Uploaded March 2012 | Updated September 2026, 1 day ago
Computer World (Computer Welt) (5:06) and Computer World..2 (Computer Welt 2) (3:23)
Line-up / Musicians
- Ralf Hütter / voice, keyboards, electronics
- Florian Schneider / voice, keyboards, electronics
- Karl Bartos / keyboards, programming
- Wolfgang Flür / electronic Percussions, programming
Releases information
LP Kling Klang/EMI (1981)
Unlike previous LPs, this is Kraftwerk predicting the future, and how. In 1981 the computer was part of society, but as a monolithic object, the preserve of business, academia, industry and the military. It would be sometime yet until the home computer was the everyday object it is now. Ironically no computers were used in the making of this LP.
Kraftwerk's oeuvre has always been to talk about everyday life, or "alltagsmusik" as Ralf Hutter has often called it. Here they predict mass communication of data (Computer World), the reductionism of technology (Pocket Calculator), Internet Dating (Computer Love), and even have time to poke a little fun at things (It's More Fun to Compute). They stripped down these concepts to simplistic ideals with a beauty that no other artist has matched. The conceptual globalisation of data is represented by the different languages used, from German and English to Italian, Russian and Japanese.
As in their previous album, Kraftwerk took these themes and allied them to a rhythmic template that would underscore much of the electronic dance music that would follow them. As T.E.E and Die Mensch Maschine were inspirational in the source of new romanticism and synthpop, so Computer World would inspire much of Detroit Techno and Electro.
The sparse but warm and pure analogue sounds that pervade this album are testament to Kraftwerk's flawless sound design and engineering. "Computer Love" in particular, whilst not only having one of Kraftwerk's finest ever melodic codas, is the sign of a band who can reject any accusation of lacking soul out of the window. And to further counterbalance the steely facade Pocket Calculator is their dance masterpiece - the sign of a band at the height of their powers, not taking themselves too seriously.
(www.progarchives.com)
Computer World (Computer Welt) (5:06) and Computer World..2 (Computer Welt 2) (3:23)
Line-up / Musicians
- Ralf Hütter / voice, keyboards, electronics
- Florian Schneider / voice, keyboards, electronics
- Karl Bartos / keyboards, programming
- Wolfgang Flür / electronic Percussions, programming
Releases information
LP Kling Klang/EMI (1981)
Unlike previous LPs, this is Kraftwerk predicting the future, and how. In 1981 the computer was part of society, but as a monolithic object, the preserve of business, academia, industry and the military. It would be sometime yet until the home computer was the everyday object it is now. Ironically no computers were used in the making of this LP.
Kraftwerk's oeuvre has always been to talk about everyday life, or "alltagsmusik" as Ralf Hutter has often called it. Here they predict mass communication of data (Computer World), the reductionism of technology (Pocket Calculator), Internet Dating (Computer Love), and even have time to poke a little fun at things (It's More Fun to Compute). They stripped down these concepts to simplistic ideals with a beauty that no other artist has matched. The conceptual globalisation of data is represented by the different languages used, from German and English to Italian, Russian and Japanese.
As in their previous album, Kraftwerk took these themes and allied them to a rhythmic template that would underscore much of the electronic dance music that would follow them. As T.E.E and Die Mensch Maschine were inspirational in the source of new romanticism and synthpop, so Computer World would inspire much of Detroit Techno and Electro.
The sparse but warm and pure analogue sounds that pervade this album are testament to Kraftwerk's flawless sound design and engineering. "Computer Love" in particular, whilst not only having one of Kraftwerk's finest ever melodic codas, is the sign of a band who can reject any accusation of lacking soul out of the window. And to further counterbalance the steely facade Pocket Calculator is their dance masterpiece - the sign of a band at the height of their powers, not taking themselves too seriously.
(www.progarchives.com)
![Robert Normandeau - Venture (1998) [1/2]](https://i.ytimg.com/vi/RsypVil8TRg/mqdefault.jpg "Robert Normandeau - Venture (1998) [1/2]
Composer: Robert Normandeau
Commission: Codes daccès, with support from the CCA , Musiques & Recherches
Premiere: February 28, 1996, Échange Québec-Belgique, Lorchestre de haut-parleurs 2, Agora de la danse (Montréal, Québec)
To Catherine Béchard
The title refers to the 1960s musical group The Ventures (theirs was the first stereo album in my small but growing record collection) but also to all of the progressive rock music of that decade and the one that followed. It is exclusively made up of fragments of that music. These are used not as quotations but rather as the sonic archetypes that an entire generation of composers, my generation, was listening to as it was growing up. It was while I was working on Venture that I understood something about the origins of my compositions during that period. To this music I have added quotations from the sixteen movements of Mussorgskys Pictures at an Exhibition, which became a cult classic when Emerson, Lake & Palmer released a reworking of it in the mid-70s. This was the work that enabled me to move from rock to classical music.
Venture is made up of six movements that refer to different states of existence: Innocence, Stabilité [Stability], Tension, Délire [Frenzy], Violence, Sérénité [Serenity], and preceded by an Introduction. These are punctuated by variations on an ever-present movement, Tunnel (a metaphor for the transition between these states) which runs through the work.
[English translation: Tom Carter]
Venture was realized between 1996 and 98 in the composers studio and at the Faculté Polytechnique de Mons (Belgium). It was mixed at the studio of Queens University in Belfast (Northern Ireland, UK). Thanks to Todor Todoroff and Michael Alcorn. The work was commissioned by Codes daccès (Montréal) and Musiques & Recherches (Ohain, Belgium) and was made possible by the support of the Canada Council for the Arts (CCA). The first version was performed on February 28th, 1996 at Agora de la danse (Montréal) as part of the festival Échange Québec-Belgique.")
![Hans Tutschku - Eikasia [1999/2007]](https://i.ytimg.com/vi/Rz_gKP6h61I/mqdefault.jpg "Hans Tutschku - Eikasia [1999/2007]
8-kanalige elektronische Komposition / Studio : Klang Projekte Weimar / 1999, neue Stereo-Version 2007 / Dauer: 09:15 min / Michael von Hintzenstern gewidmet / Uraufführung in seiner 8-kanaligen Originalversion am 18. September 1999 beim Festival elektronischer Musik in Luzern (Schweiz)
Eikasia - Repräsentation - Modell - Abbild - Vergleich - Mutmaßung.
Diese Komposition ist meine erste Arbeit mit physical modelling. In all meinen vorangegangenen elektroakustischen Stücken wurden immer existierende Klangquellen weiterverarbeitet. Mit Eikasia unternehme ich den Versuch, eine vergleichbare Klangkomplexität mit reiner Synthese zu erreichen, wie wir sie auch von akustischen Objekten kennen. Am Anfang der Arbeit stand die Formalisation existierender Metall- und Saitenklänge mittels physikalischer Repräsentationen im Computer. Während der Realisation verglich ich die Syntheseklänge mit der Objektivität der realen Ausgangsklänge und schuf schließlich eine breite klingende Skala: von Abstraktion bis zur realistischen Abbildung der Originale. Die Zeitstukturierung der Formteile resultiert aus den Klängen selbst, sie ist sozusagen während des Arbeitsprozesses gewachsen. Alle Klänge wurden mit dem Programm Modalys vom IRCAM realisiert.
8-channel electroacoustic composition / studio : Klang Projekte Weimar / 1999, new stereo version 2007 / duration: 12:15 min / dedicated to Michael von Hintzenstern / first performance in the original 8-channel version on September 18, 1999 at the festival of electronic music Lucerne (Switzerland)
Eikasia - representation - model - picture - comparison - conjecture.
This composition was my first work using physical modeling. In all my previous electroacoustic works, real sound sources have been processed. In Eikasia, I was trying to achieve a comparable sound complexity through pure synthesis. I started with formalized computer models of actual sounds. During the work prozess, I compared the synthesized models with their original sounds and came up finally with a large sound palette that ranges from abstraction to reality. The formal structure is a result of the complexity of the sounds; it evolved during the working process. All sounds were realized with the program Modalys from IRCAM.
Video created with Sonic Visualizer and vokoscreen on Kubuntu 14.04 (Linux).")
![Jean-Claude Eloy – Le Minuit de la Foi - Dämmerlicht (2014) [Excerpt]](https://i.ytimg.com/vi/S-8lPLVWQPI/mqdefault.jpg "Jean-Claude Eloy – Le Minuit de la Foi - Dämmerlicht (2014) [Excerpt]
PLEASE SUPPORT THE ARTIST. If youre interested in this music, buy the cds. music piracy is hurting the artist who created the cds. Check out this site to recieve legal music:
http://www.metamkine.com (worldwide)
http://www.dronerecords.de (Germany)
Jean-Claude ELOY
Le minuit de la foi - Dämmerlicht (5006)
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.")
![Tangerine Dream - Zeit 2nd Movement - Nebulous Dawn [1972]](https://i.ytimg.com/vi/SG5UmB3qzFc/mqdefault.jpg "Tangerine Dream - Zeit 2nd Movement - Nebulous Dawn [1972]
Unlike most classic albums where listeners are ultimately able to come to a loose consensus on whether its good or not, Zeit remains a hot topic, forty years after its release. Even Tangerine Dreams core fanbase often finds itself divided on the issue, with some listeners deeming it among the greatest, most groundbreaking electronic albums ever made, and others marginalizing it as bong-addled nonsense. In a sense, Tangerine Dreams third record is the Tales from Topographic Oceans of progressive electronic music; a quintessential love it or hate it affair, with convincing arguments on both sides. Ultimately, its up to the individual listener to make up their own mind on the matter. Its an album that could be incredible or trite, simply based on the time and place a listener is when they listen to it. For all of its surface listlessness however, Zeit is as rich an ambient experience as they come. It is as challenging today as it was forty years ago, and though its possible only Tangerine Dreams more devoted fans will have the patience for its listlessness and quiet hum, theres a massive atmosphere here that could never have happened any other way.
Taken at face value, its a sprawling, drawn out sound experiment, turning its nose on melody, harmony and rhythm in order to focus solely on the texture of sound. Its as if the neoclassical composer Gyorgy Ligeti composed an electronic album. Although Tangerine Dreams golden, pre-soundtrack era was defined by longwinded compositions and spacey atmosphere, Zeit seemingly takes the composition out of the equation, leaving Froese and co. to focus solely on the way the music sounds. Zeit is the German word for Time, and its curious that Tangerine Dream would give that title to a piece that seems to eschew the concept entirely.
Nebulous Dawn is similarly abstract, but changes the palette of sound considerably. Here, Tangerine Dream evoke a much spacier impression, with sounds ranging from a looming hum, to ominous bubbling and the sounds I can only imagine would be heard most comfortably in the anal probing room of a UFO. Unlike Birth of Liquid Plejades however, there is less sense of progression, save for the gradual increase of the background hum. Once again, there are no melodies or apparent rhythmic structures- only a thick slab of sonic experimentation. Throughout the track, there is the perpetual image of a nano age super highway in a far future metropolis. Think the crowded, dark realm of Blade Runner, and that may be a good indication where Nebulous Dawn leads the listener.
text taken from http://www.prog-sphere.com/specials/tangerine-dream-zeit/#sthash.24qPjxlo.dpuf")
