Jazz
CDアルバム

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フォーマット CDアルバム
発売日 2013年10月24日
国内/輸入 輸入(ドイツ盤)
レーベルBureau B
構成数 1
パッケージ仕様 -
規格品番 BB150CD
SKU 4047179806121

構成数 : 1枚
合計収録時間 : 01:02:22
Liner Note Author: Asmus Tietchens. Photographers: Jurgen Muller-Schneck; Thomas Buhler. Translator: Gareth Davies . Someone will have to explain why this album spent 25 years inside the vault. Recorded between 1974 and 1978, during the golden (well, at least commercially speaking) age of German electronic music, Gold features Conrad Schnitzler at the top of his form, balancing his interest in pure electronic sound research with instrumental pop sensibilities. The album picks up where his tenure in the group Cluster had ended, meaning that it is warmer than Kraftwerk's music from that period and wittier than the Tangerine Dream axis. The album, over one hour long, is roughly split between two half-hour suites of segued untitled pieces. Most tracks are built around harmonic and rhythmic parameters. Some are topped by quasi-naive melodies, others feature percussive elements (like a timpani in track three and crude electronic beats in tracks six and 14). The first half ends after track seven. The second one begins in song format -- track nine gets as close to rock as you can using only analog synthesizers -- but quickly veers into spacy textures and abstract amalgams of synth sweeps and cymbal washes, hinting at Asmus Tietchens' first albums (he was recording his debut LP Nachtstucke by 1978). Track 13 adopts a sinister mood with industrial overtones. Fans of '70s German electronica will be delighted by this late addition to the genre's corpus, an addition that piledrives a few so-called classics to the floor. ~ Francois Couture
エディション : Reissue

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作品の情報

メイン
アーティスト: Conrad Schnitzler

その他
プロデューサー: Thomas Worthmann (Reissue)Gunther Buskies

オリジナル発売日:2003年

商品の紹介

Someone will have to explain why this album spent 25 years inside the vault. Recorded between 1974 and 1978, during the golden (well, at least commercially speaking) age of German electronic music, Gold features Conrad Schnitzler at the top of his form, balancing his interest in pure electronic sound research with instrumental pop sensibilities. The album picks up where his tenure in the group Cluster had ended, meaning that it is warmer than Kraftwerk's music from that period and wittier than the Tangerine Dream axis. The album, over one hour long, is roughly split between two half-hour suites of segued untitled pieces. Most tracks are built around harmonic and rhythmic parameters. Some are topped by quasi-naive melodies, others feature percussive elements (like a timpani in track three and crude electronic beats in tracks six and 14). The first half ends after track seven. The second one begins in song format -- track nine gets as close to rock as you can using only analog synthesizers -- but quickly veers into spacy textures and abstract amalgams of synth sweeps and cymbal washes, hinting at Asmus Tietchens' first albums (he was recording his debut LP Nachtstucke by 1978). Track 13 adopts a sinister mood with industrial overtones. Fans of '70s German electronica will be delighted by this late addition to the genre's corpus, an addition that piledrives a few so-called classics to the floor. ~ Francois Couture|
Rovi

Someone will have to explain why this album spent 25 years inside the vault. Recorded between 1974 and 1978, during the golden (well, at least commercially speaking) age of German electronic music, Gold features Conrad Schnitzler at the top of his form, balancing his interest in pure electronic sound research with instrumental pop sensibilities. The album picks up where his tenure in the group Cluster had ended, meaning that it is warmer than Kraftwerk's music from that period and wittier than the Tangerine Dream axis. The album, over one hour long, is roughly split between two half-hour suites of segued untitled pieces. Most tracks are built around harmonic and rhythmic parameters. Some are topped by quasi-naive melodies, others feature percussive elements (like a timpani in track three and crude electronic beats in tracks six and 14). The first half ends after track seven. The second one begins in song format -- track nine gets as close to rock as you can using only analog synthesizers -- but quickly veers into spacy textures and abstract amalgams of synth sweeps and cymbal washes, hinting at Asmus Tietchens' first albums (he was recording his debut LP Nachtstucke by 1978). Track 13 adopts a sinister mood with industrial overtones. Fans of '70s German electronica will be delighted by this late addition to the genre's corpus, an addition that piledrives a few so-called classics to the floor. ~ Francois Couture
Rovi

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