Progressive Electronic • Germany

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Jürgen Karg biography
JÜRGEN KARG is a classic-period obscure and eccentric German artist, mastering the sound of electronic conceptual music with an extra touch of experimentation and loud-punctured art. His only solo record is the rare "Elektronische Mythen" ("Electronic Myths"), released in 1977. Kärg is more known however for his collaboration in Wolfgang Dauner's "Psalmus Dei", along jazz artist Eberhard Weber and other musicians. As much as Dauner's successful album speaks of profound (and somewhat eclectic) music, Karg's album is not to be skipped by connoisseurs, being on the verge of heaviness, trippiness, avant-garde and cerebral electronic convulsions, still staying focused on complex, atypical, intense and resourced music. Strange and artistic, Kärg's work shows the late 70s aren't at all dried out of electronic abstract experiences.

Brewed with a professional gear of electronic/processing equipment, the album, composed of two side-epics, is both a schematic and free, incisive work, starting from the base of free-synth electronics and dense artificial sound and extending to a fragmentarily drilled concept of art and a surreal impression of a pressured, clamping "kosmische" dream, in light of experimental and less-musical style connectors. "Elektronische Mythen" is, at the surface, an outburst of programmatic electronic art and a technical/mechanical work of sounds, becoming, in the essence, a serious, minimal and provocative play.

Karg's album is referenced as a mixing (or shifting, in an random and torrid way) work of concrète electronic (the "academic" side) with krautrock, electroacousticism, tone/tape music and space, surreal, abstract or noise bits (the "hyper-artistic" side), names like François Bayle, Edward ZAJDA, Conrad SCHNITZLER, Asmus TITCHENS, KLUSTER or STOCKHAUSEN coming in mind the same way.

Jürgen Karg's solitary classic is definitely a demanding, obscure, artistic recommendation, fitting in the electronic prog current more in an extensive than formal way.

:::Victor "Philip" Parau (Ricochet):::

Elektronische Mythen, studio album (1977)

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JÜRGEN KARG discography

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3.00 | 3 ratings
Elektronische Mythen

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Showing last 10 reviews only
 Elektronische Mythen by KARG, JÜRGEN album cover Studio Album, 1977
3.00 | 3 ratings

Elektronische Mythen
Jürgen Karg Progressive Electronic

Review by Dobermensch

3 stars Looking like the baddie from 'The Blair Witch Project' on the sleeve, Jürgen Karg gives us an inhospitable electronic experiment from '77. For this year it actually sounds quite dated belonging more to the 'Zeit' and 'Irrlicht' 1972 period from Berlin.

Supposedly he worked on this album for 5 years before it went to press! You'd be hard pushed to understand why. At low level listening it sounds abstract, random and almost disengaging. On closer inspection, with a set of headphones on, it actually sounds pretty good, where you can hear that the guy's definitely had a masterplan of sorts rolled up his sleeves all along.

There's very little in the way of tunes. Instead, an ambient electronic creepy atmosphere is conjured up, reminding me at many points of the more experimental parts of Karlheinz Stockhausen's works.

Where did Karg appear from? Where did he go? Information regarding this dubious character is scant to say the least. There is in fact quite a lot of this type of 70's electronica about if you dig deep enough in the form of 'Nino Nardini', 'Nik Raicevic' and 'Jean Claude Eloy' to name but a few.

At the end of the day, 'Elektronische Mythen' is a good solid dose of vocal and instrument free electronic weirdness which may hold appeal to Tangerine Dream and Klaus Schülze fans, before they went mental using their new fangled arpeggiator technology.


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