Uploaded May 2020 | Updated September 2026, 2 days ago
Damo Suzuki – vocals
Holger Czukay – bass, engineering, editing
Michael Karoli – guitar, violin
Jaki Liebezeit – drums, double bass, piano
Irmin Schmidt – organ, electric piano, synthesizer; vocals on "Aumgn"
Tago Mago is the second album by the German krautrock band Can, originally released as a double LP in 1971. It was the band's second studio album and the first to feature Damo Suzuki after the 1970 departure of previous vocalist Malcolm Mooney. Recorded in castle 'Schloss Nörvenich' near Cologne, the album features long-form experimental tracks blending funk rhythms, avant-garde noise, jazz improvisation, and electronic tape editing techniques. Recording took three months to complete, with sessions often lasting up to sixteen hours a day. Czukay would edit these long, disorganized jams into structured songs. Czukay used only two two-track tape recorders to capture the sessions. Because of the limits of two-track recording the group favoured the castle's high-ceilinged entrance hall, an architectural reverb chamber, using the natural acoustics and placing the microphones optimally relative to their instruments. Due to the intense reverberation, Czukay took advantage of the sonic bleed and limited the band to three microphones, shared between vocalist Damo Suzuki and drummer Jaki Liebezeit. Keyboardist Irmin Schmidt experimented with sine-wave generators and oscillators in place of typical synthesizers on "Aumgn". The second LP features Can's more avant-garde efforts, with Roni Sarig, author of The Secret History of Rock calling it "as close as it ever got to avant-garde noise music." Featuring Holger Czukay’s tape and radio experiments, the tracks "Aumgn" and "Peking O" have led music critics to write that Tago Mago is Can's "most extreme record in terms of sound and structure." "Peking O" made early use of a drum machine, an Ace Tone Rhythm Ace, combined with acoustic drumming. "Aumgn" features keyboardist Irmin Schmidt chanting rather than Suzuki's vocals.
Video created with Sonic Visualizer 3.2.1, vokoscreen 2.5.0 and Kdenlive 18.12.3 on a Debian 10 Buster KDE Linux System.
Damo Suzuki – vocals
Holger Czukay – bass, engineering, editing
Michael Karoli – guitar, violin
Jaki Liebezeit – drums, double bass, piano
Irmin Schmidt – organ, electric piano, synthesizer; vocals on "Aumgn"
Tago Mago is the second album by the German krautrock band Can, originally released as a double LP in 1971. It was the band's second studio album and the first to feature Damo Suzuki after the 1970 departure of previous vocalist Malcolm Mooney. Recorded in castle 'Schloss Nörvenich' near Cologne, the album features long-form experimental tracks blending funk rhythms, avant-garde noise, jazz improvisation, and electronic tape editing techniques. Recording took three months to complete, with sessions often lasting up to sixteen hours a day. Czukay would edit these long, disorganized jams into structured songs. Czukay used only two two-track tape recorders to capture the sessions. Because of the limits of two-track recording the group favoured the castle's high-ceilinged entrance hall, an architectural reverb chamber, using the natural acoustics and placing the microphones optimally relative to their instruments. Due to the intense reverberation, Czukay took advantage of the sonic bleed and limited the band to three microphones, shared between vocalist Damo Suzuki and drummer Jaki Liebezeit. Keyboardist Irmin Schmidt experimented with sine-wave generators and oscillators in place of typical synthesizers on "Aumgn". The second LP features Can's more avant-garde efforts, with Roni Sarig, author of The Secret History of Rock calling it "as close as it ever got to avant-garde noise music." Featuring Holger Czukay’s tape and radio experiments, the tracks "Aumgn" and "Peking O" have led music critics to write that Tago Mago is Can's "most extreme record in terms of sound and structure." "Peking O" made early use of a drum machine, an Ace Tone Rhythm Ace, combined with acoustic drumming. "Aumgn" features keyboardist Irmin Schmidt chanting rather than Suzuki's vocals.
Video created with Sonic Visualizer 3.2.1, vokoscreen 2.5.0 and Kdenlive 18.12.3 on a Debian 10 Buster KDE Linux System.
![Jean-Claude Eloy – Le Minuit de la Foi - Morgendämmerung (2014) [Excerpt]](https://i.ytimg.com/vi/d6itgCvJiis/mqdefault.jpg "Jean-Claude Eloy – Le Minuit de la Foi - Morgendämmerung (2014) [Excerpt]
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Jean-Claude ELOY
Le minuit de la foi - Morgendämmerung (7020)
Le minuit de la foi (The midnight of the faith) (2014) for electronic and concrete sounds, around selected sentences by Edith Stein recorded by German actress Gisela Claudius. New work from Jean-Claude Eloy, a long piece under the power of expanded sounds and sacred words.
Le minuit de la foi is a double album, each CD of which forms a stand-alone entity. Each CD can therefore be listened to separetly. However, you do need to listen to the full album for it to become meaningful through its complementary balances, and to grasp its very essence.
video created with Audacity, Sonic Visualizer, vokoscreen and OpenShot on an openSUSE 13.2 Linux System.")
![Ludger Brümmer - The Gates Of H [1993]](https://i.ytimg.com/vi/ea4USmvezl0/mqdefault.jpg "Ludger Brümmer - The Gates Of H [1993]
The Gates of H. is generated out of a 120 second sample containing a folk song sung by a female choir. Algorithmical structures are applied to the sound by changing pitch and time-position to portions of the source sample so that a granular-synthesis structure is generated. The idea of modifying a sound image in this way is to apply a new structure to an already existing image and place it like a mask above the sound, while this mask is in time and pitch instead of space and colour.
The result is a sound which exposes either the algorithmical structure while the sound image becomes unrecognisable or the sound image when the duration of the grains is long enough and the pitch is not extremly modified. I was especially interested into the transient states of the grain, where dependant of the lenght of the sounds timbre or voices become audible: The listener seem to hear events which create an association to a human voice but it does not really sound like a voice. This keeps the perceptive process of the listener toggling between the context and the content of the sound grains.
The tension between the source sample and the algorithms gives a lyrical or a dramatical effect to the resulting sound while the recognisable voice images seem to create surrealistic scenes with strong associative power. Since I passed the Rodin Sculpture la porte de l enfer the gates of hell nearly every day on my way to the studio in Stanford a connection between the bronce plastic and my piece was unconciously drawn.
The sound processing techniques are restricted to sampling-rate conversion and pointer operations. The piece was created exclusively digitaly on the NeXT-Net of the CCRMA using Bill Schottstaedts Common Lisp Music synthesis language, Rick Taubes Common Music score/composition language and Paul Lanskis RT mixing program. It won the Prix Ars Electronica 1994. The piece was made possible by a scholarship of the DAAD by the German Government.
Ludger Bruemmer lives in Essen, Germany and teaches currently at the electronic studio of the Folkwang Hochschule Essen and at the Studio of the Technical University of Berlin. He holds a masters in psychology/sociology and a masters in composition, which he studied with Nicolaus A. Huber and Dirk Reith in Essen. Mr Bruemmer worked with the Nederlands Danstheater in Den Haag and choreographer Susanne Linke and the Susanne Linke group for 2 internatiolly performed dance productions. He also worked with several solo dancers for solo productions. For his works he was awarded with the Busoni Award/Berlin, the Folkwang Award/Essen and the WDR broadcasting Award/Cologne, Prix Ars Electronica Austria and got a honorable mentioning at the Luigi Russolo Award/Italy and Stockholm Award 1995. His pieces are performed in South America, US, Europe, Asia and Mid East.
Video created with Sonic Visualizer and Vokoscreen on an OpenSUSE 12.3 Linux System.")
![Ricardo Mandolini - Microrreflexiones [edited] (1987)](https://i.ytimg.com/vi/fMpGfSCwDJY/mqdefault.jpg "Ricardo Mandolini - Microrreflexiones [edited] (1987)
Microrreflexiones, version radioophonique – Groupe de Recherches Musicales (GRM) , Paris – SYTER – SYTER (1987)
the total length of this composition is 1804.
Video created with Audacity, vokoscreen and Sonic Visualizer on an Kubuntu 14.04 LTS Linux System.")
