Kosmische Musik

Kosmische Musik, also known as Krautrock, is a genre of electronic music that emerged in late 1960s and early 1970s Germany. The term “Krautrock” was initially used by the British music press as a derogatory term to refer to the experimental and avant-garde music coming out of Germany at the time. However, over time, the genre has become more widely accepted and celebrated worldwide. The roots of the Kosmische Musik can be traced back to the student movement in Germany during the late 1960s, which was marked by protests against the government and calls for social change. Many young people in Germany at the time were looking for new forms of expression, and music became an important way to voice their discontent with the status quo. One of the early pioneers of the genre was the band Can, who emerged in Cologne in 1967. The band consisted of five members: Irmin Schmidt on keyboards, Jaki Liebezeit on drums, Michael Karoli on guitar, Holger Czukay on bass, and Malcolm Mooney on vocals. Can’s music was characterized by its hypnotic rhythms, experimental soundscapes, and free-form improvisation. Another influential band in the Kosmische Musik scene was Kraftwerk. The group, formed in 1970 by Ralf Hütter and Florian Schneider, was one of the pioneers of electronic music. Kraftwerk's music was characterized by its use of synthesizers, vocoders, and other electronic instruments, and the group became known for its robotic, futuristic sound. Other notable bands in the Kosmische Musik genre included Tangerine Dream, Ash Ra Tempel, and Klaus Schulze. Tangerine Dream, formed in Berlin in 1967 by Edgar Froese, was known for its epic, ambient soundscapes and use of improvisation. Meanwhile, Ash Ra Tempel, formed by guitarist Manuel Göttsching in 1970, blended psychedelic rock with electronic sounds and created a unique sound that was both experimental and accessible. Klaus Schulze, who had played with Tangerine Dream before going solo, was known for his use of modular synthesizers and his pioneering of the sequencer, which allowed for the creation of complex, layered electronic music. In addition to these bands, the Kosmische Musik scene in Germany also included a number of influential record labels, such as Brain Records, Ohr, and Kosmische Musik. These labels provided a platform for the development and dissemination of the genre, and helped to establish a distinctive sound that was rooted in experimentation and improvisation. The popularity of Kosmische Musik began to decline in the late 1970s as disco and punk music began to dominate the music scene. However, the genre continued to influence a wide range of musicians and genres, including ambient music, electronic dance music, and even hip-hop. The legacy of the Kosmische Musik scene can be heard in the music of artists like Brian Eno, The Orb, and Aphex Twin, among many others.

Klaus Schulze: Known as the father of electronic music, Klaus Schulze was part of the experimental group Tangerine Dream before embarking on a solo career. His innovative use of sequencers and synthesizers influenced numerous artists in the genre. His early albums, such as "Moondawn" and "Timewind," are considered classics of the genre. Tangerine Dream: Founded in 1967, Tangerine Dream were pioneers of the genre and released a prolific amount of albums over their 50-year career. Their early albums, such as "Phaedra" and "Rubycon," are considered among the most influential works in the kosmische musik movement. Can: This German band, formed in 1968, blended elements of rock, jazz, and experimental music, creating a unique sound that was highly influential. Their music, such as their albums "Tago Mago" and "Future Days," is characterized by hypnotic rhythms and atmospheric soundscapes. Ash Ra Tempel: Formed in 1970, Ash Ra Tempel's early work, such as the album "Ash Ra Tempel," features extended improvisations that blend elements of psychedelic rock and electronic music. Their later work, under the name Ashra, explored ambient and electronic music. Harmonia: Harmonia was a supergroup formed by members of Cluster and Neu!, along with Michael Rother. Their music, such as their self-titled album, is characterized by a blend of electronic and organic sounds, creating a unique atmosphere. Neu!: Founded by former Kraftwerk members Michael Rother and Klaus Dinger, Neu!'s repetitive, hypnotic rhythms and sparse instrumentation influenced numerous artists in the genre. Their albums "Neu!" and "Neu! 2" are considered classics of kosmische musik. Popol Vuh: Founded by Florian Fricke in the late 1960s, Popol Vuh's music blended elements of traditional music with experimental electronic sounds. Their albums "In den Gärten Pharaos" and "Hosianna Mantra" are considered among their best works. Cluster: Cluster, composed of Hans-Joachim Roedelius and Dieter Moebius, were known for their use of electronic sounds and experimentation. Their albums "Cluster II" and "Zuckerzeit" are considered among their best works. Faust: Faust's music, marked by their use of unconventional instruments and experimental soundscapes, was highly influential in the kosmische musik movement. Their self-titled debut album and "So Far" are considered among their best works. Manuel Göttsching: Manuel Göttsching, part of the band Ash Ra Tempel, later released a number of solo albums that blended elements of electronic music with guitar-driven rock. His album "E2-E4" is considered a landmark in the genre, with its use of sequencers and hypnotic rhythms.

1. Phaedra - Tangerine Dream 2. Autobahn - Kraftwerk 3. Neu! '75 - Neu! 4. Cluster 71 - Cluster 5. Ash Ra Tempel - Ash Ra Tempel 6. Electronic Meditation - Tangerine Dream 7. I - Harmonia 8. Timewind - Klaus Schulze 9. Yeti - Amon Düül II 10. Luftschloß - Popol Vuh 11. Faust IV - Faust 12. Picture Music - Cluster & Eno 13. Future Days - Can 14. Vinyl - GAS 15. Zuckerzeit - Cluster 16. Tanzen - Kraftwerk 17. Moondawn - Klaus Schulze 18. Lila Engel - Neu! 19. Phallus Dei - Amon Düül II 20. Tago Mago - Can 21. St. Vincent's Court - Cluster 22. Atem - Tangerine Dream 23. Heroes - David Bowie (produced with Brian Eno) 24. Electric Prunes - Mass in F Minor 25. The Cosmic Jokers - The Cosmic Jokers.

One of the most notable works on the subject is David Stubbs' book "Future Days: Krautrock and the Building of Modern Germany." In the book, Stubbs explores the cultural, social, and political context in which Kosmische Musik emerged, arguing that it represented a "cultural revolution" of sorts. "Kosmische Musik was a cultural laboratory," Stubbs writes. "It recognized no boundaries, was internationalist in outlook and open to new ideas, and created new forms of expression, both sonic and visual." Another influential book on Kosmische Musik is "Stranded: Rock and Roll for a Desert Island," edited by Greil Marcus. The book features essays from a number of music critics, each writing about the one album they would choose to listen to if they were stranded on a desert island. Marcus himself contributes an essay on Can's "Tago Mago," an iconic Krautrock album. "Can's music seems to come out of nowhere," Marcus writes. "It replaces everything with itself, and then when it's over, there's nothing left but it." In addition to books, a number of musicians and critics have weighed in on the sound of Kosmische Musik. Brian Eno, who was heavily influenced by the genre, once called it "the most important musical movement of the last 30 years." Sonic Youth's Thurston Moore has cited a number of Krautrock bands as influences, saying that they "took rock and roll and turned it inside out." And Rolling Stone critic David Fricke has called Can "the greatest band in the world." Perhaps one of the most eloquent descriptions of Kosmische Musik comes from Julian Cope, a musician and music writer who has been vocal about his love of the genre. In his book "Krautrocksampler," a comprehensive overview of Krautrock bands and albums, Cope writes, "This was rock music, but it was rock music flying through the galaxies, surfing Neptunes, looping Jupiter, and landing on planets yet unvisited. These were rock musicians who had discovered that the good ship Rock Music could take them far beyond the mere humdrum of the everyday."

One of the key external conditions that helped bring Kosmische Musik into existence was the social and political upheavals that were taking place in Germany at the time. The country was still grappling with the legacy of World War II and the Nazi regime, and there was a growing sense of disillusionment with the prevailing political and cultural norms. Many young people felt alienated from mainstream society and were looking for alternative forms of expression and identity. In this context, music became an important means of self-expression and resistance. The counterculture movement, which was already well-established in the United States and Britain, began to take hold in Germany as well. It was characterized by a rejection of traditional values and a focus on personal freedom, experimentation, and spirituality. These ideals found expression in the music of Kosmische Musik, which was often deeply immersive and otherworldly. Another significant factor that contributed to the emergence of Kosmische Musik was the technological advancements that were taking place at the time. In particular, the development of electronic music technology had a profound impact on the genre. Musicians such as Klaus Schulze, Tangerine Dream, and Kraftwerk were among the pioneers of this technology, using synthesizers, sequencers, and other electronic instruments to create new sounds and textures. The cultural context of Kosmische Musik was also shaped by the broader artistic movements of the time. The genre was closely associated with the visual art of the period, particularly the experimental works of the German Fluxus movement. There was a strong emphasis on the use of abstract and psychedelic imagery, which was often designed to complement the music. Notable figures in the development of Kosmische Musik included record labels such as Ohr Records, Brain Records, and Kosmische Musik, which specialized in promoting the genre. Journalists and critics also played an important role in shaping the cultural context of Kosmische Musik, providing a platform for musicians to showcase their work and contributing to the development of a unique aesthetic and sound.