Inspired by digital and analog, jazz and hip hop, composition and improvisation BOBBY RAUSCH is the sound of young Berlin. Their concerts lead audiences through deep bass valleys, through pulsing groovescapes and the urban night. Drawing influences from electronic beats and rockvinyls alike, BOBBY RAUSCH plays the soundtrack for those tired of compromise. Handmade in Berlin!

Michael Rother (half of the influential Krautrock group Neu! and a founding member of Kraftwerk) recorded this, his third solo album with producer Conny Plank in 1979. Rother's signature multi-tracked guitar sound, synthesizer washes and the mechanical percussion (courtesy of Jaki Liebezeit from Can) make Katzenmusik a pioneering effort in the field of instrumental electronica. Essentially a suite in two parts, many consider this record to be Rother's opus. Remastered with new detailed liner notes. Water. 2007.

Krautrock經典3。

有些音乐会让一切变得熟悉，因为它只是将你已经知道的东西加以变化。这样你就会感觉良好，因为你不会受到任何陌生事物和新想法的挑战。你听不到任何新奇和陌生的东西，有时你会觉得很舒服，甚至完全满足。
但也有一些音乐会将一切都打破。Malstrom就属于这第二类音乐——它能打破一切束缚。
近十年来，这个三重奏乐队以一种欢快的解构态度对待各种音乐传统，主要是实验爵士乐。疯狂的热情和能量，以及从扬声器向观众发出的令人毛骨悚然的密集信号，释放了爵士乐（甚至是实验爵士乐）中的一切枯竭。现在，Malstrom已经创作了四张前卫音乐专辑，这些专辑具有毫不妥协的直接冲击力——没有理论上的上层建筑或元层次——其结果是极具娱乐性。无论是在作曲还是在即兴段落中，他们都以巨大的、俏皮的精确性开创了新的爵士乐可能性。
新专辑《Klaus-Dieter》收录了十首乐曲。这些乐曲不断改变方向，部分乐曲被分离和分解，然后又突然组合在一起，向前冲去。即兴与创作交织在一起。要描述这种多样的混合风格为跨流派会很容易——爵士、复杂金属、摇滚、后摇滚。事实上，主持人喜欢在Malstrom的音乐会海报上加上"爵士金属"或"前卫"之类的字眼。这并没有错，因为乐队在《Klaus-Dieter》中虽然是一个不寻常的三重奏组合（鼓、吉他和萨克斯），但继续在一种实验爵士的形式上努力，这种爵士乐具有强大的驱动力，并能将复杂的前卫摇滚乐从所有的沉重感中解放出来。此外，这种电力还包含了令人惊讶的优雅段落。例如，《Somnambulism》在两分半钟的迂回曲折之后，突然爆发出一段美妙、令人兴奋的萨克斯旋律。这是这张专辑中许多出人意料的美妙时刻之一。
因此，"流派混合"这一诊断具有误导性，因为在流派交叉的情况下，各个部分之间仍然是分离的。而Malstrom则创造了一条音乐之河，它席卷了河岸上的一切，然后又融入其中。从这个意义上说，音乐是一种欢乐的混合，类似于纽约市中心的爵士乐形式。至少，萨克斯风手Florian Walter有点像John Zorn，吉他手Axel Zajac与Marc Ribot不相上下，鼓手Jo Beyer则与Jim Black相差无几。这一切都产生了一些新的东西。
最后但同样重要的一点是玩乐性。不管是谁创作了《Pumpen Mit Klumpen》（带肿块的水泵）或《Klaus-Dieter Geht Baden》（Klaus-Dieter去游泳）这样的标题，都不乏潜在的荒诞性（蓝精灵（smurf）们在漩涡（malstrom）中冲浪靠的是什么？正是蓝精灵冲浪板（Smurfbrett）），因此很显然，神圣严肃的音乐在这里必须休息一下。Malstrom对音乐的态度基本上是非常脱离现实的。这并不是说爵士乐中缺乏严肃性。Malstrom的音乐传统可以被归类为一张美丽的老脸，被迅速地膜拜、抚摸和拳击。
关于《Klaus-Dieter》，在《Klaus-Dieter Ist Verwirrt》（Klaus-Dieter感到困惑）这首曲子中，我们可以把专辑的主人公想象成思想相当保守的爵士乐听众。当这种音乐真正触动他的心灵时，他就会在最好的意义上真正感到不安。
反过来，《Klaus-Dieter Geht Baden》则暗示人们已经鼓起勇气，跳入漩涡。我们可以把Klaus-Dieter想象成一个快乐的人。
Composed By – Axel Zajac (tracks: 1, 10), Florian Walter (2) (tracks: 4, 7), Jo Beyer (tracks: 2, 5), Malstrom (tracks: 3, 6, 8, 9)
Design, Artwork – Artur Bodenstein
Drums – Jo Beyer
Guitar – Axel Zajac
Producer – Malstrom
Recorded By, Mixed By, Mastered By – Steffen Lütke
Saxophone – Florian Walter

nspired by decades of travelling the world as bandmates and friends, Paulo Morello, Mulo Francel and Sven Faller present Living Is Easy, Mostly (March 18th), an album of original songs drenched in the sounds of everywhere from South America to 20th Century Europe.
And whilst the three musicians display a level of skill and technique developed over many years on their respective instruments, it’s the feeling of comfort and the lust for life which emanates from their interplay and lives on long after the music stops.
Each a composer in their own right, the collaboration brings together their combined experiences as travelling musicians; modern, south-american influenced harmony, foxtrot grooves from the early 20th Century, German gypsy-jazz, and old school American blues are integrated effortlessly into the trio’s repertoire.
The years of accompanying one another in travel and in music are more apparent with every beat. Guitarist Paulo Morello (“as if George Benson had moved to Rio de Janeiro!”) and Echo award-winning saxophonist Mulu Francel have long toured together with German super-group Quadro Nuevo, whilst bassist Sven Faller Morello joined forces alongside Belgian great Philip Catherine.
The joy their ‘work’ brings them is emphasised by the music’s playful and sometimes humorous nature; perhaps best exhibited by the piece “One More Gin For Elizabeth”, which talks of the goal to buy Queen Elizabeth a drink at the bar!
With a combined touring history which takes in most of the world and includes credits from Larry Coryell and Pat Martino to Airto Moriera and Billy Cobham, it’s perhaps this comment from the three musicians which best sums up the recording:
“Whenever we get together we have a blast!”

It's rock. It's mixed emotions. It's four dudes from the middle of nowhere doin' their thing. Rock music with charming character. Retro, psychedelic, groovy, organic. Simple as it can be. Guitar, bass, drums in love with a "soundboard". Transporting their emotions, voiceless but with lots of messages. Take your time and get your trip...chill and rock is one family!
My Sleeping Karma are confirmed for the legendary Roadburn Festival in 2008!

Recorded and mixed by Richard Behrens at Big Snuff Studio Berlin, June-July 2020. Mastered by Role at Tonmeisterei Oldenburg.
credits
released November 5, 2020
Christian Peters (vocals, guitars, keyboards), Thomas Vedder (drums & percussion), Hans Eiselt (bass & backing vocals)
All lyrics by Peters. Music by Peters, Vedder and Eiselt.
Artwork by Jessica Rassi.

This 1991 companion to German director Wim Wenders's film sets a high water mark for the intelligent use of cutting-edge popular (and we're using that term in its broadest sense) music on film, deservedly cracking onto critical lists for the best releases of that year, period. The contemplative thriller's setting at the end of the millenium is answered by a remarkable repertory of artists including Talking Heads, Neneh Cherry, Lou Reed, Elvis Costello, R.E.M., Nick Cave and The Bad Seeds, Patti Smith, Jane Siberry with k.d. lang, T-Bone Burnett, Daniel Lanois and U2, a de facto dream team. Nearly all these performances were unheard at the time of release, and beyond the evident marquee lustre there's an underlying cohesion to the sense of yearning that prevails. Both Cave and U2 build powerful songs around the title theme, Elvis offers a brilliant Ray Davies cover, and the Siberry/lang classic, "Calling All Angels," summarizes the spiritual underpinnings of this thoroughly modern, ultimately timeless classic in film music. --Sam Sutherland

Haggard于1991年成立于慕尼黑。吉它手Asis是乐队的核心，1994年发表了一张MCD，并
在Amorphis的巡回演唱会作暖场表演。在这期间，Asis一直在探讨如何加入更多的古典
元素，其结果就是他不断找来越来越多的提琴手、钢琴手、女高音以及其它古典乐器演
奏者丰富Haggard的音乐风格。到了1997年发表首张概念专辑"and thou shalt trust…
the seer"的时候，乐队已经拥有了16名正式成员，真是不厌其烦啊。这张专辑以法国著
名的预言家Michael Nostradamus（诺查丹玛斯）的生平与著作为主要内容，在音乐风格
上也显得古风盎然，钢琴、提琴等古典乐器与吉它、鼓等金属乐器错落有致，其间并无
主次之分，同时大量运用了唱诗班、圣咏、歌剧女高音等人声因素，与男声低音、念白
以及黑死唱腔结合起来，构成了非常独特的魅力，引人入胜，使人时而仿佛置身于中古
世纪的繁华市集，时而又在冷峻阴森的教堂中漫步，充满了深邃神秘的氛围感。
2000年发表的"Awaking the Centuries"是上一张专辑的延伸，此时的时间是在1546年左
右，Nostradamus的第一任妻子与孩子都去世了，这也正是Nostradamus开始撰写《诸世
纪》的时候，专辑的名字即来自于此。在本张专辑中，Haggard把它善于整合不同风格的
音乐元素的特长发挥到极致，团员已达到20人，同时还邀请了3位guest乐手、5位口白及
9人的歌剧唱诗班，真可谓宏大之极。
专辑是以改编的Rachmaninov唱诗开始，于是时光倒流，我们仿佛置身于中世纪法国那泥
泞的城镇中，紧跟着的"Pestilencia"（瘟疫）则充满了歌剧的张力，尤其是女声的嘶叫
"c\'est la peste"（这是瘟疫！）更是让人透不过气来。第三首"Heavenly Damnation"
是前卫金属网站长评为的超级爱歌，我们来听听他的评价："以强劲的弦乐、大键琴对弹
开场，紧接带出男女唱诗班大合唱，soprano的一阵拉高后，death腔也随后喷出，精彩
的弦乐、oboe、单簧管对奏，伴随强力双大鼓接续登场，death腔、声乐腔大合唱，弦乐
、长笛、oboe、大键琴、双大鼓，真的是有够美啊！"
我最喜欢的则是第6首"awaking the centuries"，开场是以小提琴与双簧管等乐器的协
奏为引子，接着转向欢快的旋律，在这美妙的奏鸣中，吉它与双大鼓悄然现身，带来一
阵震撼性的气息，似乎在预示Nostradamus眼中所看到数百年后的战火。在忧愁的女声吟
唱"Awaking the centuries"过后，一段凄美的旋律引出了Asis的黑暗唱腔，在两位女高
音的伴唱之下，旋律转向激昂，似乎在倾吐Nostradamus内心的不安--恐怖的景象不断叠
现，而那参破生死的平静则更显得无奈。
本首歌曲直接引用了大段Nostradamus《诸世纪》的原文，诸如：
"When I open my eyes
I see soldiers in the fields
Dead bodies on the ground
There are children inbetween
Explosions shock the land
And the evil shows its face
The one called Hister rises
This is the fall of grace..."
令人听后，如有阵阵寒意袭背。
总的来说，本专辑唱念俱佳，不仅充满了浓厚的古欧洲气息，氛围感十足，同时旋律优
美，编配合理，除了时间太短以外（38分钟），几乎挑不出什么毛病，无疑是张"五星级
"的专辑。

Credits
Artwork, Design – Nik Birkemeyer
Bass – Jan Hoffmann
Drums, Percussion, Beats, Synth, Photography – Janosch Rathmer
Guitar – Florian Füntmann
Guitar, Synth – David Jordan (4)
Keyboards – Johannes Brunn (tracks: A3, B2)
Lacquer Cut By – Λ_*
Mixed By, Mastered By – Johannes Brunn
Recorded By – Florian Steppke
Notes
Written and recorded in November 2020 at Gästehaus Alte Liebe / Borgholzhausen.
All songs written and performed by Long Distance Calling except tracks "A1 and A2" written and performed by Long Distance Calling & Florian Steppke.
Clear edition, limited to 200 copies.