KLUSTER

KLUSTER released three albums in 1971 and this is the middle album. Moebius and Roedelius would then change the band's name to CLUSTER and for me the soundscapes would become much better, especially on CLUSTER's first two classic albums. Listening to those recordings is like taking a trip outside in a severe wind storm, they're great. This particular album is made up of two side long suites.

The first is really tough going for me because of the German spoken words that come and go throughout. Very annoying ! Apparently the band was sponsered by a church and so the spoken words are religious in nature. For me it ruins the whole album. I mean who wants to listen to some guy spread this message in a language you don't even understand. Anyway the second part is much better.Very spacey at times with random drums being banged along with lots of other sounds coming and going. A loud outburst comes in after 16 minutes.

No more than 3 stars and the best was yet to come from this duo in CLUSTER.

'Zwei Osterei' or 'Two Easter egg' is very similar to 'Klopfzeichen for the simple reason that it was recorded on the same day!

I recently discovered the rather disturbing fact that in 1968 Kluster journeyed to Corsica where they set up a nudist camp in the mountains! At night they played music through till dawn, with Roedelius stating that he found real spiritual music during a full moon. Hmmm... Three naked men battering oil drums in the middle of the night doesn't appeal to me at all. In fact it sounds downright gross. Germans seem very keen on removing their clothes. I've seen enough of that on beaches abroad whilst on holiday, thank you very much.

In 1969 the church, of all establishments, decided to finance these first albums, on the condition that religious texts be added on one side! Thankfully my German ain't too good and I'm led to believe that the translation into English sounds incredibly corny.

Record label 'Schwann's tag line was "The workshop of new church music". Well, if I heard music like this in a church I'd be down there every Sunday morning paying my respect to God. This is damn creepy stuff... Their playing technique resembles that of Stockhausen. There are no beats. It's floating, unearthly and atonal with lots of sound generators and electronic filters used throughout. Fans of 'Zoviet France' and early 'Throbbing Gristle' would love this (although there won't be many of them reading the prog archives). Turned up loud, 'Zwei Osterei' is superb for terrifying the neighbours in the middle of the night resembling sounds from the Pittsburgh steelworks.

I'm surprised to find this in the Prog Archives. It's certainly not prog in any way shape or form. But personally I love this kind of stuff. 80's experimental band 'Zoviet France' definitely took inspiration from these three guys from Deutschland.

Conrad Schnitzler who had recently appeared on Tangerine Dream's 'Electronic Meditation' is at the helm of this most experimental of early 70's bands. 'Klopfzeichen' sounds remarkably like Throbbing Gristle's 'Journey through a Body' & 'Shadow of the Sun' from 1981.

You won't find any guitars, drums or bass here. What you get instead are bowed metals and numerous acoustic objects pushed through electronic filters.

There's not much in the way of music or tunes present. No. This one's all about atmosphere - and it's pretty bleak stuff, complete with spoken German female vocals which add to the desolation that is conjured up.

Played back loud, it produces thoughts in my mind of the aftermath in Dresden in February '45.

Heavy stuff indeed.

I won't pretend that I like this album, or that I appreciate its place in history of Prog music. By my opinion, it's more Prog Electronic, but this fact is not so important. I've ranted in past, I'll rant in future and today dear readers, I'll rant too. It's not happening too often, because mostly, I listen albums that I suppose I'll like. Not this time.

Yes, this won't be nice and some of you may not like me because of that and for that, I'm sad. In these (in total) 44 minutes, there's about 3-4 minutes of interesting "sounds", the rest is either empty, or repeated so much that blood bleeds through my ears. Klopfzeichen should mean something like "pulsing" and yes, there's certainly Tangerine Dreams type of pulsing, the Space Rock one (celestial sounds), but that doesn't mean much to me. And German spoken text certainly doesn't help it at all (again, because some of you may feel offended, I don't hate Germany or its people, but the language sounds unpleasant to me).

Sad thing is that there's nothing I can really appreciate, only majority of album full of boredom, unbearable sounds and the minority is comprised of sounds that I can stand.

1(+), concept I wasn't able to understand, or there's nothing to understand at all ?

Apparently a live album of the Kluster group from the same year that the K became a C, when Moebius and Roedelius decided to keep the group's name (albeit slightly changed), once Schnitzler left the band in May 71. Sooooo what to do with this posthumous release, claiming to be live from that very same year, but having Schnitzler, but not Moebius and Roedelius, unless the last two are included in the "And Friends"? According to Asbjornssen, Kluster's last concert was in May 71 in Gottingen,, but I don't explain the line-up that doesn't mention Dieter and Hans. All I can say it that sonically speaking, this is certainly a real "K"luster album, going as far, if not even further than even Faust dared to. 12 tracks (ranging from 1 to 8 minutes) without names, with only one or two that have a structure or some kind of repeating pattern that can be either seen as rhythm or thread, Admira is certainly a weird disc, but by no means stranger than the Kluster preceding it or the Cluster following it. Often nightmarish, sometimes hypnotic, never melodic, always surprising, these tracks lead you from total insanity to complete madness without you even realizing it in just over one hour, but somehow the album manages to stand on its own and completes its quest for its grail without even battling it out, since its implacable logic leaves no room for discussion. Definitely a must for the "KC"luster fans, but it's hard giving 4 stars to such an album.

Being already, by two grand and more than hypothetically connected albums, a band of pure revelation and clear industrial marooning, Kluster, by the craft and chaos trio of Conrad Schnitzler , Dieter Moebius and Hans Roedelius, does another mind-dazzling, style-culminating and imperiously deprived composition, in the same year of the 1971 and in the same motive of creation and destruction. In fact, it is a fundamentally thicker and more unimaginable experiment, in contrast with the other two classics, and it is almost a parable to the fact that, after enough innovation and "absurdification" in the realms and inconvenienced tastes of krautrock, acid rock, electronic waste, sound-feast, noise and independent wave special signs and treats, an even more dark, conceptual, sardonic, cold-blooded and mechanical exploitation is close to unreal and paradigmatic. Add the avant-garde, for sure, because nothing is of simple logic, blatant technicality or fantasy of an enjoyable convention. Instead, this excelled program is nightmarish, haunting, neurotically and industrial, fractal and micro-tonal, insensitive and without color, harsh and without gravity, colossal and without sensibility. It's a freakin' masterpiece.

Titled as Kluster & Eruption, this album also wants to be a sort of Kluster and Eruption collaboration, though the Trio plays the music and the entire sense, and only the mix, the arrangement and the producing effort gets a tenacious help from Klaus Freudigmann. In a listened way, there's no possible chance you can differentiate the music's brand from the band's geniality - so that it is a clear-clean Kluster. Only musically it is so different, strong and deep-imploded that it seems the bigger and more audacious artistic work of the band with a special influence - the Eruption on. Anyway you take it, this creation is droopingly unbelievable in force, gluttony and sensation.

From scratching the living aesthetic out of you to studying the microcosms of a sound's second, this work has nothing to do with normal metrics and patient forms. First of all, hardly there is allowed a melody, a calibrated rhythm, ambiance or self-simple vibrations - which can make the beautiful music lovers have a grunge against this entire avant-garde; also it can point how interesting it is that this postmodern, narcissistic, derisory and malformed album is recommended among the most essential works. At least without doubt it is worthy its independent subtlety. The German krautrock lies under transfigurations and transformations, and the acid of it is touchingly depressive and aggressive. The electronic fiber is impossible to pronounce as absurd or rather accomplished, but it sure lies on edges, mechanics and supporting breaks - though a lot of "traditional" electronics and components do the massive thing. By experimentalism this is big, studying brutal minimalism, clenching great lengths of tone and sound rictus, reaching nerve collapses and valorous techniques of undetermined raw sort. Noise, the last ingredient, is ultimate, exploiting almost every heavy, dystrophic, tech-macabre resource imaginable.

This is a violent art and a heartless creation, but it also resembles a suffering of improvisation towards perfection. I personally regard this a masterpiece and Kluster's best because the detail of their initial protological and scientific experiment has reached a crass and overwhelming idea: electronic/krautrock mechanical and psychotic satisfaction on the extremest verge of a restless noise and minimal improvisation. An essential, visceral and hardly accessible rage craft album in the genre or the big movement.

Out of the two authentic Kluster albums (because Eruption, though not obligatory so, is more complex under the circumstance of a collaboration and a total avant-garde strange unleash), Zwei-Osterei is a more splendid, characteristic and memorable creation. Yet the 'two-easter eggs" of Kluster are both albums, motivated under the same precision, year of music and combination of explosion and surprises. And both complement the pivotal trio of Schnitzler, Moebius and Roedelius (the first a grand soloist of electronic, kraut and German rock himself, the other two artists with a more hard excellency down the future Cluster albums or general electronic manipulations).

What makes Zwei-Osterei ticks and twist is in fact the ultimate and prolific minimal sound manual or the greatly evolved set of special effects, most progressively distinguished between the bad dreams and the hectic noises of krautrock, the independent and reactive sound forms, the electronic birth and mirth of significantly achieved expressions, the noise clutch and the acid ubiquitous involvement, and, more personally, the act of art and avant-garde. The better parts contain more angry and saturated moment, more depth and carnal experimentation, more strange focuses, more sensitive over-blows of something that, for sure, seems both exaggerate, has the incoherence of a grand sound festive and also, gently, aspires to be unique, tough, klutzed. Still having in mind that Klopfzeichen was slightly weaker, the ambient and melody-stretch over there is hardly tested in here as well. For aficionados, this Kluster material is both the extended art that sends doubtful qualities and similar traces into any other contemporary genius of the kraut, cosmic, electronic or electro-dementia field, but also relaxes of referentiality itself, having in mind a rahing individual manipulation.

Part One privileges again a powerful narration - religious, metaphysically and philosophically based - this time with a more gripping, side-dark and hollow reverberation, unlike the most mystic and confounding similar message that Christia Runge practiced in Klopfzeichen. The amazing thing is the sobriety, yet the foolish affection for hard words, in memorable echoes and brand-acid colors; the lines evoke riot, life, demise, war, methodical insatiety and indistinction. The instrumental involvement is a bit forgotten, likewise, but the interest in a narrative experimental piece is remarkably conducted.

Part two of the medical progressive album is fascinating and difficult, experimenting in all the mentioned marks and values (noise, kraut, electronic technicality, sound-licks) a piece of heavy rhtyhms and groaning breaths, tough artificial chemistry and over-worked electronic production (out of mentioned instruments and related experiments, that, themselves, are between facile and up-stirring). The indescribable essence only means that the acid piece is something for a listener's great and deeming adventure. Numerous generally influences, such as those of palpitating atonal beats, sequencing atypical reactions, high decibels of drone melt emphisis, numbness and cosmic avidity, technical and surrounding suspense or dark fluency, cracking or bursting emotions of loneliness, sense-demise or psychedelic atrophy. Outside this symbolical, powerfully induced or predisposed experimented values, Zwei-Osterei becomes a music of total avant-garde and senile fantastic artistry.

The album, upon being a re-release, includes a second piece from a Cluster & Fernbach concert, one not fundamentally fantastic, but not purely electronic either.

Heavily recommended.

Without hesitation, one of the most important, hard and astounding electronic class band is Kluster, made entirely out of an express desire to challenge the art and the movement of its kind (a kind to be discovered, entirely by one's own listening and recommendation). Revealed a lot as magisterial under the progressive electronic school of thoughts, dynamics and experiments (German-style, naturally, despite some influences that seem totally private, and others that numb out no particular music at all), the band's musical concept is yet far from such an easy definition (or even a ragged-drone one), mixing the hysteria or the silent respect of the krautrock/acid movement, deepening the experiment towards intricacy, desperation, no-logic, mechanical motion and abstractionism, or creating noise or independent electronic movements.

Conrad Schnitzler's vast past-60s experience is a good point of reflection leading to these early 70s years, when, not just in Kluster, but also in Tangerine Dream or in solo measures, his visions strode deep into challenging music, touch and artificiality in incomparably hard, technical, edasic and veracious ways. Moebius and Roedelius are a compact important duo joining Kluster, in a way that will continue into the good to great Cluster later albums, but not that much as to say that the Kluster moment of music, electronic, kraut-noise and experimentalism-dependency, was something far from retched, quasi-original, tonic, influential or drastic.

The Kluster sessions strike, dramatically, only three albums and only one year of work. But mixing a lot of progressive electronic, Berlin School music dynamics and elementary art-strain evolutions into your perspective leads always to the impression that the trio of Kluster have made some radical and brand astonishing moves, while other artists slept on a bit more easy or atmospheric, transitory or sound-reflexive tastes (not that many, for sure, since the classic years remain devoted to electronic excellencies, yet almost sensible, in the link between progressive and experimental, cosmic or mechanic, etc.).

Specifically in the Kluster dynamic of appreciation, Klopfzeichen is keen on being the most pointed out. It has a lot of the "elementary" power and details that the trio uses, in order for their gumble-art, organic-note or experimental-cause music to get the special shine. It's more introverted and ambient-shaded, in order for the orientation of electronic with noise and kraut to seem very clear and very impressive. But, down the artistic measure, the other two albums made by Kluster are entirely better, more rough, more skeptical regarding the electronic or sonic impulse.

Interesting, captivating or so-to-say full of exultation in Klopfzeichen are fragments of music, expression and expiration. The first part has a large side of low-mono sound and deep-physical voice narration, this last thing leading to imagining something from Floh de Cologne or Cosmic Jokers, but resembling actually neither. The topic is vast, acid or superficial, respectively, whether we're still talking about the word play, or of the actual effects of music, ambiance and primary sounds. The second part is more cold and ravishing, mixing an ambient "krust" of music, but also focusing the positive, artistic and magical moments of the noise-shrud, the experimental-surround or the typical abstract feel.

Klopfzeichen, with minimal, experimental, ambiental or collage elements of the electronic, kraut-docile, noise-sound or "kluster" blend of genres and illusions, is a sophisticated new brand and progressive effect; yet the most peaceful, intuitive, large-echoed experience too.

Eruption of kosmische masterliness.

Eruption is the third and final studio album by the German experimental electronic group Kluster. It is the last album to feature the original trio of Conrad Schnitzler, Dieter Moebius, and Hans-Joachim Roedelius. Soon after this recording Schnitzler left the band to join Tangerine Dream with Edgar Froese and Klaus Schulze; the remaining duo of Moebius and Roedelius continued recording as Cluster. Unlike Kluster's first two albums this one was recorded live, at the band's final performance in 1971. This, however, is irrelevant as there is no audience noise and the sound is studio-quality. On this album the band continues to experiment with acoustic instruments and electronic devices to create abstract "electroacoustic music" in the form of improvisatory, stream-of-consciousness ambient jams. The music is very adventurous and experimental in nature, and far more "industrial" than the other, more popular Berlin School electronic works by the likes of Klaus Schulze and Tangerine Dream. Eruption is closer in spirit to the very first albums by these artists, as well as other experimental composers of that era such as John Cage and Steve Reich.

Eruption is a more listenable and engaging work than its two predecessors. It is entirely instrumental, without the annoying recitations of scripture present on Klopfzeichen and Zwei-Osterei. The album is a suite of two lengthy sound collages, 31 and 25 minutes respectively, separated mainly to fit the vinyl format (or perhaps they had an intermission half way through the concert). The music contrasts acoustic instruments with electric ones, mixing guitars, basses, organs, cellos, violins, percussion, etc.; often manipulating their sound with electronic effects and tape feedback. The use of acoustic drums and percussion as a backdrop for electronic effects is particularly notable; together they create a surprisingly deep ambient sound. The album is largely a study in drones and distortion using stringed instruments, both electric (i.e. guitar) and acoustic (cellos). The production is perfect and the music makes full use of dynamics, creating an immersive ambient experience that feels multidimensional. The album also makes an impressive use of sonic layers, with each sounding as if it emanates from a different point in a large chamber (it was probably recorded in one). The echo created by the room adds a perfect extra dimension to the music. Fortunately it was taped perfectly as well; the listener will feel as if present at the performance.

The first side opens with creepy echoing noises: first cello, followed by distorted guitar, then other instruments and effects enter. The piece builds up as more sounds join the symphony and create additional layers; it wanders through a diverse palette of moods, from dreamy and droning, to worried and abrasive. Side two is a little more intense with multiple layers of percussion annd drones. The piece icludes a completely unconventional and wonderful guitar solo, reminiscent of Edgar Froese's solo on Electronic Meditation. The middle section is the loudest and most abrasive point of the album, resembling Merzbow's better works. This is followed by a contrasting quiet section where a single flute performs a haunting solo over a distant electronic hum.

Eruption is a masterpiece of sound art and a milestone in the development of ambient music. It should appeal to any fan of experimental electronics and the "cosmic" side of Krautrock. This is my favorite album from the Kluster/Cluster canon, and along with Cluster 71 and Cluster II makes an essential purchase for any enthusiast of vintage German electronic scene. This music was very innovative at the time of its release and stood the test of time, remaining relevant and widely influential today. However, keep in mind that this is very avant garde music, and the listener should be prepared for ambient soundscape with an abrasive edge and practically no melody or pronounced structure. Five stars from me.

This is Conrad Schnitzler's atypical music during the activities of the avant garde collective "Zodiac free art lab". Extremely experimental, cerebral, maniac proto-electronic atmospheres. The compositions are made for a small ensemble of electric guitar, cello, tape loops and percussions. It contains haunting, noisy fragments exploring the darkest side of the subconsciousness. "Part One" starts with monotonous, almost "gothic" cello chords surrounded by chaotic noises and echoing bass lines. The track ends up with claustrophobic sounds, an imminent explosion of sounds, totally crazy and druggy."Part Two" is much more industrial with massive, doom like bass guitar parts, destroyed guitar lines and heavy noises, a true apocalyptical soundscapes. The track also features high frequencies and pre- sampling techniques. Conceptual, extreme, painful, creative primitive electronic exercises.