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MANUEL GÖTTSCHING

Krautrock • Germany


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Manuel Göttsching biography
Manuel GÖTTSCHING is one of the world's foremost innovative guitarists, and is a founding pioneer of the Kosmische Musik & Krautrock genres, more commonly known as German progressive and electronic rock. He has released more than 30 albums as ASH RA TEMPEL, ASHRA and Manuel GÖTTSCHING, and has contributed to countless other recordings and releases. He continues to be one of the most original artists recording and performing today.

His seminal minimalist albums "Inventions For Electric Guitar" (1974) and "E2-E4" (1984) are two of his most important recordings. "Inventions For Electric Guitar" was a revolutionary album for the day and is still forward looking almost 30 years later. "The Best of the Privates Tapes" (1998) is basically a summary of the six-volume "The Private Tapes" series; a comprehensive guide to the sonic experiments of GÖTTSCHING and occasionally his cohorts' as well, and thus is an excellent starting point for those unfamiliar with this man's forays into rock and electronic music. The period covered on this set covers the years 1970-1989. Float away on an astral cloud, or rock out. Its all here...!

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MANUEL GÖTTSCHING discography


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MANUEL GÖTTSCHING top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.77 | 47 ratings
Inventions For Electric Guitar
1975
3.55 | 43 ratings
E2-E4
1984
3.31 | 12 ratings
Dream & Desire
1991
3.78 | 9 ratings
Early Water (With Michael Hoenig)
1995
4.00 | 2 ratings
Concert for Murnau
2005
3.23 | 4 ratings
Die Mulde
2005

MANUEL GÖTTSCHING Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.77 | 4 ratings
Live At Mt. Fuji
2007

MANUEL GÖTTSCHING Videos (DVD, Blu-ray, VHS etc)

4.00 | 2 ratings
Wroclaw Live
2007

MANUEL GÖTTSCHING Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.13 | 5 ratings
The Private Tapes Vol. 1
1996
3.09 | 4 ratings
The Private Tapes Vol. 2
1996
4.00 | 3 ratings
The Private Tapes Vol. 3
1996
3.05 | 3 ratings
The Private Tapes Vol. 4
1996
3.09 | 3 ratings
The Private Tapes Vol. 5
1996
3.52 | 4 ratings
The Private Tapes Vol. 6
1996
0.00 | 0 ratings
The Best of The Private Tapes
1998

MANUEL GÖTTSCHING Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.50 | 2 ratings
E2-E4 Live
2005

MANUEL GÖTTSCHING Reviews


Showing last 10 reviews only
 Inventions For Electric Guitar by GÖTTSCHING, MANUEL album cover Studio Album, 1975
3.77 | 47 ratings

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Inventions For Electric Guitar
Manuel Göttsching Krautrock

Review by Warthur
Prog Reviewer

4 stars Don't be fooled by the presence of Ash Ra Tempel's name on the cover of some editions of this album; it's all Manuel G'ttsching all the time. Then again, you could have fooled me, because this fits in with the Ash Ra Temple sound of the mid-1970s really neatly. A Krautrock riposte to Fripp and Eno's own guitar-and-sound-processor Frippertronics experiments such as No Pussyfooting and Evening Star, it's a spacey journey in the tradition of the very best of the tripped-out cosmic side of the Krautrock scene. Those who are already familar with G'ttsching's 1970s work through Ash Ra Tempel or the Cosmic Jokers releases and who fancy something in the same mode will be well pleased with this one.

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 E2-E4 by GÖTTSCHING, MANUEL album cover Studio Album, 1984
3.55 | 43 ratings

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E2-E4
Manuel Göttsching Krautrock

Review by Warthur
Prog Reviewer

4 stars Perhaps because he already had an ample musical outlet in the form of Ash Ra Tempel/Ashra, Manuel Göttsching didn't really put out many solo albums early on in his career - he only managed one in the 1970s, and this is his sole effort of the 1980s. But it's a beauty, Göttsching adapting gracefully to the incorporation of 1980s synthesisers into his music and producing a nearly hour-long composition that feels like the missing link between sprawling Krautrock electronic visions of the 1970s and sleek ambient and dance efforts of subsequent decades. If you're only going to put out one album in the 1980s, it might as well be a good one, and this is certainly that.

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 Die Mulde by GÖTTSCHING, MANUEL album cover Studio Album, 2005
3.23 | 4 ratings

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Die Mulde
Manuel Göttsching Krautrock

Review by admireArt

3 stars MANUEL GÖTTSCHING's discography by his own is quiet obscure and small, taking into account his starting ignition with Ash Ra Tempel and the Krautrock styling since its beginnings. He is an inventive guitarist who has added some "musts" to the genre, yet as a composer, sometimes he loses himself, in self-indulgent music. "Die Mulde" is somewhat of an example of this (the first 2 tracks), but also his abilities to both, perform and compose very creative songs, with his very distinguishable guitar approach (the rest of the tracks). Therefore been that, the first two tracks seem out-dated in its electronic language, due to the fact that the use of sequencers nowadays require much more "work" than in the past, considering their use and easy access by almost anyone in every field of music. So, these days, you really can not stick to the "simple" use of these devices, you really have to "sweat" a liitle, to come up with something that will not be lost in the masses eventually. In some way these tracks demerit the rest of the creative work of the album, which without those tracks, would have turned out into a more innovative and original project as a whole. The good thing, as I mentioned, is that the rest of the album offers the creativity in compositions and performance, he is well known to deliver, both with the electric and acoustic guitar (the last track). As a result of this, what is worth listening deserves 4 PA stars, what's not 2, so sticking to the parameter, ***3 PA stars.

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 Inventions For Electric Guitar by GÖTTSCHING, MANUEL album cover Studio Album, 1975
3.77 | 47 ratings

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Inventions For Electric Guitar
Manuel Göttsching Krautrock

Review by Rivertree
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4 stars Although labelled as an Ash Ra Tempel album every so often this is also said to be Manuel Göttsching's first solo effort. And true, you will only hear his guitar, but based on echoes, effects and overdubbing this partially sounds like a band is on the run. As a youngster in the 1970's 'Inventions For Electric Guitar' fascinated me for a while. This music was so different from stuff which was normally delivered, experimental due to the hypnotic looping behaviour ... and the beauty, the melancholic outfit even brought tears to my eyes occasionally, when I was intensively listening via headphones - often also coupled with Iron Butterfly's In-A-Gadda-Da-Vida suite, you should know.

After nearly 40 years which are gone in the meanwhile, I still can hear the special inspiration, which flows on the same level with Günther Schickert's GAM and Achim Reichel's krautrock phase. A particular feature is, that the sound is very electronically outfitted, thus resembles a Tangerine Dream flair in some way. Echo Waves - the title suits best - shines with a gripping progression - variating echoed guitar excursions, a deep toned track imitates a bass, others are added which sound way more like synthesizer output. Finally Manuel offers a proper guitar solo on top of it.

Occupying one flipside Pluralis follows with a quite similar approach and once again you're inclined to insist, that some synth stuff is incorporated too - but no, this exclusively comes from the guitar. Historically seen this album manifests Manuel Göttsching's disengagement from Ash Ra Tempel. Though being very minimalistic this is something entertaining nevertheless. For me 'Inventions For Electric Guitar' definitely should be counted among the essential contributions to the krautrock genre.

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 The Private Tapes Vol. 6 by GÖTTSCHING, MANUEL album cover Boxset/Compilation, 1996
3.52 | 4 ratings

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The Private Tapes Vol. 6
Manuel Göttsching Krautrock

Review by Mellotron Storm
Prog Reviewer

4 stars First of all I want to thank Tom Hayes for the info on this particular volume and the whole set in general. "The Private Tapes" were released in 1996 as a 6 disc set of previously unreleased studio and live tracks that Manuel Gottsching was a part of over the years. Manuel is of course the guitar player extraordinaire for ASH RA TEMPEL, ASHRA, COSMIC JOKERS etc. Instead of doing this chronologically they distributed different live and studio tracks from 1973-1979 over these six volumes and then added one long live track of 24 minutes or more from either a 1971 or 1973 concert. This particular disc has three tracks from the late seventies by ASHRA then a 54 minute live bomb from ASH RA TEMPEL from 1971.

First up is "Hausaufgabe" a studio track from ASHRA from 1978. The lineup here and for the following two tracks as well consists of Gottsching (guitar / synths) Lutz Ulbritz (AGITATION FREE) (guitar / synths) and Harald Grosskopf (WALLENSTEIN) (drums / synths). This first track kicks in quickly to an uptempo soundscape with guitars out front. Synths then lead as moog throbs after 5 minutes. Great sound ! "Ice Train" is live from 1979 by AHRA once again. The drums lead early then we get some nice guitar work after 1 1/2 minutes and 4 1/2 minutes, but throughout really. "Phantasus" is another live track from ASHRA and again from 1979. This is catchy and surprisingly upbeat.

The final track is the 54 minute live "Ein Wurdiger Abschluss" from ASH RA TEMPEL in 1971. Gottsching on guitar, Schulze on drums and Enke on bass. The guitar almost jangles in and out as spacey sounds help out. It settles back before 3 minutes as it trips along. It's getting louder before 6 minutes as sounds echo. It's becoming intense before 10 minutes but not for long. It's spacey after 11 minutes then it builds again before 13 1/2 minutes. Intense 15 minutes in. A beat then takes over. A catchy rhythm before 20 minutes. The guitar goes from threatening to set fire to the soundscape to burning it down 26 minutes in. It settles back 33 minutes in then the guitar starts to become prominant again after 36 minutes. Intensity 38 minutes in. The drums become the focus then we get a calm 45 1/2 minutes in as the bass comes to the fore. It's building 47 1/2 minutes in as beautiful sounds pulse. Here we go ! The guitar is ripping it up !

The only reason I have this one is because of my Brother In Law but I wish I had the whole set. Maybe it will be re-issued one day but until then i'm quite happy with this release.

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 E2-E4 by GÖTTSCHING, MANUEL album cover Studio Album, 1984
3.55 | 43 ratings

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E2-E4
Manuel Göttsching Krautrock

Review by stefro
Prog Reviewer

4 stars After leading Ash Ra Tempel through several albums worth of cosmic krautrock German multi-instrumentalist Manuel Gottsching pursued a highly-experimental solo career that produced, amongst others, this proto-techno marathon from 1984. Essentially one enormous fifty-eight minute long electronic composition spread over nine different 'sections', 'E2 - E4' seems to be the missing link between Klaus Schulze-style synthesized psychedelia and modern, beat-based dance music. Its a whole world away from Gottsching's early-seventies work with Ash Ra Tempel, yet for those with an interest in the Berlin School sound, Schulze's solo material and the classic krautrock of both Neu! and Kraftwerk 'E2 - E4' should prove a real treat. Repetition is the order of day here, as Gottsching navigates a course through what can be best described as psych-techno, the bouncy, synth-dusted melodies pinned to a cyclical groove that maintains its constant rhythm throughout the album,whilst the latter stages find electric guitars and silky keyboard washes added to the equation. If you can take the head-nodding groove and deliberate lack of variation, this epic electro-mix should find you tapping your toes deep into the night. But is krautrock? Is it dance? That's for you to decide... STEFAN TURNER, STOKE NEWINGTON, 2012

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 E2-E4 by GÖTTSCHING, MANUEL album cover Studio Album, 1984
3.55 | 43 ratings

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E2-E4
Manuel Göttsching Krautrock

Review by nobodysheroine

3 stars My husband never stops in his attempts to expose me to different types of prog. Lately it's been a bit uphill (Cluster 71? eeek!) but I was somewhat pleasantly surprised when he popped this into the cd player of the car.

I admit to a bit of A.D.D. with music, and around the 8 minute mark I chirped out "OK, well time to hear the next song..." The husband laughed out loud at me, when it circled around to the beginning of track one again. /blush

I don't claim to know a whole lot about music, but I know what I like. And that's why I'm bothering to submit a review. This was one of the most fun and upbeat cds I've heard in a long time, mixing a somewhat repetitive electronic section with guitar melodies. I'd recommend this for a long car drive - especially if a stop for ice cream is involved.

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 Inventions For Electric Guitar by GÖTTSCHING, MANUEL album cover Studio Album, 1975
3.77 | 47 ratings

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Inventions For Electric Guitar
Manuel Göttsching Krautrock

Review by Neu!mann
Prog Reviewer

4 stars Maybe it's the pretentious title, or the unflattering mug-shot filling the album cover. Or maybe it's the confusion over whether the album belongs to Manuel Göttsching or to Ash Ra Tempel (in truth, by 1975 the guitarist was the entire band). Or it might just be the music itself: a textbook model of (take your pick) either numbing repetition or hypnotic simplicity.

Whatever the reason, here's an album that hasn't attracted all the retroactive praise it deserves, especially in light of Göttsching's later elevation to 'The Godfather of Trance'. What he did here was borrow a formula already perfected by erstwhile bandmate KLAUS SCHULZE (and by Schulze's own erstwhile bandmates in TANGERINE DREAM), playing minimal but melodic patterns of overlapping arpeggios, created entirely through studio reverb, echo effects, and good ol' fashioned manual dexterity (amazingly, no tape loops were involved).

The difference was that Göttsching, not unlike ACHIM REICHEL or GÜNTER SCHICKERT, achieved the effect playing guitar instead of programming synthesizers, which not only required more effort but in retrospect helped to keep the music relatively fresh after all these years. It's true that a certain monotony creeps into the set at times, notably during the nearly 22-minute "Pluralis", sounding like an old phonograph needle stuck in a groove of scratched vinyl. But the soloing on top of the (again, all hand-played) sequences ultimately saves even the more uneventful passages, adding a welcome human dimension to what could have been merely a cold, mechanical exercise.

It's ironic that the shortest cut ("Quasarsphere") is also the best: six-plus minutes of pure, yearning emotion, recalling Göttsching's cosmic aspirations in such classic Ash Ra Tempel inprovs like "Traummaschine and "Jenseits". But the two longer tracks reveal an artist looking forward, anticipating a musical vocabulary that in 1975 didn't even have a name yet.

Compared to the shattering, Hendrix-inspired jams of earlier efforts ("Amboss", anyone?), the album might resemble nothing more than a one-man novelty project. But after the underachievement of "Starring Rosi" it must have been reassuring to hear Göttsching return to what he does best: playing his guitar, and at considerable length. And, thankfully, the music itself has aged a lot better than the artwork or album title.

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 Dream & Desire by GÖTTSCHING, MANUEL album cover Studio Album, 1991
3.31 | 12 ratings

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Dream & Desire
Manuel Göttsching Krautrock

Review by colorofmoney91
Prog Reviewer

4 stars Dream & Desire is very much in the same style as Manuel Gottsching's Ashra albums New Age of Earth and Blackouts with a small touch of Schulze. Each of the 3 reasonably lengthy tracks on this album have a unique feel compared to each other, which makes this a nice sampler of the various Gottsching styles.

As the name might suggest, "Dream" is quite dreamy sounding. The meat of this track is mainly Gottsching's softly played krautrock style electric guitar looping in the presence of a typically light and very German beat and intermittent symphonic synths that improve the overall grandiosity that is implied by its 30 minute runtime.

"Desire" is where the profound Schulze influence comes in. The wavering, ghostly synths are very Schulze, and the authentic guitar sound of "Dream" is traded for a much more electronically treated synth guitar effect, but it works to make this track much more epic. What makes this track stand out, in my opinion, is the strong sense of '80s pop melodicism in the beat and the main melody, which greatly improves the accessibility of this track and makes it much positive sounding that it would otherwise.

"Despair" is the shortest of the three tracks and marks the return of the authentic guitar sound with Gottsching soloing melodically from the half-way point onward. This is also the most upbeat track, which kind of contrasts with the track's title, but like the others it is very minimalist symphonic in composition. It's a good track but not as interesting as the previous two, though the guitar tone will be very desirable for krautrock fans.

Overall, Dream & Desire is a good progressive electronic album in a very krautrock kind of style that mixes the well-established monolithic sound structures of Schulze and Tangerine Dream with a strong element of joviality from ethereal (as opposed to the usual dark) melodic decisions.

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 Early Water (With Michael Hoenig) by GÖTTSCHING, MANUEL album cover Studio Album, 1995
3.78 | 9 ratings

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Early Water (With Michael Hoenig)
Manuel Göttsching Krautrock

Review by Dobermensch

3 stars A classic Berlin Electronics album that I didn't even know existed until a short time ago. Similar in many ways to Tangerine Dream's 'Ricochet', 'Early Water' is one huge 48 minute track utilising sexy analogue arpeggiators.

Manuel Göttsching of 'Ash Ra Tempel' - adds plenty heavily treated and highly original Gibson guitar experiments throughout. Not only that, but he turns his hand to Farfisa Organ (Farfisa Compact), ARP (Odyssey) and ARP Sequencer.

Coupled with Michael Hoenig's keyboards, we're given something quite special. A beautiful car journey through an uncontaminated 1976 sunny countryside without a human being in sight. Entirely electronic from beginning to end with Göttsching's guitars sounding uncannily like those of Edgar Froese from around the same period but more tastefully played and less in your face.

A missing link for Tangerine Dream fans who wondered what the hell went wrong after 1976... It's just a pity it's so long... 48 minutes is too much to take in one sitting for a singular electronic musical concept. It's great as background music but doesn't stand up to a full on listen. For this reason only it's downgraded to three stars.

It is very pretty though...

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