Podcasts about conny plank

Michael Zähl, former engineer and designer of the main custom made mixing console at the legendary Studio of Conny Plank and Mark Ernestus, long time producer known from projects like Basic Channel and Rhythm & Sound had a special encounter which led to the collaborative development of AM1 - the state-of-the-art pure analog mixing console. I speak to these two excellent individuals about how they came to meet and the 9 years journey to make a mixing desk the likes of which we've never seen before. _____ Kind sponsorship of this pod comes from a lesser known company called Ableton! Live 12.1 is out and it's a beauty of an update. I put autoshift through its paces in a mini nitty to kick off the show Check out live at https://www.ableton.com

Part 1 of the 80:10 for Ultravox keyboard player, Billy Currie, with lots of fabulous music discussed in lovely bite-sized pieces.Part one covers 1-5;1. FADE TO GREY (1980/81)After a pre-amble, setting up where Billy was come 1980, we start with the first of Billy's seminal hits of the 80s, Fade to Grey by Visage.This is a 5 minute excerpt of Billy's chat about F2G. The full version can be found on the Anatomy of a Song episode on said track.2. B SIDES (1980-87)An interesting detour as we discuss the many Ultravox b sides of the 80s. Billy discusses his favourites.3. VIENNA (1980/81)Another iconic hit of officially “the best number 2 of the 80s”, and another excerpt from an Anatomy of a Song episode. 4. THE VOICE (1981)Original concept of interview was to discuss ten tracks, this changed during the course of the chat. This is why The Voice is discussed rather than the brilliant LP, Rage in Eden.Originally we discussed the music video as an audio commentary but edited down due to large pauses and just included as part of the chat. 5. GEORGE MARTIN (1982)Moving away from Conny Plank, the boys decide to try an up-and-coming producer called George Martin. Billy discusses how they worked together and the influence George had on them.He later did the orchestration for All In One Day but that is not discussed at this point. [It's farking great tho]For more on Billy check out billycurrie.comTo help support the pod via PayPal or say hi80sography@gmail.com                                                  This One Is For Chris x

Ein Feature von Carmen Bachmann

When British band Ultravox released their fourth studio album 'Vienna' in 1980, the addition of new lead singer Midge Ure marked a total change in direction from experimental post-rock to lushly orchestrated synth-pop. This week's guest, singer/songwriter Oscar Herrera (The Sleep of Reason, Black Tape For A Blue Girl), joins us as we explore this icely beautiful record that manages to be both cold-blooded and fierce at the same time. "This means nothing to me..." Songs discussed in this episode: Vienna - London Symphony Orchestra; The Sleep Of Reason - The Sleep Of Reason; Io, Father Whiskey - Oscar Herrera; Saturday Night In The City Of The Dead - Ultravox!; Forever and Ever - Silk; Fade To Grey - Visage; Get Out Of Here - Thin Lizzy; Sleepwalk, Passing Strangers, New Europeans, Private Lives, Astradyne, My Sex, Mr X, Western Promise, Vienna, All Stood Still - Ultravox; Final Sound (Chamber Version) - Oscar Herrera

Seja talks to her guest Michael Rother (Neu!, Harmonia, Kraftwerk) about playing these 50 anniversary of Neu! Shows in Australia and if they have conjured up and feelings of nostalgia. Michael tells Seja about being grateful for his musical freedom, having a popularity resurgence for old records 20 years after their release, and his opinion on terms like Krautrock and Motorik. They chat about playing in bands with people who may not be your friends, growing up in Düsseldorf, and being introduced to Little Richard by his older brother. Michael talks openly about Klaus Dinger (dummer in Neu!), Conny Plank (engineer and producer), Jaki Liebezeit (Can), Ralf Hütter and Florian Schneider (Kraftwerk) and Roedlius and Möbius (Cluster). Michael's strange show story was illustrated by Kate Reid @itrecordsmelb or @katekatereid. All illustrations can be seen on instagram @hearsejpodcast or on the HearSej facebook page.

Episode 110 Before and After Ambient, Part 1 Playlist Erik Satie, “Vexations” (1893-94), First, we will hear two piano versions (1 and 4) of this short work that was intended to be played repeatedly in one sitting 840 times in succession. The piano version was performed by Jeroen van Veen on the album Satie, Complete Piano Music (2016 Brilliant Classics). Then, we will hear an electronic version by Bhutan from Vexations (2016 Venado). Argentinean group Bhutan realized this electronic version of the Erik Satie piece in 2016. I thought it would be fitting to open the program with this because Satie's was one of the first works to be recognized in recent times as a kind of proto ambient composition. Satie preferred the term “furniture music” and thought that it would be suitable for background sound during a dinner party. The Bhutan version, realized in electronic instrumentation, is a fitting bridge of the old and the new when it comes to ambient compositions. John Cage, “In A Landscape” (1948) from In A Landscape played by Victoria Jordanova (2007 Arpaviva Recordings). This early Cage work was originally arranged either for piano or harp. It is very much the interpretation that makes this akin to ambient music. I selected this version for electric harp because it maintains the original's sense of suspended time and energy. I also like William Orbit's version but he took the orchestration to greater lengths and transforming it into something not so ambient. There is also a really quiet piano version by Stephen Drury which remains true to Cage's original intent of being “soft and meditative” with “resonances” being sustained by depressing both pedals throughout the performance. But I included this version for electric harp by Jordanova because it is more in tune with the electronic nature of the music we feature in this program. Morton Feldman, “Projection 1” (1950) from Arne Deforce, Yutaka Oya, Patterns In A Chromatic Field (2009 Aeon). Cello, Arne Deforce; Piano, Yutaka Oya; composed by, Morton Feldman. This is an acoustic work by Feldman (I couldn't find any electronic renditions) but I include it to draw similarities to the work of Harold Budd, also a pianist. In fact, Feldman was a long-standing favorite of Budd. Raymond Scott, “Sleepy Time” from Soothing Sounds for Baby, Volume 1 (1964 Epic). This legendary work is from a set of electronic and ambient records that Scott produced in the early 1960s as background music to help babies go to sleep. The electronic music was produced with his own creation, the Electronium, a from-scratch built custom synthesizer that combines electronic sequencing with tone generation and various filters. Eliane Radigue, “Vice - Versa, Etc. (Mix 1)” (1970) from (2013 Vice - Versa, Etc.). Processed tape reorder feedback. Realized at the composer's studio in Paris. Premiered in 1970 at Galerie Lara Vincy in Paris, on the occasion of a group exhibition. The stereo synthesis presented here was made in Lyon at Studio Fluorescent between 2010 and 2011 by Emmanuel Holterbach. Produced, composed, recorded using feedback by Eliane Radigue. Originally conceived as a sound installation, using several reel-to-reel tape players controlled through a mixing desk. The tapes could be played at different speeds, either forward or backward, right channel only, left channel only or simultaneously. The audience could create their own mix. Teresa Rampazzi (N.P.S.), “Environ” (1970) from Musica Endoscopica (2008 Die Schachtel). Created in 1970, this work represents a kind of reproduction in electronic sound of an ambient environment, peppered with noise and even voice. Rampazzi was a pioneering female composer of electronic music who founded the N.P.S. (Nuove Proposte Sonore) group and studio, where this was realized. Harmonia, “Hausmusik” from Harmonia (1974 Brain). Recorded and produced June - November '73 in the Harmonia home studio. Guitar, Piano, Organ, electronic percussion, Michael Rother; Organ, Keyboards, Guitar, electronic percussion, J. Roedelius; Synthesizer, Guitar, electronic percussion, D. Moebius. Brian Eno, “Discreet Music” (excerpt) from Discreet Music (1976 Obscure). Synthesizer with Digital Recall System, Graphic Equalizer, Echo Unit, Delay, Tape, Brian Eno. Brian Eno (b. 1948) worked with tape delay much in the manner defined by Oliveros for I of However, he expressed a somewhat indifferent attitude toward the outcome. He described the realization of Discreet Music (1975): “Since I have always preferred making plans to executing them, I have gravitated toward situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend toward the roles of planner and programmer, and then become an audience to the results.” Eno's composition consisted of a diagram of the devices used to generate the music. His approach was identical to that of Oliveros except that the sound material was specifically melodic and he did not modify or interact with the sound once the process was set in motion. The result in Discreet Music is the gradual transformation of a recognizable musical phrase. These 10 minutes are excerpted from the beginning of the extended work lasting 31 minutes. Brian Eno, “Through Hollow Lands (For Harold Budd)” from Before and After Science (1977 Island). Bass, Paul Rudolph; Vocals, Bell, Mini-Moog, CS80, AKS synthesizers, piano, guitar, Brian Eno. This is one of the only tracks that I would consider to be ambient from this album. Robert Ashley, “Automatic Writing” (excerpt) (1974–79) from Automatic Writing (1979 Lovely Music). This work was much talked about when it was released on record by Lovely Music Ltd. in 1979. Ashley wrote it over a five-year period after having just come back from his self-imposed exile from composing in the early 1970s. He performed it many times in various formative stages with the Sonic Arts Union before finally committing it to disc. It does indeed have a vocal, but it is also imbued with quiet, ASMR kinds of sounds that mesmerize. The basic musical material of Automatic Writing was the spoken voice, closely miked, uttering what Ashley characterized as “involuntary speech”: random, seemingly rational comments that might not make sense at all, depending on the context in which they were heard. These 10 minutes are excerpted from the beginning of the extended work lasting 46 minutes. Sri Dinesh, “Le Chant Des Étoiles” from Para Symphonie (1978 Alain Grima). French album of music to accompany meditation. It consists largely of short, repeated organ patterns and falls within the frame of mind for which ambient music was intended. Brian Eno, “2/2” from Ambient 1: Music for Airports (1978). Engineer, Conny Plank (yes, the producer of Kraftwerk). Composed, conceptualized, produced and engineered by Brian Eno. Theresa Rampazzi, “Atmen Noch” (1980) from from Musica Endoscopica (2008 Die Schachtel). Conrad Schnitzler, “Control B” from Control (1981 Dys). Edition of 1000 copies. An electronic work by Schnitzler, who played the devices, produced, and recorded the music. Opening background music: Brian Eno and Peter Chilvers, Bloom 3.2 (10) (2014 Opal Ltd.). Bloom is a generative music application that composes ambient music. This recording was made using Bloom running in “Classic” mode on a Macbook Pro running Ventura 13.5.2. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.  

Schoolyard friends Manuel Göttsching and Hartmut Enke loved the Beatles and the blues ... like everybody else in a Berlin rock band in the late '60s.  But then they got hold of Blue Cheer's record and some blow-the-doors-off British amps.   Soon wunderkind drummer Klaus Schulze was at their door, sniffing around the new equipment.  Things were gonna get LOUD.  Ash Ra Tempel's soundquakes and soundscapes show off a dynamic range that is unmatched in Krautrock.  Come join us as we talk about the band, with special attention given to their first two records.Enter a world of anvils and dream machines, of universal vibrations and floral mortality.  Enter ... the Tempel.

No figure loomed larger over Krautrock, as a genre, than legendary producer/ sound engineer Konrad "Conny" Plank ... and we've been looking for an opportunity to talk about him.  Then we discovered the Rastakraut Pasta LP that he and Dieter Moebius recorded and released in 1980.  Problem solved!From behind the board in Cologne's Rhenus Studio and then his own converted farmhouse in Wolperath, Plank put on tape some (most?) of the best German kosmische and electronic music of the '70s.  From there he went on to develop the sound signatures of post-punk acts like Devo, Eurythmics, and Ultravox.Gone too soon at age 47, Plank is (and damn well should be) remembered as Krautrock's Midwife.  Join us as we explore his life and career and then go track by track through Rastakraut Pasta on Episode 16 of CBK!

Lol in Tasmania small and cool. Damien Hirst diamonds and Berlin fish Fool Kevorkian death blanket is the best in showMedical flip-flops in the house of Ringo. Virgin Townhouse & Hedges' Battery.  Nick and Phil Collins in drum-fill Flattery Terry Chambers and XTC – in Another Green World lives a young Budgie Nick began life in Southern Spain – moved to London for the Pistols reignGood with loops Nick remixed tapes  M's “Pop Music” gave the biggest breaks  Got Nick the job with Lydon's PILCoz' the engineer made Johnny ill “Let's make some Fackin' music” – “We mean it man!” Turned Nick's life ‘round – Lol, Clash, Budgie, Bovell, Slits can! Nick Cave and Budgie - harmonica Kings Nick and Nick Release the Bats and thingsBudgie at the Rock Garden for the Birthday Party Lol at the Marquee but Bob's not a Smartie?Budgie and Bob pretend they're themselvesSteve Strange showed Budgie how to shoplift the shelves Budgie in the eye of the movers and shakers An 8 piece Suicide band – any takers?Nick almost Cured in the Townhouse grounds Cure wanted Conny Plank ‘s Animal sounds We're older than the fans - but still in Our prime We never worked with Nick - but there's Always time!CONNECT WITH US:Curious Creatures:Website: https://curiouscreaturespodcast.comFacebook: @CuriousCreaturesOfficialTwitter: @curecreaturesInstagram: @CuriousCreaturesOfficialLol Tolhurst: Website: https://loltolhurst.comFacebook: @officialloltolhurst Twitter: @LolTolhurst Instagram: @lol.tolhurst Budgie: Facebook: @budgieofficial Twitter: @TuWhit2whooInstagram: @budgie646 Curious Creatures is a partner of the Double Elvis podcast network. For more of the best music storytelling follow @DoubleElvis on Instagram or search Double Elvis in your podcast app.

- Folge 39: Reto Caduff / Conny Plank-  Wir klären in dieser Folge ein für alle Mal:Wie kam es dazu, dass Séance ihr letztes Album bei Dave M. Allen (The Cure, Sisters of Mercy, etc) aufgenommen haben?Wie war es für die Conny Plank Doku, all die Helden unserer Jugend wie Daniel Miller, Kraftwerk, Robert Görl von DAF, Jaz Coleman von Killing Joke, Karl Hyde (Underworld) Dave Stewart von Eurythmics und Midge Ure zu treffen?Und wieso haben die so bereitwillig mitgemacht?Wer besitzt das legendäre Mischpult von Conny Plank?Wann kommt etwas neues von Séance? - Fun facts, hard facts & Nerd FactsConny Plank hat seine goldene Schallplatten (und das waren einige) auf seinem WC aufgehängt.Conny Plank hat zeitweise in der Villa Kunterbunt in Hamburg gelegt, in der Udo Lindenberg, Marius-Müller Westernhagen und Otto Walkes gewohnt haben.Conny Plank hat es abgelehnt, die Platten von David Bowie, den Cars als auch jene von U2 zu produzieren, zu letzterem sagte er. »Ich hab mit dem Herrn Bono (sic!) gesprochen, dann hab ich mich am Kopf gekratzt und gedacht: Welches Bewusstsein muss ich da übertragen?«Interview von Reto Caduff mit Kraftwerk: https://www.youtube.com/watch?v=gjbRS67Qtcg - LinksDie Doku Conny Plank: The potential of noise gibt es hier: https://amzn.to/3CD9JFMWebsite Reto Caduff: https://www.retocaduff.comWebsite Séance: https://seance.bandAboriginal voices: instant music: https://www.discogs.com/release/25176688-Aboriginal-Voices-Instant-MusicPodcasts: https://disko80.buzzsprout.comRSS-Feed: https://feeds.buzzsprout.com/1754816.rssHomepage: http://www.purwienundkowa.comAktuelle CD von Purwien & Kowa: https://ffm.to/puk5Musik von Purwien & Kowa: https://purwienkowa.bandcamp.comBücher von Purwien & Kowa: https://amzn.to/2W9Ftj8Spotify Playlist Episode 39: https://spoti.fi/3wCU8Cv

Als Studio-Techniker hat Michael Zähl sein Handwerk im legendären Studio von Conny Plank gelernt. Mittlerweile arbeiten Musik-Größen wie Mark Ernestus und Nils Frahm mit Mischpulten von Michael. Ein Pult, das er für das Studio der Krautrock-Ikonen Can gebaut hat, steht sogar im rock'n'popmuseum Gronau. Mit seinem jüngsten Produkt, dem Kopfhörerverstärker HM1, können HeadFi-Audiophile nun den legendären Zähl-Sound auch zu Hause genießen. Bevor Michael und Olaf dazu kommen, sich über den HM1 zu unterhalten, tauchen sie jedoch erst einmal in Michaels bewegte Karriere und die faszinierende Studiotechnik an sich ein. Dabei wird vor allem deutlich, dass das Mischpult und der Mensch dahinter für Michael vor allem Teil des kreativen Prozesses sind. Wir wünschen euch viel Spaß beim Zuhören!Shownotes: kHz & Bitgeflüster Folge #26 Mehr zu Michael Zäh und seinen Produkten:https://zaehl.com/https://hm1.zaehl.com/de/ Im Podcast erwähnte Künstler:innen:Conny Plank:https://de.wikipedia.org/wiki/Conny_Plank Mark Ernestushttps://de.wikipedia.org/wiki/Mark_Ernestushttp://www.basicchannel.com/ Nils Frahm:https://de.wikipedia.org/wiki/Nils_Frahmhttps://www.nilsfrahm.com/https://www.erasedtapes.com/artist/nils-frahmMusiktipps:Nils Frahm – Tripping With Nils Frahm (2020)(Auch als Film auf Apple TV und Mubi)Kraftwerk – Autobahn (1974)Eurythmics – Revenge (1986)A Very Special Christmas – Various Artists (1987) Hosted on Acast. See acast.com/privacy for more information.

Zu Gast im "SR 1 Abendrot-Talk" ist Stephan Plank. Der Filmproduzent und Manager spricht mit SR 1-Moderator Thomas Marx über seinen Vater, den legendären Toningenieur und Produzenten Conny Plank.

With Neu! in the rear-view mirror, Klaus Dinger stepped into his white overalls and reached for fame and fortune with his second act, La Düsseldorf.  And boy oh boy did he find it.Today we talk about LD's second LP, Viva.  Notable for its space-age guitars, synth washes, and of course "Dingerbeat," Viva serves up a shimmering blend of glam, punk, and electronica.  And that's not to mention the lyrics -- Klaus sings of life, love, the world, money, the birds, money again, and glorious revolution.  Is it corny?  Cheesy?  Maybe, but so are nachos, and they're DELICIOUS.The future is calling.  We're picking up on the first ring. 

For the 50th anniversary of the first NEU! album, we spoke to Michael Rother about the extraordinary circumstances of how it was made. After Rother had been invited to jam with Kraftwerk, he had a fateful meeting with drummer, Klaus Dinger. The two of them ended up joining Kraftwerk for a time before deciding to leave and form their own band. Rother and Dinger asked producer, Conny Plank, to record them as they put up their own money to book a studio in Hamburg for four nights in late 1971. Plank turned out to be a key collaborator as he was inventive and efficient in the studio and was able to keep them on track to record a full album in a short time. These whirlwind sessions resulted in the debut NEU! album, which was released in 1972. In this episode, Michael Rother describes this period of his life when he was influenced by the political changes happening around the world and in post-war Germany. He realized the importance of overcoming conservative structures, both politically and musically, and decided to abandon the more conventional blues-based music he had been playing as a teenager. Joining Kraftwerk had allowed Rother to connect with other likeminded musicians and inspired him to find his own musical identity. Rother describes the artistic kinship he felt with Klaus Dinger, even though their differing personalities eventually led to being estranged from one another in later years. From the power of Dinger's drumming to the discovery of backwards guitar overdubs to Conny Plank's use of phasing to the NEU! albums disappearing and reappearing over the years to the enduring impact of the music on younger generations, we'll hear the stories around how the album came together.

Originally recorded on June 26 2022, this episode focuses on the culturally significant 1972 album by Neu!, “Neu!.” This episode marks the second in a two-part series centering on the genre of Krautrock and two of the pioneering bands of that era. TNT dares to ask the question, "what exactly is Krautrock?"

Conrad Schnitzler, Brian Eno, Michael Rother, Conny Plank.  All the cool kids wanted to hang with Moebius and Roedelius — so naturally we do, too. What time is it, listeners?  Is it time for the CBK  bus to take a turn "im Suden?"  Is it time to tap into Roe's pastoral Romanticism and Moe's sparky bleeps and blips?  Time to put Eric Clapton into "the Krautock meat grinder?"   Is it, indeed, time to check in on CLUSTER?   Damn straight, Brüder und Schwestern:  it's SUGARTIME.

Esta semana, en una nueva edición de Rebelión Sónica, destacamos el trabajo 2022 que unió al importante músico del rock alemán Michael Rother con la artista italiana Vittoria Maccabruni, “As Long As The Light”. Editado por el sello Groenland Records el 21 de enero pasado, el álbum colaborativo es una nueva muestra de la plena vigencia y actualidad del maestro germano, que en 2020 publicó su disco “Dreaming”, además de lanzar box sets con su trabajo solista y en bandas como Harmonia. Justamente, en la última parte del programa, viajamos al pasado en la historia de Rother, para celebrar los 50 años de la edición del disco debut homónimo de Neu! -producido por Conny Plank-, la emblemática e influyente banda Krautrock que dirigió junto al baterista Klaus Dinger.

Folge 21: Andreas Fröhlich (Die Drei ???)- Wir klären in dieser Folge ein für alle Mal:Wie kam es dazu, das Andreas Bob Andrews aus den drei ??? spricht?Sind die drei ??? eigentlich befreundet?Was haben die drei ??? mit Alfred Hitchcock zu tun?Wie kam es dazu, dass Andreas Gollum in Herr der Ringe synchronisiert hat?Wie immer ein paar Fun Facts zur Folge: Justus Jonas heißt im Original Jupiter Jones und Peter Shaw Pete Crenshaw. Die beiden irischen Brüder Kenneth und Patrick O'Ryan heißen in der Originalserie Hans und Konrad Schmid und kommen aus Bayern. Am 2. Dezember 2021 hat die Deutsche Post AG in der Serie Helden der Kindheit für Die drei ??? ein 80 Cent Briefmarke herausgegeben. Der neue Die drei ??? Film Erbe des Drachen erscheint wahrscheinlich im Januar 2023. Die drei ??? halten den Weltrekord als größtes Live-Hörspiel mit mehr als 15.000 Zuschauern in der Berliner Waldbühne. Conny Plank hat tatsächlich seine Goldenen und Platin-Schallplatten auf dem Gäste-WC aufgehängt.Links:Podcasts: https://disko80.buzzsprout.comRSS-Feed: https://feeds.buzzsprout.com/1754816.rssHomepage: http://www.purwienundkowa.comAktuelle CD von Purwien & Kowa: https://ffm.to/puk5Musik von Purwien & Kowa: https://purwienkowa.bandcamp.comBücher von Purwien & Kowa: https://amzn.to/2W9Ftj8Agentur Andreas Fröhlich: https://bit.ly/3G4Psb0Die drei Fragezeichen: https://www.dreifragezeichen.deSpotify-Playlist Folge 21: https://spoti.fi/3unQVqv

In the year 1978, known Akronites and pioneers who got scalped, DEVO, released their debut studio album. Recorded at Conny Plank's home studio in Cologne Germany and w/ Brian Eno at the helm, the album is a true turning point in what punk was devolving towards. “The fittest shall survive, yet the unfit may live.” Let's talk DEVO, Q: Are We Not Men? A: We Are Devo!

Esta semana, en el último capítulo de la temporada 2021 del Rebelión Sónica, los invitamos a repasar música de la cantante, improvisadora electrónica y exponente del avant-garde y el experimentalismo, Phew, alias de la artista nipona Hiromi Moritani. En primer lugar, revisaremos parte de su nuevo álbum “New Decade”, que fue lanzado el 22 de octubre de 2021 por el sello Mute, el primero con esa importante etiqueta desde “Our Likeness” de 1992. Inspirado por ideas de futuros perdidos, “New Decade” muestra a Moritani “combinando componentes electrónicos fracturados con drones y bromas vacías cantadas tanto en inglés como en japonés”. De acuerdo a una declaración de Phew, el álbum se centra en la percepción del tiempo. “Durante los años 80 y hasta los 90, las cosas progresaron a lo largo de una línea del pasado al presente y al futuro, pero creo que eso ha cambiado, especialmente desde principios del siglo XXI. Personalmente, dejé de poder ver un futuro que se extiende desde el presente”. En la parte final del programa, retrocedemos cuatro décadas en la carrera de Phew, para escucharla, cuando tras la salida de su banda de art-punk primaria Aunt Sally, se unió con los músicos alemanes Holger Czukay, Jaki Liebezeit -ambos de Can- y el reconocido productor Conny Plank, para lanzar su disco homónimo en 1981.

The band had been formed in August 1968 by drummer Mani Neumeier and developed into one of Germany's most colourful rock acts. To start off with, Guru Guru sounded much more rhythmically diverse than other German acts, tried different grooves and alternative music styles and were considered by the press as the German equivalent to British rock acts such as Cream. At the same time, international icons were totally alien to Guru Guru, the musicians drawing their inspiration from their seemingly limitless imagination and a healthy portion of stubbornness. While the group saw themselves as an active part of the student movement, they had a whole different musical approach compared to the political rock bands of the early seventies, while their lifestyle featured the typical flair of an idyllic commune: musicians, their girl-friends, friends and roadies living together on an old farm in the Odenwald region. Drummer Neumeier was undisputedly the most important power behind Guru Guru; not only their music centred on him, he also developed the so-called Mani-Tom, an inflatable drum which allows the player to raise the pitch by blowing air into the tom. The group produced their debut album, UFO, in June 1970, which - according to the liner notes - was intended to prepare its listeners for the impending landing of extraterrestrials. Hinten, another album featuring improvised tracks, followed one year later. Känguru saw the trio consisting of Mani Neumeier, Uli Trepte and Ax Genrich change their concept successively. Together with sound engineer Conny Plank, they ensconced themselves in the studio between February 28 and March 6 1972 and produced an album which presented musicians who had inspired each other during the recording. 'We tried a kind of triangular system,' Neumeier explains, 'one of us came up with an idea, the other two picked up on it and tried variations on their instruments.' The result consisted of four long but clearly structured songs, among them the classic, 'Ooga Booga' , from then on an integral part of the band's live repertoire. Guitarist Ax Genrich allowed himself to be influenced mainly by Jimi Hendrix. 'Every time I think I ve discovered something new, I notice that Jimi Hendrix came up with it long before me on Electric Ladyland,' he confessed, adding: 'He's my most important inspiration.'

Ultravox, Conny Plank, and this means everything to me.

In this episode Carla and Brad talk about Neu! ... and specifically their 1973 sophomore effort, Neu! 2.  (Spoiler Alert: we're big fans.)Order and chaos, beauty and aggression, Rother and Dinger.  Join us as we speed toward the horizon with Neu! 

Folge 14: NDW 2  Wir klären in dieser Folge ein für alle Mal:Welche beiden Schwestern waren die Godmothers der NDW?Welcher bekannte Musikproduzent hat lieber ein NDW Album aufgenommen statt eines von U2?Welchen prominenten Nachbarn hat Inga Humpe hat und wie wohnt der?Was waren die prägenden Gestalten der NDW im Hintergrund?Wie immer ein paar Fun Facts zur Folge:Das Debütalbum Ideal der Band Ideal, welches 1980 auf dem Label IC erschien, erhielt als erstes von einem Independent-Label veröffentlichtes Album eine Goldene Schallplatte.Der sehr interessante Dokumentarfilm über Conny Plank heißt "Conny Plank - the potential of noise." ist auf DVD erhältlich und hat 2019 den deutschen Dokumentarfilmpreis gewonnen.Ralf Hertwig, der Drehbuchautor von "Verschwende Deine Jugend" war erst Schlagzeuger, dann Sänger bei der NDW-Band Palais Schaumburg.Links:Podcasts: https://disko80.buzzsprout.comRSS-Feed: https://feeds.buzzsprout.com/1754816.rssHomepage: http://www.purwienundkowa.comMusik von Purwien & Kowa: https://purwienkowa.bandcamp.comBücher von Purwien & Kowa: https://amzn.to/2W9Ftj8Spotify-Playlist Folge 14: https://spoti.fi/3CvFpuo

«Pop Routes» feiert musikalische Geburtstagskinder vom 3. Mai: James Brown, Michael Kiwanuka, Mary Hopkin, Pete Seeger und Frankie Valli. Star der Show ist aber Conny Plank, der in einem Saustall ausserhalb von Köln Musikgeschichte produzierte: Kraftwerk, Gianna Nannini, DAF, Eurythmics, NEU! uvm.

Spelled Neu! but pronounced Neu!, in 1974 Neu! found themselves at a creative impasse. Michael Rother wanted to explore ambient soundscapes while Klaus Dinger was interested in writing rock anthems. With the help of their long time producer, Conny Plank, the two pulled the original Speaker Box/Love Below and released this timeless classic before disbanding for ten years. Let's talk Neu!, Neu! '75!

Episode 26   Not Tangerine Dream--Revisited German Electronic Groups and Connections in the 1970s   Playlist Eberhard Schoener, “Polonaise” in three parts, from Destruction Of Harmony - The Living Sound Of Synthesizer Based On Bach & Vivaldi (1971 Ariola). Composed/interpreted by, arranged by, Moog Modular synthesizer, Eberhard Schoener. Wolfgang Riechmann, “Abendlicht” from Wunderbar (1978 Sky). Voice, electric violin, guitar, electric piano, bass, ARP 2600, ARP Odyssey, ARP Sequencer, Röhrophon, electronic drums, Wolfgang Riechmann. Kraftwerk “Heimatklänge” from Ralf & Florian (1973 Philips). Vocals, keyboards, strings, wind instruments, drums, electronics, Florian Schneider, Ralf Hütter. Stockhausen, “Side IV, Groups II and III” from Sternklang (Park-Music For Five Groups). For vocalists, instruments and electronics. From the notes: “The composition is written for groups of singers and instrumentalists, which are widely separated from each other spatially. The groups should be able to hear each other, above all, when a group has a pause. The musicians must also be able to regulate the overtones of the played and sung sounds, as these are described exactly. We therefore ask the listening participants to keep the silence that is necessary for the musicians.” Kraftwerk “Tongebirge” from Ralf & Florian (1973 Philips). Vocals, keyboards, strings, wind instruments, drums, electronics, Florian Schneider, Ralf Hütter. Peter Baumann, “Meadow Of Infinity (Part 2)” from Romance 76 (1976 Virgin). Composed, produced, and played by Peter Baumann. Used a custom-built synthesizer provided by Projekt Electronic Berlin. Cluster, “Seltsame Gegend” from Curiosum (1981 Sky). Music by, produced, and played by Dieter Moebius and Hans-Joachim Roedelius. Wolfgang Riechmann, “Weltweit” from Wunderbar (1978 Sky). Voice, electric violin, guitar, electric piano, bass, ARP 2600, ARP Odyssey, ARP Sequencer, Röhrophon, electronic drums, Wolfgang Riechmann. Produced by Conny Plank. Cluster, “Helle Melange” from Curiosum (1981 Sky). Music by, produced, and played by Dieter Moebius and Hans-Joachim Roedelius. Klaus Schulze, “Neuronengesang”, side four of Cyborg (1973/76 Brain). Music by, organ, synthesizer, vocals, percussion, Klaus Schulze.   Archive Mix In which I play two tracks at the same time to see what happens. Eberhard Schoener, “Overture” from Destruction Of Harmony - The Living Sound Of Synthesizer Based On Bach & Vivaldi (1971 Ariola). Composed/interpreted by, arranged by, Moog Modular synthesizer, Eberhard Schoener. Peter Baumann, “Meadow Of Infinity (Part 1)” from Romance 76 (1976 Virgin). Composed, produced, and played by Peter Baumann. Used a custom-built synthesizer provided by Projekt Electronic Berlin. “Meadow Of Infinity Part 1” included members of the Philharmonic Orchestra Munich, conducted by H. Baumann.

Produzent Conny Plank gehört zu den wichtigsten Tontechnikern der 70er-Jahre. Oftmals nahm er nur eine oder zwei Platten mit Bands auf. Die Dokumentation, die die ARD nun zeigt, beleuchtet das Leben des Mannes, der David Bowie aus dem Studio warf. Reto Caduff im Gespräch mit Julius Stucke www.deutschlandfunkkultur.de, Interview Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Beatle envoûté, colère féministe, amour de vacances, producteur hippie-punk illuminé, jeune fille en fleur… Des bonus, inédits et post-scriptum. --- Olivier Monssens poursuit son exploration des mouvements, personnalités et phénomènes libertaires, contre-culturels ou de contestation (au sens large) qui ont tenté de changer le cours des choses et ont parfois apporté de vraies révolutions dans les idées, la société, la vie, abordés par thèmes illustrés d'archives belges et internationales. Il sillonnera désormais toutes les époques : celles qui furent le creuset de tant d’utopies toujours, mais aussi les années 80, 90 et jusqu’à aujourd’hui. Le samedi entre midi et 13h sur Classic 21. --- ''Radio Caroline'' avec Olivier Monssens de midi à 13h tous les samedis sur Classic 21.

Beatle envoûté, colère féministe, amour de vacances, producteur hippie-punk illuminé, jeune fille en fleur… Des bonus, inédits et post-scriptum. --- Olivier Monssens poursuit son exploration des mouvements, personnalités et phénomènes libertaires, contre-culturels ou de contestation (au sens large) qui ont tenté de changer le cours des choses et ont parfois apporté de vraies révolutions dans les idées, la société, la vie, abordés par thèmes illustrés d'archives belges et internationales. Il sillonnera désormais toutes les époques : celles qui furent le creuset de tant d’utopies toujours, mais aussi les années 80, 90 et jusqu’à aujourd’hui. Le samedi entre midi et 13h sur Classic 21. --- ''Radio Caroline'' avec Olivier Monssens de midi à 13h tous les samedis sur Classic 21.

Japan [00:49] "All Tomorrow's Parties" All Tomorrow's Parties Hansa 1218 1983 Well, it's certainly of a time. Originally recorded in 1979, this Steve Nye remix was released in 1983. Benny Goodman Sextet [06:05] "Flying Home" All-Time Greatest Hits Columbia KG 31547 1972 From one of the many, many Columbia retreads of Goodman's material, we have Lionel Hampton's signature tune "Flying Home" featuring solos by both Hampton and pioneer electric-guitarist Charlie Christian. Willie Nelson [09:25] "Do Right Woman, Do Right Man" Always on My Mind Columbia FC 37951 1983 I was really hoping Willie's rendition of the Aretha Franklin classic would well, not be a weak early 80s arrangement. But there ya have it. Ya can't win 'em all. The Decemberists [12:23] "Valerie Plame" Always the Bridesmaid, Vol. 1: A Singles Series Jealous Butcher/Y.A.B.B. Records JB-074 2008 Ah, a single from simpler political times. The Decemberists [18:26] "Days of Elaine" Always the Bridesmaid, Vol. 2: A Singles Series Jealous Butcher/Y.A.B.B. Records JB-075 2008 A snappy little number from Mr. Meloy and Co. This single also features a cover of VU's I'm Sticking with You. The Decemberists [22:55] "Record Year of Rainfall" Always the Bridesmaid, Vol. 3: A Singles Series Jealous Butcher/Y.A.B.B. Records JB-076 2008 Sure wish we were having a record year for rainfall here in Sonoma County. Brian Eno [27:26] "2/2" "Ambient 1: Music for Airports PVC/Ambient Records 7908 AMB001 1978 Ground breaking ambient music from Mr. Eno with this track engineered by krautrock/kosmiche impresario Conny Plank. Hermes Nye [37:49] "Bonnie & Clyde" American Folk Music (The Life Treasury of) LIFE L1001 1961 Jiminy jilligers... those are some sympathetic sentiments right there. Neil Young [40:48] "Hold Back the Tears" American Stars 'n Bars Reprise MSK 2261 1977 Linda Ronstadt and Nicolette Larson on backing vox, Ben Keith on pedal steel. All fine stuff on this track. Other tracks on this album featured Crazy Horse, and of course Star of Bethlehem with Emmylou Harris. Made it to number 21 on the top 200. Oh, and the awesome cover art by none other than Dean Stockwell. Silver Jews [45:08] "Smith & Jones Forever" American Water Drag City DC149 1998 Recorded at the Rare Book Room in Brooklyn, the late great Dave Berman created another wondrous record. Michael Nesmith [48:28] "Different Drum" And the Hits Just Keep Comin' RCA Victor LSP-4695 Michael Nesmith and Red Rhodes with a post-First National Band release. Mighty fine in its simplicity. Brian Eno [52:43] "I'll Come Running" Another Green World Polydor Deluxe 2302 069 1975 Yes, more Eno. This time it's Pop Eno. So many great tracks to choose from this 1975 album, but I've always loved this kinda goofy number featuring Robert Fripp on "restrained lead guitar". Gladys Knight and the Pips [56:32] "Help Me Make It Through the Knight" Anthology Motown M792S2 1973 I saw this song listed on the back of the album and thought, wow... I need to hear this version. And now you have too! This rendition made it to number 33 on the Hot 100. The Supremes [01:00:57] "Baby Love" Anthology Motown M9-794A3 1974 Once again, sometimes you just have to go with the classics, like this number one smash hit from 1964. Dean Hurley [01:03:32] "Edge of Known" Anthology Resource Vol. II: Philosophy of Beyond Sacred Bones Records SBR-225 2019 Like many folks, I was introduced to the work of Dean Hurley through his sonic contribution to Twin Peaks: The Return and was instantly enthralled. This is the second collection of thematic soundscapes, dealing with what lies beyond the veil. Music behind the DJ: "Dance with Domino" by John Barry

Et nummer, der giver følelsen af at være på farten - men hvor det er landskabet, der bevæger sig, mens man selv står stille. Musiker Marie Eline Hansen opdagede tyske Neu! via David Bowie, som måske fandt inspirationen til én af sine største sange i ”Hero” fra krautrock-gruppens album Neu ’75. For Marie Eline Hansen er nummeret en perfekt symbiose mellem det maskinelle og det organiske, lyden af en menneskepuls og et hjerte, der banker lidt hurtigere end normalt. Det har givet hende en forståelse for, hvad repetition betyder i musik. Og den minder hende om at blive en rigtig pladenørd, der dyrker obskure udgivelser. Marie Eline Hansen er kendt fra bands som Bleeder / The Bleeder Group, Traening og Mit Nye Band, og hun har også udgivet albums i eget navn. Varighed: 7:13

This episode is an ode to collaborations and their importance in the everyday creative practice. The first and most significant treated in this episode is the life-long partnership between Dieter Moebius and Hans-Joachim Roedelius, the two prolific pioneers of teutonic electronic music and fathers of Krautrock. They’ve been working together, since the early 70’s, making music as a duo as well as teaming up with Conrad Schnitzler (under the name Kluster), Michael Rother (forming Harmonia), Conny Plank, Brian Eno (in Harmonia 76), Gerd Beerbohm, Karl Renziehausen and many more. The sonic heritage that they created influenced the subsequent generations of german artists, including some who are featured in this episode. Last but not least, this tracklist is a brief extract from the rich catalogue of the defunct Hamburg based label Sky Records, born from the experience of Brain that today evolved into Bureau B. The episode features: Dennis Young, Eno Moebius Roedelius, Hearts No Static, Roedelius & Schneider, Asmus Tietchens, Conrad Schnitzler, Cluster, Moebius & Beerbohm, Harald Grosskopf, Vono, Faust and Qluster.

Director Reto Caduff joins Matthew Pejkovic of Matt's Movie Reviews to talk about the making of his new documentary Conny Plank - The Potential of Noise.

DAF est un élément fondamental de l’histoire des musiques électroniques. Gabi Delgado-López et Robert Gorl (aux côtés du légendaire producteur Conny Plank) ont dessiné le plan homoérotique de la techno pour la « wasted youth » de l’Europe de l’Ouest des 80’s. Depuis le monde a bien changé, culturellement, politiquement et socialement. DAF reste pourtant plus que jamais d’actualité. Prescripteur et provocateur, DAF continue d’être à l’avant-garde artistique et de diffuser sa critique d’une société toujours plus individualiste et matérialiste dans laquelle la jeunesse peine toujours à trouver sa place. Réunis avec Jennifer Cardini, Robert Gorl et Gabi Delgado échangeront sur la contre-culture en Europe, son histoire, ses luttes perdues, sa récupération par l’industrie musicale, sa perte d’identité, le retour de hype de l’esthétique sonore des années 80, le changement de son business model et son avenir à travers un destin européen commun. Avec D.A.F (artistes), Jennifer Cardini (artiste) et Thomas Venker(Kaput Magazine)

1. I Want You - Utah Saints 2. Hallucination Generation (Syametic Nightmare) - Gruesome Twosome 3. Salvation (Razormaid! Mix) - The Hood 4. State Of The Nation - New Order 5. Happiest Girl (Jack Mix) - Depeche Mode 6. You Make Me Wonder (Razormaid! Mix) - Celebrate The Nun 7. What Do You See (Arabian House Mix) - Cause & Effect 8. LSI (Love Sex Intelligence) (Beatmasters 12" Mix) - The Shamen 9. Lucky Charm (Extended Club Mix) - Hard Corps 10. Send Me An Angel '89 (Dance Mix) - Real Life 11. We Came To Dance (12" Version) - Ultravox 12. The Calling (Full Extended 12" Mix) - Ken Heaven 13. We Are The Boys (Razormaid! Mix) - Until December 14. The Sound Of The Crowd (12" Version) (Complete) - The Human League 15. My Translucent Hands (No. II) - I Start Counting Notes and other random things: Well, here it is. My first brand new podcast in nearly seven months. Where does the time go? They say patience is a virtue and good things come to those who wait and I think this one was worth waiting for. A good blend of the familiar and the not-so-familiar; some things you may remember and some you've long since forgotten or maybe never heard in your entire life. Before I get to a few band notes, I want to mention that I have now upgraded my account back to a Pro account. I just couldn't bear the thought that people were actually making a point of coming to this site to listen to the music only to be told by a pre-recorded message that they could not because of bandwidth limitations. What does that mean for you all? It means no more running out of bandwidth two days after I post a new episode. With apologies to the Pet Shop Boys it means more "opportunities" to listen and to download when you have time. It means more storage, so I don't have to delete the audio from an older podcast just to post a new one. (You may have already noticed I've re-posted some of the more recent back-catalog episodes). Over time, I will add more of them. For long-time listeners, it's a chance to re-visit some of the older stuff from "back in the day". For newer listeners, it will be like a glut of new podcasts to check out. I also want to note that I've removed the audio for my previous episode (CRC #42) as the recording levels were all over the map and I didn't think the quality was up to snuff. Perhaps 5 or 6 years ago, it would have been okay, I suppose, but even in light of the cheap mixer and free recording software I use to assemble these 'casts, I think this podcast has come too far now and demands a higher level of quality. So, I may re-record that one at a future date. At that point, I'll re-post. Same for back-catalog items. The really good ones, I'll re-post. The ones that could use a little work will most likely be re-recorded and re-posted as a "reboot" episode. All in all, thank you all again for tuning in. Have a Merry Christmas and a prosperous 2017! Now on to the bands ... If you've been a follower of this podcast since the beginning and you've clung to the belief that, against all probability, the thrash metal band, Slayer, would somehow make its presence felt at some point then your patience has finally been rewarded. And you should book your ticket to Vegas immediately. Taking a riff from the group's tune, "War Ensemble", "I Want You" was one of four Top-25 hits for Jez Willis and Tim Garbutt on Utah Saints' self-titled debut. The duo were at the pioneering edge of sampling, also grabbing a snippet of Kate Bush from her track Cloudbusting for the song "Something Good" and a soundbite from the inimitable Annie Lennox from her song "There Must Be an Angel (Playing with My Heart)" for the track "What Can You Do For Me". Called "the first true Stadium House band" by Bill Drummond of The KLF, Utah Saints were one of the first rave acts to play live and one I had the good fortune to see on the same bill with The Shamen in the early 90s during the rave culture explosion. And let me tell you: it was quite a show ... probably. I first heard "Salvation" by The Hood sometime in 1989 while in college. A guy who lived down the hall from me had a version of it on an old mix tape. I really liked the track and was pleased as punch when the first of many Razormaid! discs from my nascent subscription showed up in the mail containing a mix of that song. It is a portion of that 10+ minute version that appears here. I would soon come across a movie soundtrack of the same name while sifting through record bins at a local indie shop. New Order, Cabaret Voltaire, The Hood, hip-hop producer extraordinaire Arthur Baker and others appeared on the album, so I purchased it. While I've listened to the song "Salvation" umpteen times over the years, I did not know much about the band or its members. To this day, I still don't. I spent the better part of an hour trying to find information on the group, but mostly found song credits and track listings. Eventually, I did find a tiny bit of info on a website called The Lost Turntable. The info was posted by an Arthur Baker and a John Hood respectively, both of whom I can only assume to be the real article. "the hood- is john hood, a legendary nyc party promoter-doorman,who is also quite a good writer. he was signed for a short time on the sire label and is active on the club scene in south beach, miami, florida" "Wow! Yeah, that The Hood track is indeed me: John Hood. (Thanks AB!) And I'm delighted to find it posted. In fact, till right now I never even had an MP3 of the song! So if no one minds, I'll post this, save this, and send this around. Nice to find Salvation!" If anyone knows anything more about The Hood, I would LOVE to get a one-sheet or press kit or bio on them. Speaking of bands I don't know much about, Gruesome Twosome would qualify as well. Sort of a one-off project for founders Samy Birnbach from Minimal Compact (aka Lord Solomon Pearbrook) and Norwegian producer Per Martinsen, who had been recording under the name Syamese, "Hallucination Generation" is the only official single from the group and was released in 1989. A cult classic in its own right, the song sort of bridges the gap between traditional industrial dance music and the bourgeoning New Beat music scene that was starting to take hold at the time. Birnbach and Martinsen would later collaborate with the likes of Bertrand Burgalat, Thrash from The Orb, Paul Kendall and Fortran 5 to eventually release a full-length album called Candy From Strangers, which was released in 1993. Birnbach currently releases material under the DJ Morpheus moniker, having once worked with Colin Newman from Wire for a project called Oracle, while Martinsen performs as Mental Overdrive. While it's probably not the best analogy as they employed very different musical styles, Ultravox is much like the band Genesis in the sense that they have two distinct timelines, led by two distinctly different front men. And much like one could argue Peter Gabriel represented the true vision for Genesis, there is no denying that Phil Collins took the band to massive commercial heights and is probably remembered more readily as the face of the group. Similarly, one could argue that while John Foxx may have been the driving force behind Ultravox during their formative years, it was Midge Ure, who took over after Foxx left for a solo career, that kept the band from imploding and pushed them further into the mainstream and to massive success in the UK. With 7 Top-10 albums and 17 Top-10 singles, U-Vox, like many other bands of the day, took their cue from the glam rock outfits that came before such as Neu! In fact, early on Ultravox was known as Ultravox! (with an exclamation point) in deference to Neu! The first album with the classic line-up of Ure, Billy Currie, Warren Cann and Chris Cross would be the amazing Vienna, which marked a very different direction for the group. Produced by long-time Kraftwerk producer Conny Plank, the album included the title track, which would reach #2 in the UK and would be the highest charted song for the band. (John Lennon's "Woman" and "Shaddap You Face" by Joe Dolce would both keep the song from reaching #1). And while the 1982 album Quartet, produced by George Martin, would be the best-selling US album for U-Vox, the band would not again reach the level of critical success they found with Vienna. The song in this podcast is the 12" version of "We Came to Dance", the final single from Ultravox's sixth studio album, Quartet, released on April 18, 1983. The single reached #18 on the UK charts and was the last of seven consecutive top-20 singles for the band. This being the Christmas season, I would be derelict not to mention that Midge Ure also co-wrote (with Bob Geldof of Boomtown Rats fame) and produced the song "Do They Know It's Christmas?" by Band Aid. Last but not least, I want to mention "State Of The Nation" by New Order. Though it reached #1 on the UK Indie Singles Chart and #30 on the UK Singles chart in 1986, the song is probably not a favorite of the majority of New Order fans. I would wager if every NO devotee were to compile a list of his or her Top 10 songs, it would probably appear in less than 5% of those lists. Still, the track is a great one even if only for the fact that it's one of the few NO songs whose title actually appears within the lyrics and/or chorus of the song. As most die-hard fans know, the titles of most NO tunes have little or no relevance to the subject matter being discussed. "Shellshock", "Regret", "Touched By The Hand Of God" and "Confusion" are a few songs I can think of off the top of my head that go against that grain. While the song did not appear on the album, Brotherhood, which was released around this time, both the remix version appearing here and the B-side called "Shame Of The Nation", which was produced by John Robie, appear on the Substance compilation, released in 1987. That will do it for this epidsode. I've got my next podcast ready to record. As soon as I find some time, I'll do just that. Happy Listening!

For those of you who don't know: Conny Plank was a German record producer, musician, audio engineerer and secret member of many of those so-called Krautrock Bands until he died way too early in 1987. One of his early friends and collaborators was Hans-Joachim Roedelius, long-time member of Cluster and Harmonia and now – even at the age of 78 – hyperactive with both his solo work and in various collabos like Qluster or his recent project with Lloyd Cole. When Roedelius was in Dresden to play his live set at a special Conny Plank tribute night at Altes Wettbuero, Philipp had the opportunity to talk to him about his relationship to Conny and his work in general. Before that, the Leipzig based DJ and promoter esclé (who was hosting the Conny Plank tribute show with some friends) played a great DJ set with Conny Plank related songs. In fact, every record he played is from Conny Plank's very own record collection. His son was so kind to lend esclé the records for the whole tribute tour. Last but not least you can listen to a track from Credit 00 that he produced for his special Conny Plank live set. Credit could get his hands on a large collection of sample material out of Conny's studio for those tracks. And boy, this live set was hot! But for now, enjoy the radio show! There are slight sound skipping issues on the show every now and then due to the recording system at coloRadio. Sorry for that! UV Funk is a radio show which is broadcasted every third Friday from 9:30 pm to 11:00 pm on Dresden based community radio station coloRadio. Radio listeners in Dresden can tune in to the program on 98,3 or 99,4 MHz. Any other listeners can recall it here. The show is hosted by Philipp Demankowski and is all about stories, interviews and tracks out of the world of Cosmic Electronic Music. And watch out! It's in German. This show was aired on 17th May 2013. More infos and shows here: http://www.uncannyvalley.de/category/radio/ Tracklist: esclé in the mix 1. Mœbius & Plank – Two Oldtimers (Sky) 2. Mœbius & Beerbohm – Clarks Shiraz (Sky) 3. Cluster – Fotschi Tong (Brain) 4. Mœbius & Plank – Osmo-Fantor (Sky) 5. Fad Gadget – State Of The Nation (Mute) 6. Stahlnetz – Matrosen (Ariola) 7. Tommi Stumpf – Contergan Punk (Giftplatten) 8. Rheingold – Stahlherz (CBS) 9. Joachim Witt – Ich Fahr' Nach Afrika (WEA) 10. Schaltkreis Wassermann – Zeit und Raum (Space) 11. Rheingold – Fantasie (CBS) 12. Holger Czukay – Witches' Multiplication Table (Welt-Rekord) 13. Mœbius & Plank – Missi Cacadou (Sky) 14. Rita Mitsouko – La Fille Venue Du Froid (Virgin) 15. Ultravox – Vienna (Chrysalis) 16. Cluster – Dem Wanderer (Sky) 17. Neu! – Seeland (Brain) Interview with Roedelius 18. Credit 00 – Conny Plank Rework Session Teaser (Unreleased)

Themen: Andi Beit (Produzent) Produktion für die EAV (u.a. "Café Passé") Magic STS Felix Meyer - Erste Liebe, letzter Tanz Stimmen Bayerns - Der Rausch Weitere Infos: Schiffkowitz Günter Timischl Gert Steinbäcker Boris Bukowski Mashuun Carl Peyer Fezzz! Music Machine Peter Szammer Petrus Wippel Robby Musenbichler Rockarchiv Steiermark Conny Blank Curt Cress Blizzfrizz Jörg Schlick: Diese Wildnis hat Kultur Blue Thier & Coco Band Donovan Peter Waibel Fetisch 69 Westwind Felix Meyer bei 3nach9 (06.04.2012) Thanx Details zur Folge