Listen Again to Eine Kleine Kling Klang – 16th Dec 2017

Eine Kleine Kling Klang is BACK with a great new series, playing the very Best of Brand British, German and European Kosmische, Motorik, Electronica, Industrial and post-Industrial contemporary music.

This week features, DZYAN, Manuel Gottsching, GAA, and Jurgen Karg.

Full play list:

DZYAN – Daddy Groove
Formed in 1972, this ethnic/kraut jazz quintet (Jochen Leuschner, Reinhard Karwatky, Gerd Long Bock-Ehrmann, Deiter Kramer, and Ludwig Braun) Recorded live at SWF-released their self titled album the same year in a Studio U1 on October. This first album made an exploration in long / space rock improvisations recording location/date relied on jazz grooves and weird electro -acoustic

Manuel Gottsching – Deep(er) Distance
Manuel Göttsching (tracks 1 and 3) Ashra (tracks 2) Additional loops and beats on tracks 1 and 2
by Joaquin Joe Claussell

GAA – GAA
Gäa stands for Gaia in English, the Greek goddess of earth. This band from Saarland (Germany) chose it as their name. GÄA was founded at 1973 by Helmut Heisel (guitar), Peter Bel (bass) and Stefan Dörr (drums). They were friends from school times, and they had learned to play in a band called THE PHANTOMS, which played only cover songs. Later the GÄA had more personnel, as Günther Lackes joined for playing keyboards, Werner Frey on guitar and singing and Werner Jungmann playing on congas. Helmut Heisel left the band at this time.
They recorded a unique album “Auf Dem Bahn Zum Uranus” (On the way to Uranus) and as you might expect they developed a German-sung space-rock. The album was a total commercial failure sel ing only 300 copies the rest being destroyed. If it was not for the col ectors wil ing to pay astronomical prices, this record would be al but forgotten today and it would have never seen a release on the Ohrwalsch (ear-slice) label.

Jurgen Karg – Die Versunkene Stadt Atlantis
Jürgen Karg’s career in music began in the 1960s as bass player for German jazz legend Wolfgang
Dauner. It was not until the 1970s that he switched his attention to electronic music, launching
himself wholeheartedly into exploring the genre and building up an extensive collection of synthesizers over a five year period. His efforts culminated in the “Elektronische Mythen” LP, a mighty opus of experimental music which reveals new aspects every time it is played.

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