Wax Treasure (Vinyl)
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Mine and my wife’s record collection, mostly hardcore music. Some mid 90s hip hop, and some metal records -
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This afternoons work tunes
https://open.spotify.com/album/7c2eUDF9DRzUIkf7q9EXhY?si=tE5ZLgJqQjKGZLxY7suUAg
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Another box set I'd never buy but I'm glad it exists
https://weezerwebstore.com/products/blue-30th-super-deluxe-box-set-with-signed-sweater
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Things do exist …
“Weezer’s “blue” album celebrates 30 years with a 1-LP Zoetrope picture disc vinyl edition. The Zoetrope features animated images from all 3 official music videos along with other animated eye candy when captured using a phone video camera in a bright room or using a strobe light set to 30Hz in a very dark room.”Would love to see this this in person, but go with @GraemeE.
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After a great week with my students in Zandvoort and some new music played digitally (mostly Kraut driven), picked this tonight.
Was in need of some new illusions.
A record bought in the late 80’.
A Bam Caruso sampler.
Played a ton and never got the clue why.
But also never heard it as clearly as tonight ;-).
https://www.discogs.com/release/1156947-Various-Illusions-From-The-Crackling-Void
https://youtube.com/playlist?list=PLrkhiTrW17gGc_OZLjBaUEFSYwRlUgtBG&feature=shared
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Last Week …
Originally selfreleased from Conrad in 1973!
Second song called Kraut is definitely misleading @GraemeE…
there are some twin color records to explore (red/blue, silver/gold, green/yellow).Covertext…
„
Doesn't get much more outlandish than this…There was a particular type of artist who could only have emerged in the legendary early 1970s.
Few musicians fit the bill better than Konrad Schnitzler. Revolution, pop art and Fluxus created a climate which engendered unbridled artistic and social development. Radical utopias, exces-sive experimentation with drugs, ruthless (in a positive way) transgression of aesthetic frontiers were characteristic of the period. The magic words were "subculture", "progressivity" and "avant-gardism". West Berlin, with its unique political status, was a crucible of turbulence. Founded in 1968, Zodiak was the ultimate point of convergence for subculture in West Berlin, with Konrad Schnitzler the driving force behind it. It was also here that Tangerine Dream and Kluster first met
The red album ("Rot") was Schnitzler's first solo effort. As a member of Tangerine Dream, ho-wever, he had participated in the band's debut release "Electronic Meditation" some three years earlier (1970). He, Dieter Moebius and Hans-Joachim Roedelius had also already founded Kluster, whose first album "Klopfzeichen" attracted a wealth of attention. On "Rot", meanwhile, Schnitzler uncompromisingly pursued his very own vision of electronic music. As an acolyte of action and object artist Joseph Beuys, Schnitzler embraced the former's "extended definition of art", in which controlled randomness assumed an important role. Schnitzler actually extended the concept of
"music". Or to put it another way: he cared not one iota for existing rules of music, preferring to create his own or conceptualizing a certain degree of lawlessness. Improvisation grew in impor-tance. The most exciting aspect of Schnitzler's music is not the fact that he only used synthetic sound and noise; the apparently chaotic movements of his microscopic particles of sound draw the listener into a paradoxical, yet also crystalline and vibrant artistic world. It doesn't get much more outlandish than this. Schnitzler's debut surpassed virtually every other pioneering artist of the day in terms of radicalness. Not content merely with making psychedelic soundtracks, he turned these on their head with his defiant artistic will. The rigour of his approach has never been matched.
Schnitzler's inimitable cascades of sound and their transparency were, and remain, unique.
The rather odd track titles "Meditation" and "Krautrock" on the red album were perhaps inspired by the spirit of the age. I cannot be sure, but I think I detect an element of tongue in cheek in their names. For the album itself is untitled, packaged in a blank red cover and is known as "Rot" on account of its red sleeve. And what role did "Rot" play for René Block? René Block ran Galerie Block in Berlin, specializing in Fluxus and action art and also managing the Gelbe Musik record store, which also purveyed the acoustic efforts of visual artists, often unique items, autographed and meticulously crafted. Written in small letters on the labels of "Rot": Edition René Block. Did Galerie Block release / finance the album? Or did Konrad Schnitzler release "Rot", his solo debut, all by himself to begin with? Quite possibly, as nothing mattered more to him than artistic and financial independence.
Asmus Tietchens. 2012“ -
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One of my sons records. Incredibly well played and recorded
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@prpx said in Wax Treasure (Vinyl):
@Aetas - love this stuff, thank you for this Krautrock lessons!
I wholeheartedly agree.
Being introduced to all these artists is like a free college course combined with a delightfully weird , late night, public access TV show
The Aetas Krautrock Korner
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New Jon Spencer record with the rythm session of the great Bobby Lees !! Great little album
