D>Elektro   |1.2.1|  |>NEWland
      |> History/ies + Sounds
of modern electronic / experimental music in Germany |<
 
D>Elektro 1.2 - |> expanded concept <|
|1.2.1| Development and History/ies

|>NEWland
The Debris | The Void + The New Elements |

But those experiments and de(con)structions were serving more than just a symbolic destruction of the overall order. Out of those self-produced or discovered sound-structures, groups like Faust and CAN were shaping, quite unconcerned by the usual misunderstandings or even hostilities, their very own new sound-elements.

"CAN are a very particular group - the perfect link between pop and avantgarde - the most influential musical force coming from the european continent and the best example of a band that's ahead of our time.
They are more origninal, than it seems at all possible."
David Elliot [SOUNDS Magazine]
Such a -so far- unheard combination of musical elements was dazzling, enchanting - and as playful as it was irritating.

Besides the pioneering work of generating new, unheard sounds by using new or manipulated electronic gadgets - which has been mostly done by Tangerine Dream and Klaus Schulze, this particular sound-montage-work - live and in the studio - counts among the greatest steps, that those German musicians set into the musical NEWland.

These collage's and cut-up's became a trademark and one of the most important musical elements of groups like CAN and Faust.
"FAUST oscillated wildly between filthy, fucked-up noise and gorgeous pastoral melody, between yowling antics and exquisitely-sculpted sonic objets d'art. Above all, Faust were maestros of incongruity; their albums are riddled with jarring juxtapositions and startling jumpcuts between styles. Heterogeneity was their anti-essence.
Krautrock was true fusion, merging psychedelic rock with funk groove, jazz improvisation, Stockhausen-style avant-electronics and ethnic flava.
The 'Krauts' anticipated the soundpainting and texturology of today's post-rock, while still retaining the rhythmic thrust of rock'n'roll."
Simon Reynolds - 'Krautrock' - Melody Maker - 7/96
Internationally, at that time, there were [with the ekseption of Frank Zappa] no other musicians, who, like for instance CAN, managed and had the guts to put the most experimental and zany sound-collage's next to a truly beautiful, perfect pop-song on the same record.
And - also of great importance - there were next to influential and creative producers like Conny Plank,a few record-companies who were willing to take risks and musical chances.
When Rolf-Ulrich Kaiser, the head of Ohr Records [Ear Rec.], heard Electronic Meditation (the 1st Tangerine Dream LP) , he said:
"Okay, there's no market for this, but we sign you."

And this initial spark soon set fire to an international acclaim - Tangerine Dream, with their later move to the British VIRGIN Label, set in motion their worldwide success.

The will alone to create something new and original, let many of those German musicians sound modern and electronic, although their early-days equipment was often almost stoneage-ish.

Electronic Meditation
"The results were wild - to put it mildly.
Electronic Meditation is archaic, modern and futuristic at the same time.
Though it was recorded with electronic and acoustic instruments, it is so unorthodox, that, technologically, it sounds so direct and effortless, as if a caveman who makes music with his bare hands and feet."
Julian Cope ueber 'E.M.' von Tangerine Dream [1969]
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