fusetron

recent arrivals/ news/ everything/ list of labels/ list of artists/ specials/ second-hand/ contact


by artist / 0-9    A    B    C    D    E    F    G    H    I    J    K    L    M    N    O    P    Q    R    S    T    U    V    W    X    Y    Z    V/A \   by label

Artist: ROEDELIUS
Title: Flieg Vogel fliege
Format: LP
Label: Bureau B
Country: Germany
Price: $22.00
180 gram vinyl pressing. “Bureau B presents Flieg Vogel fliege by Hans-Joachim Roedelius, released by Sky Records in 1982. Flieg Vogel fliege (trans. "Fly Bird Fly") is the fifth installment of the "Selfportrait" series, with musical sketches and ideas recorded by Roedelius between the years of 1973 and 1979 on a Revox tape machine in his living room. In contrast to the previous self-portraits, which he left untouched, Roedelius revised these recordings and embellished them with further tracks. "Measured against its predecessors, however, the audio quality is notably superior on this edition. Roedelius clearly improved the sound of the old tapes in the process of compiling the pieces at the Erpel Studio in Vienna, also taking the opportunity to add a few tracks. Strictly speaking, these relatively complex multi-track recordings can no longer be bracketed together with the fleeting sketches as heard on the earlier albums. Now and again, they bear a resemblance to the character of the Cluster LP Sowiesoso. Having arrived in Austria following a protracted lean period, Roedelius finally had the chance to work in a studio which was not only well-equipped, but was also run by a kindred spirit sound engineer. The favorable working conditions, a myriad of new impressions and, by no means least, his personal happiness, saw Roedelius and his music flourish. This is discernable on Flieg Vogel fliege, even if only some of the music was created in his new adopted home. If complete insouciance, the acceptance of little musical mistakes and inaccuracies were symptomatic of the earlier self-portraits, then a mild formal rigor runs through this volume. Not that Roedelius allows this to hinder him in any way. The joy of playing and talent for improvisation celebrate a cheerful resurrection once again. His spontaneity and exuberance, the ability to express thoughts and feelings through music, none of this was lost. This confirms Flieg Vogel fliege as an authentic and undisguised Roedelius portrait. With a little patina, perhaps. But music by the same man today reveals exactly the same individual, perhaps a little wiser, and of course, some years older. And there you have it: Roedelius is and shall remain the merry fool from the jardin au fou." --Asmus Tietchens

Artist: ROEDELIUS
Title: Lustwandel
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version. The third studio album by Hans-Joachim Roedelius, originally released by Sky Records in 1981, fulfilled a dream he had long cherished. A series of chamber music pieces, with grand piano solos taking center stage in some places, archaised percussion patterns in others. Lustwandel represents a logical progression, following on from Jardin Au Fou (re-released on Bureau B in 2009). Both albums were recorded at Paragon Studios in 1979 and produced by Peter Baumann (Tangerine Dream). Electronica in the sense of synthetic sound sources or rhythm are absent from Lustwandel, in keeping with so many Roedelius solo works. This led to lively action amongst Cluster fans 30 years ago, as they divided into different camps. Roedelius unique musical style and irrepressible enthusiasm take his listeners down more of a sidetrack to the aural landscape of European harmonic and rhythmic tradition. There are obvious parallels to so-called serious chamber music, if not all the way along the route. His music has never been bound by contemporary aesthetic debate nor susceptible to emerging theory. As an autodidact, his techniques of composition and piano-playing are so well developed, that Roedelius has never wanted, nor needed to bother himself with any of that. It is a carefree Roedelius who saunters through both the 19th and late-20th centuries. Boundaries dissolve in his music. Here the glow of a magic lantern, there the glare of a neon light. Herein lay the originality of Lustwandel: he availed himself of traditional forms yet expressed them in contemporaneous fashion. Roedelius and Lustwandel could easily have been assimilated into the postmodern era which arrived in the 1970s. But, as usual, he was many miles away from the hub of cultural activity, without the slightest inclination to pay any attention to new phenomena. This child of the sun walks some very different paths indeed. Printed inner sleeve with photos and an essay by Asmus Tietchens." -Bureau B

Artist: ROEDELIUS
Title: Offene Turen
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
180 gram vinyl. "Offene Türen is a purely electronic album. Without losing himself in their infinite tonal possibilities, Roedelius delights in playing a selection of synthesizers. He even deploys an analog rhythm machine now and then to discreet effect. Roedelius takes great care to steer well clear of any cosmic fog or de-personalized abstractions. Nothing of the sort can be heard, as he focuses intensely and exclusively on the relationships of rhythm, harmony, and melody. Roedelius conjures up their delicate timbres on synthesizer with the greatest of ease. The seasoned electronic musician would have found similar results beyond the reach of his good old Farfisa organ. Offene Türen is an album of electronic chamber music and only someone with as sunny a disposition as Roedelius could be its composer and performer. Indeed, the unfettered Roedelius knew no artistic barriers in the early 1980s, following a turbulent period of personal upheaval amidst the musical revolution going on around him. He began to open up a brand new musical world, venturing forth with typical humility, as quietly and steadfastly as ever. Offene Türen marks a kind of threshold which Roedelius crosses in the moment of its inception: one foot in the glorious 1970s, the other already reaching into the uncharted future of the 1980s. Roedelius did not surrender his musical identity in the process, nor did he modify his inimitable artistic handwriting. Both had attained a level of complexity that perhaps he himself would have found surprising in earlier days. Those who have listened carefully to Roedelius both before and after Offene Türen will appreciate the albums significance. But even leaving such historical reminiscences aside, this music is incredibly vibrant and beautiful. Listening to it now is as great a pleasure as it was at the time of its creation. Clearly, Roedelius has always been an absolute master of timelessness." -Asmus Tietchens.

Artist: ROEDELIUS
Title: Plays Piano (Live In London 1985)
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
LP version. Breathtakingly beautiful piano fantasies from the year 1985 -- released for the very first time! In 1985, Hans-Joachim Roedelius was still perceived by the music community as an electronic artist. Yet ever since acquiring his Bösendorfer grand piano in 1983, his interest had grown in the most royal of instruments: the piano. While staying with Brian Eno in 1985 (they had collaborated earlier in the 70s), Roedelius composed a wealth of new material on his friends two grand pianos (or, as Roedelius would say: the music flew to him). He organized a series of concerts to introduce his new musical direction, with the Bloomsbury Theatre in London amongst the venues. Guests included Brian Eno and The Edge, with Roedelius taking the belated opportunity to use the artwork to thank them accordingly for their support. For Roedelius, this London concert remains one of the highlights of his career: "At the Bloomsbury Theatre I encountered a Steinway grand piano of exceptional quality. I was thus given the perfect opportunity to put my ideas of simple piano rendition into practice. For me, the aural explorer, it was a gift from heaven," he describes of the instrument. The audience responded enthusiastically. "People were kneeling down before me in gratitude and happiness," Roedelius recalls. And anyone who listens to the recordings will understand why. Roedelius plays his way through 21 delicate, drifting piano fantasies, sometimes meandering dreamfully, often progressing towards gorgeous, deeply moving melodies. Asmus Tietchens musings on Roedelius 1991 opus Piano Piano are just as valid here: "His music is quiet and focused, but to call it contemplative or even meditative would also be wide of the mark: not all music which draws us out of ourselves is accompanied by spiritual pomp." (Fortunately, there is no audible trace of the audience at any point of the recording.) Which leaves us with the question: why did we have to wait 25 years for this treasure to see the light of day? Roedelius explains: "I always knew that this concert would have to be made available some day, I was just waiting for the right moment, for the right partners who would do it justice. On 180 gram vinyl with free download code." - Bureau B.

Artist: ROEDELIUS
Title: Selbstportrait
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"LP version on 180 gram vinyl. This is the third solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1979 on Sky Records. Alongside his ongoing work with Cluster and Harmonia, Roedelius amassed an almost incalculable number of musical notations during his time in the idyllic Weser Uplands. Fleeting sketches, spontaneous improvisations, implied miniatures, rough compositions -- Roedelius recorded virtually every idea he came up with outside the studio sessions on his Revox A77 reel to reel; with the basic intention of capturing his moments of inspiration, he simply let the tape run as he played around on the Farfisa organ. Sound quality was not his prime concern, as he was not as yet entertaining any notion of releasing the results. As Roedelius recalls, costly tape spools were at a premium, so he recorded over older tapes in mono, at a less than ideal speed. Substandard, technically speaking (or listening), but as a self portrait, nothing short of a masterpiece. It would be inappropriate to measure this album by the hi-fidelity yardstick; see it as something closer to an intimate confession, an unguarded communiqué from one person to another. Bordering on naivety and free of conceit, Roedelius introduces us to his world through these chiffonesque études. There may be little variation in the Farfisa sound, but this is soon forgotten when Roedelius invites us to listen, to enter the experience. No expensive technology, no producer, no collaborators. This is unfiltered personality, the real Roedelius. Musically, Selbstportrait is characterized by a combination of ländler, minimalism and harmonic simplicity. The Weser Uplands, where Roedelius recorded his music, are certainly no Arcadia and the village of Forst is anything but Atlantis, but perhaps it could become the Graceland of German electronic music. Printed innersleeve with original liner notes and new notes by Asmus Tietchens." -Bureau B

Artist: ROEDELIUS
Title: Selbstportrait
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"German keyboardist Hans-Joachim Roedelius, originally released in 1979 on Sky Records. Alongside his ongoing work with Cluster and Harmonia, Roedelius amassed an almost incalculable number of musical notations during his time in the idyllic Weser Uplands. Fleeting sketches, spontaneous improvisations, implied miniatures, rough compositions -- Roedelius recorded virtually every idea he came up with outside the studio sessions on his Revox A77 reel to reel; with the basic intention of capturing his moments of inspiration, he simply let the tape run as he played around on the Farfisa organ. Sound quality was not his prime concern, as he was not as yet entertaining any notion of releasing the results. As Roedelius recalls, costly tape spools were at a premium, so he recorded over older tapes in mono, at a less than ideal speed. Substandard, technically speaking (or listening), but as a self portrait, nothing short of a masterpiece. It would be inappropriate to measure this album by the hi-fidelity yardstick; see it as something closer to an intimate confession, an unguarded communiqué from one person to another. Bordering on naivety and free of conceit, Roedelius introduces us to his world through these chiffonesque études. There may be little variation in the Farfisa sound, but this is soon forgotten when Roedelius invites us to listen, to enter the experience. No expensive technology, no producer, no collaborators. This is unfiltered personality, the real Roedelius. Musically, Selbstportrait is characterized by a combination of ländler, minimalism and harmonic simplicity. The Weser Uplands, where Roedelius recorded his music, are certainly no Arcadia and the village of Forst is anything but Atlantis, but perhaps it could become the Graceland of German electronic music. Liner notes by Asmus Tietchens." -Bureau B.

Artist: ROEDELIUS
Title: Selbstportrait - Vol. II
Format: LP
Label: Bureau B
Country: Germany
Price: $18.00
"180 gram LP version. This is the fourth solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1980 on Sky Records. With Selbstportrait, Roedelius gave unequivocal confirmation that he no longer was treading the hitherto common paths of electronic music. Selbstportrait - Vol. II corroborated the findings: for Roedelius, electronics would no longer be a means of creating abstract, noise-like music in the future, nor of generating utopian, mechanical rhythmic structures. His own utopia was quite a different place, more in keeping with his own personality and view of the world. Hence both self-portraits, in particular Selbstportrait - Vol. II, are programmatic. Uniquely among musicians of the German electronic scene at the time, Roedelius succeeded in blending European and extra-European musical styles quite intuitively, developing his own language of music, neither epigonic nor weighed down by stereotype, as often occurred in the emerging world music genre of the period. There is a fascinating simplicity to the music of Roedelius: his vision does not reside in cloud-cuckoo-land. His utopia is founded in reason, his vision sustained by a simple base: not only did he ignore musical traditions, he also sought to create something new out of them. He succeeded where many of his contemporaries failed, going to ground as they attempted to bridge the postmodern gap. Not Roedelius. Roedelius music is littered with stumbling blocks. The listener may not necessarily lose his footing, but will not exactly find himself sitting comfortably as he listens. With this album, Roedelius has drawn a clearly delineated picture of himself. Few musicians can say the same, few even harbor such aspirations. Transcending styles, hypes and modernisms, Selbstportrait - Vol. II is electronically-sourced music, yet sounds anything but technical, dismantling the misconception that electronic music has to sound cold and distant. Selbstportrait - Vol. II has never been released completely before. Printed innersleeve with original liner notes and new notes by Asmus Tietchens." -Bureau B

Artist: ROEDELIUS
Title: Selbstportrait - Vol. II
Format: CD
Label: Bureau B
Country: Germany
Price: $26.00
"This is the fourth solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1980 on Sky Records. With Selbstportrait, Roedelius gave unequivocal confirmation that he no longer was treading the hitherto common paths of electronic music. Selbstportrait - Vol. II corroborated the findings: for Roedelius, electronics would no longer be a means of creating abstract, noise-like music in the future, nor of generating utopian, mechanical rhythmic structures. His own utopia was quite a different place, more in keeping with his own personality and view of the world. Hence both self-portraits, in particular Selbstportrait - Vol. II, are programmatic. Uniquely among musicians of the German electronic scene at the time, Roedelius succeeded in blending European and extra-European musical styles quite intuitively, developing his own language of music, neither epigonic nor weighed down by stereotype, as often occurred in the emerging world music genre of the period. There is a fascinating simplicity to the music of Roedelius: his vision does not reside in cloud-cuckoo-land. His utopia is founded in reason, his vision sustained by a simple base: not only did he ignore musical traditions, he also sought to create something new out of them. He succeeded where many of his contemporaries failed, going to ground as they attempted to bridge the postmodern gap. Not Roedelius. Roedelius music is littered with stumbling blocks. The listener may not necessarily lose his footing, but will not exactly find himself sitting comfortably as he listens. With this album, Roedelius has drawn a clearly delineated picture of himself. Few musicians can say the same, few even harbor such aspirations. Transcending styles, hypes and modernisms, Selbstportrait - Vol. II is electronically-sourced music, yet sounds anything but technical, dismantling the misconception that electronic music has to sound cold and distant. Selbstportrait - Vol. II has never been released completely before. Includes 5 tracks never released on CD! Liner notes by Asmus Tietchens." -Bureau B.

Artist: ROEDELIUS
Title: The Diary Of The Unforgotten (Selbstportrait VI)
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Pressed on 180 gram vinyl. The Diary Of The Unforgotten is a collection of recordings from the years 1972 to 1978 and was first released in 1990 (with different artwork). Between the years of 1972 and 1978, Hans-Joachium Roedelius and Dieter Moebius, later joined by Michael Rother, lived out on a country estate in the idyllic, diminutive settlement of Forst in the Weser Uplands. It was here that the Harmonia albums, legendary recordings with Brian Eno and various splendid Cluster albums were created. Both the house itself and the surrounding landscape held a magical fascination for Roedelius. The time he spent here was intense in every sense of the word. He translated his feelings and impressions into music, giving rise to the "self-portrait" series. His sixth self-portrait bears the title The Diary Of The Unforgotten and offers a compelling aural record of the Roedelius psyche of the period. For Roedelius, Selbstportrait VI, in particular the 24 minutes of the "Hommage �? Forst" centerpiece, were like messages in a bottle, cast into the water in 1990 and now ready to be discovered on the different shores of 2010. Every track on the album is a distant echo from the Forst era. "Even today," Roedelius writes in the original liner notes (1990), "these pieces retain the spirit and atmosphere of those days in Forst, where I learned so much about life." The windswept character of Selbstportrait VI is underlined by the sporadically lo-fi quality of the recordings: Roedelius just let the tape machine run, without overdubs. In the booklet, Roedelius casts his mind back again to the detailed creation of the tracks and their relevance to his later works: "At the end of the days sessions, I would sit in our small, makeshift ground floor studio almost every night. With the window open in summer, I could hear the ducks quacking on the river, the horses snorting and the cows mooing on the meadows across the water, the wind rustling through the leaves of old elm and oak trees on the riverbank behind the house. This set the scene for my first self-portraits, as well as providing the basis for subsequent studio productions, and other compositions which, in a way, could also be seen as self-portraits." Printed inner sleeve with an appraisal by Asmus Tietchens." - Bureau B.

Artist: ROEDELIUS
Title: Wenn Der Südwind Weht
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl LP version. Wenn Der Südwind Weht ("When The South Wind Is Blowing") is the seventh solo album by Hans-Joachim Roedelius, originally released on Sky Records in 1981 (also known under the title Selbstportrait IV). "Where on earth does Roedelius find such a beautiful array of notes?" wonders Asmus Tietchens in his sleeve notes for this reissue. Not an unreasonable question. Roedelius, a pioneer of ambient music, Krautrock and, arguably, synthesizer pop, member of such seminal bands as Cluster and Harmonia, revels in alien worlds on this record. This is "Music to be listened to quietly," as Roedelius advised on the LP cover. Indeed, listening at low volume enhances the sense of otherworldliness quite considerably. And yet, this album can hardly be termed "spacy" nor psychedelic in the slightest. Electronic excesses are absent, aural exotica off-limits, bizarre cacophonies non-existent. The individual tracks are compact, lined up in quick succession, like a string of pearls. Wherein lies their fascination? From what distant place do they reach out to the listener? First of all, there is the Roedelian "quietitude." Even when the music is turned up, it remains quiet in character, almost as if wrapped in cotton wool. The quiet nature of this music is inseparable from the serene and tranquil manner in which Roedelius goes about creating his typical harmonies and melodies on an electric organ of decidedly limited sonic variability. He leaves in the occasional blip and electric interference or tape hiss, but nothing can distract him from the inspiration of the moment as it feeds his music. The contrast with the perfect, yet impersonal precision of minimalism could not be greater. Improvisation is the driving force of Roedelius music. Without a trace of exhibitionism, he externalizes himself through his music with an honesty that could move one to tears. As a member of Cluster and Harmonia, such radicalism was never open to him. Südwind is an undisputed highlight in the Roedelius canon. Inner sleeve with liner notes by Asmus Tietchens." -Bureau B

Artist: ROEDELIUS
Title: Wie Das Wispern Des Windes...Like The Whispering Of The Wind
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram LP version. Bureau B reissues the eleventh solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1986 on the small Norwegian label Cicada. If we can agree on 1969 as the year of Clusters inception, then Roedelius needed a good 17 years to discover the aural qualities and musical beauty of the grand piano for his own compositions. More precisely, he must have become aware of the grand piano during the recording sessions for Jardin Au Fou (1979) and Lustwandel (1981) in Peter Baumanns Paragon studio. Another five years would pass before he built an album entirely around the piano, with electronic elements altogether absent. There is no sign of the Farfisa organ or indeed any of the synthesizers which had previously been such a common feature of Roedelius solo works. The piano sounds were left untreated. Indeed, he was clearly so fascinated by the sonority and potential of the Bösendorfer grand piano that, a few overdubs notwithstanding, he dispensed with virtually all distinguishing features of his musical approach. On Wie Das Wispern Des Windes, Roedelius played his way into virgin territory, as new to his listeners as it was to him. Its no wonder that Wispern was released not on a specialist electronic label in Germany, but on a small Norwegian label called Cicada. Rarely has the title of a Roedelius album (trans. "Like the whispering of the wind") so poetically and yet so accurately described its content. Roedelius expands his études towards amorphousness; then suddenly, a disarmingly familiar melody appears, from a completely different source, perhaps (Harmonia? Cluster?). To continue the poetic theme of the LPs title, Roedelius is not only listening to the wind, he surrenders to it, allowing himself to be carried hither and thither; effortlessly, weightlessly transported to where the sun shines brightest. In this context, the image of a butterfly may be pushing the metaphor a little too far, but an apposite one nevertheless. Liner notes by Asmus Tietchens." - Bureau B.

Artist: ROEDELIUS
Title: Piano Piano
Format: Double LP
Label: Song Cycle
Country: UK
Price: $42.00
“A stunning collection of quiet and soft piano pieces by the legendary German keyboardist Hans-Joachim Roedelius co-founder of seminal krautrock bands Cluster and Harmonia. Inspired by the monumental work of Erik Satie, the album was originally released in 1991, and is recommended for fans of Max Richter, Goldmund, and Sylvain Chauveau. Two 180-gram LPs in gatefold sleeve. 45-RPM audiophile edition. Includes the bonus track "In Der Dämmerung.”” - Song Cycle.

by artist / 0-9    A    B    C    D    E    F    G    H    I    J    K    L    M    N    O    P    Q    R    S    T    U    V    W    X    Y    Z    V/A \   by label