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MANUEL GÖTTSCHING

Krautrock • Germany


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Manuel Göttsching picture
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)

3.82 | 55 ratings
Inventions For Electric Guitar
1975
3.52 | 46 ratings
E2-E4
1984
3.25 | 16 ratings
Dream & Desire
1991
3.45 | 12 ratings
Early Water (With Michael Hoenig)
1995
3.13 | 4 ratings
Concert for Murnau
2005
2.61 | 6 ratings
Die Mulde
2005

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

3.70 | 5 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
3.82 | 55 ratings

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Inventions For Electric Guitar
Manuel Göttsching Krautrock

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

4 stars This album could be called as one of textbooks for Krautrockers who try to represent an ambient minimalistic portfolio through an electric guitar. Exactly we can say Manuel came into his own line of Krautrock. Pretty impressive he constructed unique, theatrical view of sound effectively with simple, monotonous phrases. Each phrase is not so innovative nor excessive but the combination sounds like massive excitement of the audience, amazingly ... regardless of controversy if such a strategy be novel in mid 1970s or not.

Manuel's guitar launches mysterious and acceptable ambience especially in the second track upon A Side "Quasarsphere", where are a mass of dramatic lunatic tonic initiative. His spherical sound organization must drive the audience into his Tempel. No difficulty for us to get into such a transcendental meditation via his electro world. The format is not so special enough to give us the first blow but the more we listen to this stuff, the deeper we should sink his dark inner world.

Of all the environmental minimalism, we could mention that the longest (over 20 minute) track "Pluralis" go forward with enthusiasm gradually increasing as if it dance over the whole B Side Turf. No complicated melody line but intelligent superposition of the lines would give us fine palpitation. On the contrary in the first shot "Echo Waves" monotonous para-musical phrases appear in front of us with frequent microscopic alteration step by step. What an impression it is there are lots of minimal melodic changes from each other.

Non-colourful but sensitive creation methods can be well estimated eternally, at least for me ... yeah, whether this is the real authenticity or not is quite different from the fact I love this creation, though.

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 Live At Mt. Fuji by GÖTTSCHING, MANUEL album cover Live, 2007
3.70 | 5 ratings

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Live At Mt. Fuji
Manuel Göttsching Krautrock

Review by Modrigue
Prog Reviewer

3 stars First solo live release by Manuel Göttsching, "Live at Mt. Fuji" features two tracks from the first 70's ASHRA albums, two tracks from his 2000's recent albums and a new composition of 15 minutes.

"Sunrain" (from ASHRA's "New Age of Earth") is a bit deceiving. This interpretation sounds more cold and plastic, as if it was played in MIDI, whereas the original studio track possessed its own warm and human feel. The sonorities are not very adapted to the soothing ambiance of this classic electronic tune. Furthermore, this extended version is a bit too long. The slow "Saint & Sinner" (from Göttsching's "Concert for Murnau") is a curious choice for this live album. The languorous ambiance is however reinforced by Manuel's pretty cool guitar play.

"Trunky Groove" is a new piece composed for this concert. This previously unreleased track features more modern percussions and some nice sound effects. An enjoyable ambient tune, that sometimes reminds early THE ORB. "Die Mulde/Zerfluss" (from Göttsching's "Die Mulde") is a little more interesting this its studio version. First, it has fortunately been shortened to 20 minutes. Second, there are more variations than on the original, although the 90's cheesy sound effects remain. The rendition of "Shuttlecock" (from ASHRA's "Blackouts") is average as the electronic sequence is too present and thus tends to become slightly repetitive near the end.

As a live release from Manuel Göttsching, it is surprising not to hear any extract from his groundbreaking albums "Inventions for Electric Guitar" or "E2-E4". The chosen sonorities are sometimes cheap, which is a bit curious for such an electronic pionieer artist. To sum up, "Live at Mt. Fuji" is half ambient, half Göttsching-esque, not bad, but not great either.

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 Die Mulde by GÖTTSCHING, MANUEL album cover Studio Album, 2005
2.61 | 6 ratings

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Die Mulde
Manuel Göttsching Krautrock

Review by Modrigue
Prog Reviewer

2 stars Manuel Göttsching goes ambient

"Die Mulde" is certainly one of the worst album in the german electronic pioneer's discography, next to ASHRA's "Tropical Heat". Although released in 2005, the first four tracks are in fact a single continuous 40 minutes piece composed in 1997. At this time, ASHRA began touring in Japan and Netherlands. The last track was initially recorded in 1981, and reworked by Göttsching in 2004. Musically, the style of this record is much more ambient than his usual works.

The short experimental opener "Schöpferische Stille" features sonorities reminiscent of TANGERINE DREAM's "Phaedra". The title track is a flat and boring tune, with dated sound effects and not many variations. The synthetizer sequence of "Die Spiegel" is in the style of MOTHER MALLARD'S PORTABLE MASTERPIECE CO., however less inspired. At the end of the nineties, this was not very innovative. "Zerfluss" is more rythmic, but the early 90's cheesy sound effects does not make it interesting either.

Unrelated to the computer company, "HP Little Cry" has a soothing ambiance, more typical of ASHRA, however without sequences. There are a few discrete guitar incursions. Difficult to say what material comes from 1981 or from 2004. But the problem of this composition is its monotony. This track is not bad per se, but it does not justify a 30 minutes duration.

"Die Mulde" shows the german musician venturing into a new musical territory for him. His works are usually much more rythmic and his arrangements, more complex. This album may be appreciated by some ambient music lovers, but not by most Göttsching fans...

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 Concert for Murnau by GÖTTSCHING, MANUEL album cover Studio Album, 2005
3.13 | 4 ratings

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Concert for Murnau
Manuel Göttsching Krautrock

Review by Modrigue
Prog Reviewer

3 stars Manuel Göttsching goes classical

"Concert For Murnau" is in fact a film score for "The Haunted Castle", a dark 1921 silent movie by Friedrich Wilhelm Murnau, who will direct the famous classic "Nosferatu" one year later. Recorded live on October 31st and November 1st 2003 at the Staatstheater Braunschweig in Kleines Haus, the music was be performed while the film was projected.

The record is composed of 12 acoustic classical pieces, sometimes mixed with electronics, of various durations. Completely different from all his other works, even from ASHRA's "Walkin' the Desert", "Concert For Murnau" does not feature the warm and soothing ambiance typical of the german artist either. This time, the atmosphere is dark and melancholic, Göttsching is exploring new ideas.

The first three tracks, "Overtüre", "The Party" and "Auf zur Jagd" sets the tone. You are arriving the mysterious castle. A bit long and repetitive, but enjoyable. "Der Abend" is a pleasant electro-classical ambient piece. The slow "Die Beichte" and "Double Or Quits" are more somber and melancholic. The oddest surprise of the record is "High Noon" and its pulsing electronic percussion. Is this tune adapted to the movie? I don't know. Although sounding a little messy and out of place, this track is nonetheless quite good.

Back to a dark ambiance with "Accused", to then continue with the slow languorous "Saint And Sinner". In contrast, the sweet "Demaskierung" is an aerial electronic passage. An average composition, a little cheesy and lengthy. "Leitmotiv" is more rythmic and contains some musical variations. The record finishes with "Zirkus", a very short piece dominated by the horn, and a curious ending.

As its first incursion into classical music territories, "Concert For Murnau" is singular in Göttsching's discography. A bit unequal, it maybe requires watching the movie simultaneously to be fully appreciated. Obviously not the album to start with for newcomers, "Concert For Murnau" is nonetheless overall a pleasant listen for those who dare venture into the haunted castle...

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 Early Water (With Michael Hoenig) by GÖTTSCHING, MANUEL album cover Studio Album, 1995
3.45 | 12 ratings

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Early Water (With Michael Hoenig)
Manuel Göttsching Krautrock

Review by Modrigue
Prog Reviewer

3 stars Crystalline waters

Initially recorded at the end of 1976, "Early Water" is a collaboration between ex-ASHRA RA TEMPEL Manuel Göttsching and ex-AGITATION FREE Michael Hoenig. The result of this session has been restored and entirely remixed by Hoenig in Los Angeles in 1995. The album consists in one single 50 minutes long track, in the pure style of the Berlin electronic school.

To replace things in their context, Göttsching had just recorded "New Age of Earth", and Hoenig had just collaborated in TANGERINE DREAM and KLAUS SCHULZE live performances. Compared to ASHRA's first album, the music is colder, hypnotic, sometimes oppressive, but always fluid. The important use of sequencers sounds sometimes futuristic. Manuel Göttsching's guitar is simply gorgeous and undulates around Hoenig's interlacing synthetizer loops. This long piece contains however some lengthy passages, especially the middle part, and therefore maintaining attention is difficult. In terms of ambiance, this has more similarities with a SCHULZE or a TD concert, certainly due to Hoenig's recent experiences.

Released in 1976 in a shortened version, "Early Water" would have stand up to comparison to other progressive electronic opus at the same time. A bit long, nonetheless recommended to TANGERINE DREAM or SCHULZE fans.

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 Dream & Desire by GÖTTSCHING, MANUEL album cover Studio Album, 1991
3.25 | 16 ratings

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Dream & Desire
Manuel Göttsching Krautrock

Review by Modrigue
Prog Reviewer

3 stars "New Age of Earth"'s little brother

Released in 1991, the tracks of "Dream and Desire" have been recorded in 1977, between "New Age of Earth" and "Blackouts". Musically, this record reflects the beginning of the transition between these two albums. Contrarily to its precedessor, Manuel Göttsching may have used sequencers for these compositions. As a result, the tunes sometimes sound more monotoneous and less human. The guitar also makes its discrete comeback.

"Dream" is the main interest of the record. A soothing 30 minutes long piece, with a warm atmosphere. Despite its length, this track contains some interesting variations and cool guitar textures. A nice complement to ASHRA's 1976 album. The two other tracks shows a slight evolution from the "New Age of Earth"'s style.

"Desire" is the most innovative piece with its ambient tone and repetitive beat prefiguring "E2-E4". The only problem with this track is its length and monotony. The record finishes with "Despair", the shortest track. While the first half is atmospheric, the second half features sequence patterns similar to Sunrain, the melody being replaced by a spacey guitar solo.

After all, maybe these compositions should have been released in 1977. Too long and not as good as the 2 albums from the same period, it was nonetheless rather creative at the time, and - like other Göttsching material - could have influenced future electronic artists. Although a bit lengthy, the tracks are overall pleasant and relaxing. If you enjoy "New Age of Earth", you'll like "Dream and Desire".

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 E2-E4 by GÖTTSCHING, MANUEL album cover Studio Album, 1984
3.52 | 46 ratings

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E2-E4
Manuel Göttsching Krautrock

Review by Suedevanshoe

5 stars The culmination of many years' work, Gottsching produced a masterwork that left it's fingerprints all over new wave and popular 80's house and dance music. On a listenability scale, this may rank low for some. The loping beats and trancing flourishes are prone to lulls, yet remain exciting for the seasoned listener. The influence factor is off the charts for this one though, as progressive clubs in from Munich to Casablanca to London incessantly played this music, eventually morphing it into dancepop in the New Order Depeche Mode style. Progressive in every sense, the reach far exceeds the grasp. I can see how the Phideaux, Genesis, Anekdoten crowd wouldn't appreciate this album, but it's a progressive masterpiece in the true sense of the word. A fine cover and a rare release under his own name make two cherries on top.

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 Inventions For Electric Guitar by GÖTTSCHING, MANUEL album cover Studio Album, 1975
3.82 | 55 ratings

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Inventions For Electric Guitar
Manuel Göttsching Krautrock

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars And on this one i am on an opposite spin from many others. MANUEL GÖTTSCHING is, of course, the founder and mastermind behind the ambient space rock group Ash Ra Tempel and Cosmic Jokers as well as being in cahoots with Klaus Schulze's solo career, Agitation Free, Wallenstein and the ever-so-psychedelic persona of Timothy Leary. He also was in a band called the Steeple Chase Blues Band but i digress and meander back to my unexpatiated point (or did i even have one?)

Anyway, this is a minimalistic ambient type of album. MANUEL's guitar sounds are extremely professionally and technically magnificent but what's lacking here is some amazing mind-blowing creativity in how they are displayed. That's my biggest complaint about this album. I have one of the newer remastered versions and am totally impressed with the production and all but for an album that claims INVENTIONS FOR ELECTRIC GUITAR with MANUEL's smiling face gracing the cover, i just don't find this to be the panacea of musical creativity from 1975.

Bascially, i have high standards for minimalistic music. It really has to be original in many ways and not derivative in any way. Anyone can make a minimalistic album based on something great that came before. This album just sounds too much like what Achim Reichel and his Machines conjured up in 1971 with their landmark album "Die Grüne Reise" which IMHO is a much more interesting and diverse album.

And from the same year of this album's release was Steve Hillage's "Fish Rising" which employs much of the Gong inspired trippiness in his guitar playing that doesn't sound too much different stylistically speaking than what GöTTSCHING was going for here and is MUCH superior in the creativity department. This is not a bad minimalistic album but neither is it a great one. There are no scorching guitar moments as on Ash Ra Tempel's debut album, only subtle musical changes that don't get my freak flag flying high enough. Good and influential but personally i only find this ok to listen to on a regular basis but i do like it, just not immensely.

3.5 rounded down

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 Inventions For Electric Guitar by GÖTTSCHING, MANUEL album cover Studio Album, 1975
3.82 | 55 ratings

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Inventions For Electric Guitar
Manuel Göttsching Krautrock

Review by LearsFool
Collaborator Post/Math Rock Team

5 stars One of the three magicians behind the brain melting "Ash Ra Tempel", Manuel Gottsching had long before 1975 proven himself a master guitarist and an early wizard of electronic effects. By that year, though, his band had fallen apart. His response? Just make an album of him multitracked, playing several guitars at once as in a trance. "Echo Waves" immediately shows the wonder of his style: his skill on guitar translates to quick moving yet soothing chords and solos that together bring the listener to a world of active peace. Makes me think of the celebratory heaven described in Dante's "Paradiso". "Pluralis", on top of the hazy guitars, also has synth-esque guitar, that ever so elusive and special sound. Gottsching had cracked the flip side of ambient, fiery rather than slow, even before Eno's Ambient Series. Very impressive on top of being very enjoyable, a unique cornerstone of relaxation music.

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 Inventions For Electric Guitar by GÖTTSCHING, MANUEL album cover Studio Album, 1975
3.82 | 55 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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