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Artist: SCHICKERT, GUNTER
Title: Kinder in der Wildnis
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"180 gram vinyl. The fact that this album appeared at all in 1983 owes less to Günter Schickert and more to Steven and Alan Freeman, who sought him out for their Krautrock encyclopedia The Crack in the Cosmic Egg. On learning that Schickert had heaps of recordings in his archive, the Freeman brothers proposed compiling an album. Schickert agreed and handed over material which the English YHC label had released in cassette form. Kinder in der Wildnis is a more heterogeneous album than either of its predecessors, understandably so, since the pieces it contains are not immediately related to one another. Occasionally (above all, on the two bonus tracks -- available here for the first time), the influence of Neue Deutsche Welle (German new wave), virtually omnipresent in that era, may be detected. For the most part, however, Schickert stays true to form and creates layers of hypnotic, filigree echo patterns, frequently accompanied by a dragging beat. To add to the atmosphere, he mixed in dummy head recordings made in Kreuzberg on New Years Eve, 1980. In the following decade he augmented these with corresponding recordings from New Years Eve, 1990. A rare treat awaits on the title track -- his four year-old daughter can clearly be heard singing the chorus at full pelt. Günter Schickert remains one of the greats of the Krautrock underground. Alongside his solo album work, he was a member of GAM, No Zen, and Ziguri Ego Zoo and composed a wealth of music for theater. He also painted (the drawings in the booklet, for example) and worked as a multimedia artist. His career in music began in the late 1960s, early 1970s in Berlins legendary Zodiak Free Arts Lab (founded by Konrad Schnitzler and Hans-Joachim Roedelius). Among the similarly creative free spirits he met here was a certain Klaus Schulze, then drumming for Tangerine Dream. He would later join Schulze on tour as a roadie and musician and sometimes looked after Schulzes house when he was on the road. They recorded an album together in 1975 and intended to release it under the title Ich bin zwei Öltanks ("I am two oil tanks"). Alas, it would be another 38 years until it saw the light of day (with the rather more sensible title of The Schulze-Schickert Session). Today, amongst other things, Günter Schickert is back touring with his old band, Ziguri." -Bureau B.

Artist: SCHICKERT, GUNTER
Title: Uberfallig
Format: LP
Label: Bureau B
Country: Germany
Price: $26.00
"Bureau B reissues Günter Schickerts album Überfällig, originally released in 1979 on Sky Records. 180 gram pressing. "No sooner had electronic music broken through in Germany, principally aligned in the two schools of Düsseldorf and Berlin, than Günter Schickert also began his first musical experiments. Although GAM, the group he founded in 1973, did not then release a record, he did issue his first solo effort, Samtvogel, a year later -- an album which was eagerly snapped up and re-released by the Brain label. It would take five years for Sky Records to release his next LP, entitled Überfällig (trans. "Overdue"), which proved to be the last for a number of years. This album, as its German title suggests, was long overdue. Günter Schickert had developed his own unique, forward-looking type of music, assuming an exceptional position in the concert of German electronics. In spite of the clearly discernible influence of music from the so-called Berlin school (Tangerine Dream, Ash Ra Tempel etc.), Schickert is anything but a copycat. Schickert concentrated on pursuing his own ideas and pushing the boundaries of his remarkable aural creations. He is at pains to emphasize that, unlike almost all of his contemporaries, he did not use any synthesizers; his instruments are the electric guitar, his own studio with a multi-track tape machine and a comfortable arsenal of effects. Similar experiments had also been attempted by Manuel Göttsching (Inventions For Electric Guitar) and Achim Reichel (A.R. & Machines: Die Grüne Reise), but without stretching the multifaceted nature of their music to the point of microtonality, as Schickert dared to do on Überfällig. His own take on minimalism places him closer to the likes of Steve Reich and Glen Branca, free from the reach of Klaus Schulze and Tangerine Dream. Schickerts use of concrete sounds and his completely autonomous way of working in his own studio presaged a stage of development more readily associated with the early 1980s. In 1979, the album was a statement of a virtuosic outsider, a guitarist and sound sculptor whose musical visions transgressed the level of expectation of a potential audience, detached from the electronic mainstream. Günter Schickert was one of the protagonists who furthered the development of experimental pop music from the outer margins. The reissue of Überfällig was, in a word, overdue." -Asmus Tietchens; Liner notes by Asmus Tietchens.

Artist: SCHICKERT, GUNTER
Title: Uberfallig
Format: CD
Label: Bureau B
Country: Germany
Price: $18.00
"Bureau B reissues Günter Schickerts album Überfällig, originally released in 1979 on Sky Records. "No sooner had electronic music broken through in Germany, principally aligned in the two schools of Düsseldorf and Berlin, than Günter Schickert also began his first musical experiments. Although GAM, the group he founded in 1973, did not then release a record, he did issue his first solo effort, Samtvogel, a year later -- an album which was eagerly snapped up and re-released by the Brain label. It would take five years for Sky Records to release his next LP, entitled Überfällig (trans. "Overdue"), which proved to be the last for a number of years. This album, as its German title suggests, was long overdue. Günter Schickert had developed his own unique, forward-looking type of music, assuming an exceptional position in the concert of German electronics. In spite of the clearly discernible influence of music from the so-called Berlin school (Tangerine Dream, Ash Ra Tempel etc.), Schickert is anything but a copycat. Schickert concentrated on pursuing his own ideas and pushing the boundaries of his remarkable aural creations. He is at pains to emphasize that, unlike almost all of his contemporaries, he did not use any synthesizers; his instruments are the electric guitar, his own studio with a multi-track tape machine and a comfortable arsenal of effects. Similar experiments had also been attempted by Manuel Göttsching (Inventions For Electric Guitar) and Achim Reichel (A.R. & Machines: Die Grüne Reise), but without stretching the multifaceted nature of their music to the point of microtonality, as Schickert dared to do on Überfällig. His own take on minimalism places him closer to the likes of Steve Reich and Glen Branca, free from the reach of Klaus Schulze and Tangerine Dream. Schickerts use of concrete sounds and his completely autonomous way of working in his own studio presaged a stage of development more readily associated with the early 1980s. In 1979, the album was a statement of a virtuosic outsider, a guitarist and sound sculptor whose musical visions transgressed the level of expectation of a potential audience, detached from the electronic mainstream. Günter Schickert was one of the protagonists who furthered the development of experimental pop music from the outer margins. The reissue of Überfällig was, in a word, overdue." -Asmus Tietchens; Liner notes by Asmus Tietchens.

Artist: SCHICKERT, GUNTER
Title: Samtvogel
Format: LP
Label: Wah Wah
Country: Spain
Price: $29.00
"There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready. Thanks to these three months of work, between June and September of 1974, Samtvogel was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -- titles added to the front cover, which werent on the original private pressing. Brain also reissued it on the labels Rock On Brain LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret -- however it must be pointed out that Schickert did not need any mind spreading substances to allow his sounds to float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed atmospheric guitar work of other Krautrock innovators such as Ash Ra Temple, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Cans Tago Mago era. The Wah Wah reissue is limited to 500 vinyl LP copies only, housed in a quality sleeve that reproduces that of the original 1974 private pressing and featuring a 4 page insert with liners and photos, sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away!" - Wah Wah.
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