink Dots |
Super
|
A Homage To Neu! | Cleopatra | 1998 | At one point the only cover that Legendary Pink Dots recorded? Seems unlikely, 18 years into their career, if not longer. From a Neu! tribute album... | 0:48:20 (Pop-up) |
| Neu! |
Super 78
|
Neu! 2 | Brain / Grönland Records / Astralwerks | 1973 / 2001 | ""Super" is a single by German band Neu!, released in 1972. It failed to chart and has never been re-released, but has become a collector's item due to the rarity of the original vinyl 7".[citation needed] After the single's recording both the A and B side tracks were added to the album Neu! 2, which was released the following year. //// Both tracks were recorded quickly at Conny Plank's studio in Cologne during the summer of 1972, six months after the release of Neu!'s debut album. Brain were pessimistic about the single's chances, and had to be convinced to release it by Dinger and Rother. When it was released, it was backed by only minimal promotion, and predictably failed to make any impact on the German music charts (though some Krautrock acts – such as Can – did have successful singles in the early '70s). //// When Dinger and Rother returned to the studio in early 1973 to record Neu! 2, they decided to fill the second side of the new album with tape manipulated remixes of the "Super/Neuschnee" single. There have been several conflicting explanations as to why this was done, the most quoted being Dinger's assertion that: "When the money ran out, I got the idea of taking the single, play around with it and put the results on side 2 of the album." //// However, this has been refuted by Michael Rother, who claims that the second side was made to aggravate their record label, who they felt had insufficiently promoted the original release of the "Super/Neuschnee" single, and not as a result of financial problems. Either way, the second side of the album was ill-met by fans who thought, according to Rother, that "we were making fun of them." This issue contributed to the widening gap between Dinger and Rother, both creatively and personally. Dinger later said of the issue: "[The second side of Neu! 2] was absolutely my idea. I came from that world, Pop Art thinking. Michael did not like the idea. These days he claims that everything in NEU! was 50/50. Financially: yes. Creatively: no. He was always very conventional." //// The single was also released in the UK on the United Artists label with a different cover." | 0:52:50 (Pop-up) |
| Neu! |
Super (Mogwai Remix)
|
NEU! – 50! Boxset / NEU! / Tribute Album | Grönland Records | 2022 | "Neu! 2 is the second studio album by the Krautrock band Neu!. It was recorded in January 1973 and mixed in February 1973, both at Windrose-Dumont-Time Studios in Hamburg, West Germany, and released in 1973 by Brain Records. It was officially reissued by Astralwerks in the US and by Grönland in the UK and Europe on 29 May 2001... Side 2 of the record caused consternation at the time. Neu! had quite simply run out of money to finish recording the album, so the second side consists entirely of their previously released single "Neuschnee/Super", manipulated at various playback speeds on a record player, or mangled in a cassette recorder. Critics at the time dismissed this as a cheap gimmick and a rip-off. While it was indeed an experiment born of desperation and necessity, it was entirely in keeping with Neu!'s pop art aesthetics, taking a "ready-made" sound object and re-presenting it with a series of stylized manipulations, and also quite in keeping with the way Neu!'s music deconstructed and pared down the form of rock music. Dinger subsequently pointed to side 2 as being a prototype of the now ubiquitous multiple remixes which typically accompany any pop single release." | 0:54:16 (Pop-up) |
Music behind DJ: Zeitkratzer |
Ruckzuck
|
Zeitkratzer Performs Songs From The Albums "Kraftwerk" And "Kraftwerk 2" |
Karlrecords / zeitkratzer Records |
2017 |
An incredible rendering of KW. Reinhold Friedl founded zeitkratzer in 1997 in Berlin. From their website: "zeitkratzer is sound made visible, tangible, bodily—a corporal live music experience. The physicality of sound is celebrated through extended instrumental techniques, a deep understanding of the musical material, and amplified traditional instruments. It will make you expect more from music than you ever did! //// zeitkratzer is perverting musical genres. Keiji Haino meets Karlheinz Stockhausen meets Laurie Anderson meets folk music meets Whitehouse meets Serbian war songs meets Terre Thaemlitz meets Iannis Xenakis meets Lou Reed meets The Shape Of Jazz To Come meets Arnold Schönberg. The joy of the intensity of sound and music: a challenge to both composers and non-academic noise-makers from the most talented performers, improvisers, sound artists and composers around. //// zeitkratzer is a soloist ensemble. Its strength comes from its members. Founded in 1999, it gathers nine musicians and lighting and sound engineers living in different European cities — from Berlin to Palermo, from Belgrade to Oslo — meeting all over the world to work together. zeitkratzer benefits from its outstanding musicians, their advanced and unique playing techniques, their rich and multifaceted musical experience and varied backgrounds: contemporary music, noise, the Berlin Philharmonic Orchestra, improvised music, experimental rock, ambient, folk music, industrial, early music… //// zeitkratzer is independent from music institutions. The ensemble finances itself through free projects and touring internationally. This freedom facilitates the idiosyncratic and groundbreaking repertoire that has made zeitkratzer internationally recognized. Faithful only to their own tastes and beliefs, they have established themselves to be one of the most intriguing ensembles to collaborate with. Musicians who have worked with zeitkratzer include: Lou Reed, Alvin Lucier, Keith Rowe (AMM), Mario Bertoncini (nuova consonanza), Jim O’Rourke, James Tenney, Merzbow, Zbigniew Karkowksi, Keiji Haino, Marcus Schmickler, Alvin Curran (musica elettronica viva), Lee Ranaldo (Sonic Youth), Laurie Anderson, Elliott Sharp... //// zeitkratzer is driven by unique concert programs. Blocks of repertoire created by the ensemble can function either separately or mixed together. From the Volksmusik of the Danube, reminiscent of waltzes and zithers, to Xenakis [A]Live! an homage to the great composer with a paraphrase of his “Persepolis”; the [electronics] series, including music by and with Keiji Haino, Terre Thaemlitz, Carsten Nicolai and William Bennett of Whitehouse; the [old school] series, dedicated to the new music of John Cage, James Tenney and Alvin Lucier; Noise with Merzbow, Keiji Haino and Zbigniew Karkowski; idiosyncratic songs for soprano and ensemble; and the famous Metal Machine Music by Lou Reed, guitar feedback transcribed for amplified traditional instruments. zeitkratzer is touring worldwide and performing at renowned festivals from Tokyo to Madrid, Rome and London to Vienna, Paris and Budapest to Berlin. //// zeitkratzer is not worried about preserving the “purity” of new music. Music, especially so-called new music, thrives on continuous contamination. The idea of “pure taste” as an independent aesthetic category was revealed by Pierre Bourdieu to be a medium of social distinction. “Thus, pure taste is based on nothing else but a rejection or rather disgust for the objects that ‘force us to enjoy’, such as disgust for such crude, vulgar taste that is also appealing in this forced enjoyment.” //// zeitkratzer is serious music full of joy!" |
0:58:39 (Pop-up) |
Music behind DJ: Zeitkratzer |
Spule 4
|
Zeitkratzer Performs Songs From The Albums "Kraftwerk" And "Kraftwerk 2" |
Karlrecords / zeitkratzer Records |
2017 |
An incredible rendering of KW. Reinhold Friedl founded zeitkratzer in 1997 in Berlin. From their website: "zeitkratzer is sound made visible, tangible, bodily—a corporal live music experience. The physicality of sound is celebrated through extended instrumental techniques, a deep understanding of the musical material, and amplified traditional instruments. It will make you expect more from music than you ever did! //// zeitkratzer is perverting musical genres. Keiji Haino meets Karlheinz Stockhausen meets Laurie Anderson meets folk music meets Whitehouse meets Serbian war songs meets Terre Thaemlitz meets Iannis Xenakis meets Lou Reed meets The Shape Of Jazz To Come meets Arnold Schönberg. The joy of the intensity of sound and music: a challenge to both composers and non-academic noise-makers from the most talented performers, improvisers, sound artists and composers around. //// zeitkratzer is a soloist ensemble. Its strength comes from its members. Founded in 1999, it gathers nine musicians and lighting and sound engineers living in different European cities — from Berlin to Palermo, from Belgrade to Oslo — meeting all over the world to work together. zeitkratzer benefits from its outstanding musicians, their advanced and unique playing techniques, their rich and multifaceted musical experience and varied backgrounds: contemporary music, noise, the Berlin Philharmonic Orchestra, improvised music, experimental rock, ambient, folk music, industrial, early music… //// zeitkratzer is independent from music institutions. The ensemble finances itself through free projects and touring internationally. This freedom facilitates the idiosyncratic and groundbreaking repertoire that has made zeitkratzer internationally recognized. Faithful only to their own tastes and beliefs, they have established themselves to be one of the most intriguing ensembles to collaborate with. Musicians who have worked with zeitkratzer include: Lou Reed, Alvin Lucier, Keith Rowe (AMM), Mario Bertoncini (nuova consonanza), Jim O’Rourke, James Tenney, Merzbow, Zbigniew Karkowksi, Keiji Haino, Marcus Schmickler, Alvin Curran (musica elettronica viva), Lee Ranaldo (Sonic Youth), Laurie Anderson, Elliott Sharp... //// zeitkratzer is driven by unique concert programs. Blocks of repertoire created by the ensemble can function either separately or mixed together. From the Volksmusik of the Danube, reminiscent of waltzes and zithers, to Xenakis [A]Live! an homage to the great composer with a paraphrase of his “Persepolis”; the [electronics] series, including music by and with Keiji Haino, Terre Thaemlitz, Carsten Nicolai and William Bennett of Whitehouse; the [old school] series, dedicated to the new music of John Cage, James Tenney and Alvin Lucier; Noise with Merzbow, Keiji Haino and Zbigniew Karkowski; idiosyncratic songs for soprano and ensemble; and the famous Metal Machine Music by Lou Reed, guitar feedback transcribed for amplified traditional instruments. zeitkratzer is touring worldwide and performing at renowned festivals from Tokyo to Madrid, Rome and London to Vienna, Paris and Budapest to Berlin. //// zeitkratzer is not worried about preserving the “purity” of new music. Music, especially so-called new music, thrives on continuous contamination. The idea of “pure taste” as an independent aesthetic category was revealed by Pierre Bourdieu to be a medium of social distinction. “Thus, pure taste is based on nothing else but a rejection or rather disgust for the objects that ‘force us to enjoy’, such as disgust for such crude, vulgar taste that is also appealing in this forced enjoyment.” //// zeitkratzer is serious music full of joy!" |
1:06:32 (Pop-up) |
| Drexciya |
Aquabahn
|
Journey of the Deep Sea Dweller III | Clone Records | 2013 | The majority of Drexciya's releases were in the style of dance-floor oriented electro, punctuated with elements of retro and 1980s Detroit techno, with occasional excursions into the ambient and industrial genres. Drexciya, which eschewed media attention and its attendant focus on personality, developed around a nautical afrofuturist myth. The group revealed in the sleeve notes to their 1997 album The Quest that "Drexciya" was an underwater country populated by the unborn children of pregnant African women who were thrown off of slave ships; the babies had adapted to breathe underwater in their mothers' wombs. | 1:08:13 (Pop-up) |
| Beck |
Get Real Paid
|
Midnite Vultures | Geffen Records | 1999 | I loved this record when it came out. It's pure sleazy superfun Beck. The use of the sample from Kraftwerk's "Home Computer" keeps this banger bubbling along in perfect machine synthesis. Beck explained to Request that for this song, "I was trying to make it sound like the Teletubbies>, if they went electro." He added that lyrically it's a goof on the Puff Daddies of the world. Or as Beck put it: "The pervasive R&B entrepreneurial superstar star-maker man-male '90s machine." | 1:10:23 (Pop-up) |
| Ladytron |
He Took Her To a Movie
|
604 | Emperor Norton | 2000 | This chilly little slice of Electrolash/Synthpop borrows heavily from "The Model" "He Took Her to a Movie" was released as the album's lead single. The song was recorded for £50, and features guest vocals from Lisa Eriksson of San Francisco-based electronic duo Techno Squirrels. Upon its release, it was named the "Single of the Week" by NME magazine. | 1:14:46 (Pop-up) |
| Big Audio Dynamite II |
Kool Aid
|
The Globe | Sony Music | 1991 | The Globe is the sixth album by alternative dance group Big Audio Dynamite II, their second album credited under that name instead of Big Audio Dynamite. It was released on 16 July 1991 in the United States, and in August elsewhere else, just after their limited UK-only album Kool-Aid and includes reworked versions of some of its songs. Don Letts on BAD: "When we came out, there was no alternative chart, and they used to file us in all the racks — funk and rap and reggae and rock’ n’ roll. I think they almost created an alternative chart just for Big Audio Dynamite. You’ve got to understand what this shit sounded like in the early ’80s. Especially in America. It was bizarre to them, which is funny now when you look at what’s going on musically in the world today." Sample: Numbers by Kraftwerk... | 1:17:57 (Pop-up) |
| Papa Dee |
The Model
|
The Man Who Couldn't Say No | Network Entertainment Group | 2001 | David Christopher Daniel Wahlgren, better known by the stage name Papa Dee, is a Swedish rapper. Due to his prolific yet flexible imprint Papa Dee has enjoyed a successful career as one of Sweden's most sought after voice artists dubbing cartoons and movies alike. Most of his records are dancehall/ragga/reggae themed...I suspect that this is probably his best song... | 1:21:56 (Pop-up) |
Music behind DJ: Balanescu Quartet |
Autobahn
|
Possessed |
Universal Music |
1992 |
The Balanescu Quartet is a contemporary music ensemble formed in 1987. Its guiding force has been the Romanian virtuoso violinist and composer Alexander Balanescu, who has led the quartet across musical frontiers into new uncharted territory. This search to push the limits of the string quartet, has revealed an ensemble nearer to a band rather than a classical group, and reflects Balanescu's passionate belief in the intercommunication and fluidity between different musical fields. They have collaborated with many, many artists from Kate Bush to Spiritualized to David Byrne and are alonside Kronos Quartet, the best in 4 piece string ensembles going. |
1:25:39 (Pop-up) |
| la! NÊU? |
Hero '96 (J'Accuse)
|
Düsseldorf | Captain Trip Records | 1996 | Dinger left Kraftwerk to form Neu! with Michael Rother, later falling in & out with him over the years. He would form La Düsseldorf thereafter, releasing songs "La Düsseldorf" and "Düsseldorf" on the debut of that band. Later he would form La! Neu? (stylized as la! NÊU?) and release a debut album entitled Düsseldorf, which would feature a song that heavily referenced the 1975 Neu song "Hero", titled & reimagined as "Hero '96 (J'Accuse)". Questions? I thought not. ---- "Recorded in the year following the band's formation in summer 1995. The album features several members of the Düsseldorf band Kreidler, and was recorded primarily in the city after which it is named. It was released during a period of intense musical activity for Klaus Dinger, who had just signed to the Japanese record label Captain Trip Records, which he used to market two previously unreleased Neu! albums. It is La! Neu?'s debut album, although of the musicians featured on it only Dinger and Victoria "Wicki" Wehrmeister would form a consistent part of the future La! Neu?" --- "On 9 May 1995 (on his mother's 72nd birthday), Dinger recorded the majority of the track "Hero '96" in his home studio, using drum machines and his 16-track tape recorder. He improvised lyrics using a piece of pop art (entitled "New Dead-Line (12345 Mandela)" and reproduced in the CD booklet) which he was working on at the time. The song title and lyrics refer to the Neu! track "Hero" which he had written twenty years earlier. When he played the track to Reihse at their next meeting, Reihse suggested that a backing vocal track be recorded, using his acquaintance Victoria Wehrmeister. Wehrmester was at that time vocalist and saxophonist for "Superbilk", another Düsseldorf band which had released a joint single with Kreidler ("Kookaï / Bildidee" ) earlier that year. //// Dinger immediately arranged to meet Wehrmeister at a nearby ice-cream parlour. The pair then rode to Dinger's studio on their bicycles and Wehrmeister recorded improvised backing vocals in her trademark ululating style. A few days later Dinger allowed Reihse to record a final improvised synthesizer track for "Hero '96", before announcing the song complete." | 1:34:36 (Pop-up) |
| Siouxsie & The Banshees |
Hall of Mirrors
|
Through The Looking Glass | Polydor | 1987 | he record was also an ode to David Bowie's Pin Ups, a covers album recorded in the early 1970s. After spending more than a year working on 1986's Tinderbox, the Banshees wanted spontaneity, and quickly returned to the studio after the tour, to record their own covers album. Ralf Hütter of Kraftwerk lauded the version of "Hall of Mirrors" and stated: "In general, we consider cover versions as an appreciation of our work. The version of 'Hall of Mirrors' by Siouxsie and the Banshees is extraordinary". | 1:56:58 (Pop-up) |
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Scott_Oz:
🌏☀️🍻😎🤙💨🍺🍺🌻
Robm:
ultradamno:
Robm:
Scott_Oz:
Robm:
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Robm:
Mr Fab:
ultradamno:
Messer Chups do a fine Das Model
DJ Babs:
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laurapanic:
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Howdy laurapanic
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Alli B:
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Derek Westerholm:
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anastomosis:
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Derek Westerholm:
Scott_Oz:
Tyler:
Derek Westerholm:
Tyler:
Derek Westerholm:
Derek Westerholm:
ultradamno:
Tyler:
Derek Westerholm:
Tyler:
Derek Westerholm:
ultradamno:
Tyler:
ultradamno:
DJ Babs:
Tyler:
Erik-O-Vert:
Tyler:
Erik-O-Vert:
DJ Nico:
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ultradamno:
Tyler:
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Kristine:
Mr Fab:
Heads will roll!
Kristine:
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DJ Babs:
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Tyler:
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Derek Westerholm:
Tyler:
Mr Fab:
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Tyler:
laurapanic:
Kristine:
Kristine:
Tyler:
DJ Babs:
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Kristine:
Kristine:
Derek Westerholm:
Tyler:
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Scott_Oz:
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ultradamno:
Derek Westerholm:
Scott_Oz:
Bob Barth:
Kristine:
Scott_Oz:
Tyler:
Mr Fab:
So if that’s a “remix” then Napoleon XIV invented it with title "!aaaH-aH ,yawA eM ekaT oT gnimoC er'yehT" Rewrite the history books!
Will thee Sound Guy:
Tyler:
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Tyler:
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Alli B:
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Alli B:
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laurapanic:
Derek Westerholm:
Tyler:
Derek Westerholm:
Tyler:
Derek Westerholm:
Tyler:
laurapanic:
Bob Barth:
DJ Babs:
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anastomosis:
Tyler:
Alli B:
Alli B:
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ultradamno:
anastomosis:
DJ Babs:
Alli B:
Tyler:
DJ Babs:
DJ Babs:
ultradamno:
Tyler:
anastomosis:
Also yes be afraid for the roads. Buckle in.
Alli B:
DJ Babs:
Will thee Sound Guy:
DJ Babs:
Tyler:
anastomosis:
Mr Fab:
DJ Babs:
Tyler:
DJ Nico:
anastomosis:
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anastomosis:
ultradamno:
Tyler:
ultradamno:
compressorhead.bandcamp.com...
ultradamno:
Erik-O-Vert:
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Tyler:
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northguineahills:
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northguineahills:
ultradamno:
Kristine:
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Tyler:
(I'll see myself out :) )
Kristine:
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northguineahills:
Derek Westerholm:
Mr Fab:
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northguineahills:
Derek!
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Derek Westerholm:
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ultradamno:
Erik-0-Vert (VT):
Derek Westerholm:
Derek Westerholm:
Derek Westerholm:
Alli B:
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Derek Westerholm:
Kristine:
Erik-0-Vert (VT):
Derek Westerholm:
Erik-0-Vert (VT):
northguineahills:
Derek Westerholm:
Derek Westerholm:
Tyler:
Tyler:
northguineahills:
Scott_Oz:
🌏☀️🍻😎🤙💨🍺🍺🌻
Tyler:
Kristine:
Bob Barth:
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Will thee Sound Guy:
Tyler:
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Bob Barth:
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Derek Westerholm:
Bob Barth:
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Erik-0-Vert (VT):