Podcast appearances and mentions of Michael Rother

Esta semana, en la última sesión de Rebelión Sónica de la temporada 2024, los invitamos a escuchar música del box set recopilatorio “Roedelius 90”, que celebra las nueve décadas del legendario músico alemán y figura esencial de la electrónica contemporánea, Hans-Joachim Roedelius. Lanzado por el sello Groenland Records el 25 de octubre, la caja incluye música previamente desconocida del fundador de bandas de la trascendencia de Cluster y Harmonia. La disquera explica que la mayor parte de la música incluida en “90”, que suma tres horas de música en 50 tracks, proviene de grabaciones de dos pistas de Revox realizadas entre 1968 y 1980. Agrega que las cintas de Revox, fueron creadas con su delay Echolette y su órgano Farfisa, el mismo equipo utilizado por Roedelius para grabar sus queridos discos “Selbstportrait” -serie de álbumes del músico- y gran parte de sus seminales trabajos con Dieter Moebius y Michael Rother en Harmonia. De este modo, el box “documenta los procesos y sonidos que continúan inspirando a generaciones de amantes de la música y aventureros sonoros”. “90” no pretende ser una retrospectiva completa de la obra de un artista notable. Se desconoce la cronología exacta de estas piezas, así como quién pudo haber cooperado con Roedelius en ellas. Pero el trasfondo histórico de esta música es ciertamente convincente: no parece una hipérbole afirmar que estos ciclos hipnóticos en cascada rivalizan con los mejores contemporáneos como Terry Riley, que trabajó a medio mundo de distancia en sus propias y sencillas obras maestras. “Por el momento, una celebración será suficiente: un retrato de una vida extraordinaria a los 90 años, contada a través de una música hermosa, personal y original”, remata Gröenland. Al final del programa, destacamos a la banda de Roedelius con Dieter Moebius, Cluster, con música de su influyente álbum de 1976, “Sowiesoso”. Rebelión Sónica sale al aire por radio Rockaxis los jueves a las 10 y 22 horas, con la conducción de Héctor Aravena.

BLANCA LACASA no ha venido a hablar de su libro, LAS HIJAS HORRIBLES (Libros del KO), ha venido a poner canciones, maravillosas canciones. Blanca adereza el día mundial de la radio con una paleta de canciones que van sorteando décadas y géneros. "No hay cosa que más me guste que poner canciones" y queda demostrado en esta hora de DESAFINADO. Suenan canciones de: ÁNGELES TOLEDANO GRACE JONES EVERYTHING BUT THE GIRL STEELY DAN BIBI ANDERSEN FREDDIE GIBS & MADLIB SOLID SPACE PARÁLISIS PERMANENTE ALASKA Y DINARAMA IBON ERRAZKIN Se quedaron fuera... DAVID AXELROD, MICHAEL ROTHER,MARIAH,CLOUD ONE,SPACE Y EL SUEÑO DE HYPARCO Escucha DESAFINADO todos los jueves, de cinco a seis de la tarde, en el 95.4fm y www.espacio4fm.com

Tunng - Levitate a Little Six Organs of Admittance - Hold But Let Go Dean Wareham - You Were the Ones I Had to Betray Jesus & Mary Chain - Good For My Soul The County Liners - Oklahoma Jeffrey Lewis & The Junkyard - Roll Bus Roll Bonnie 'Prince' Billy - Boise, Idaho Anna Mcclellan - Flailing Orbits Andy Bell feat. Dot Allison and Michael Rother - i'm in love... Dot Allison - Wishing Stone Nightbus - Way Past Three KNEECAP - H.O.O.D (2025 Mix) Slowthai - Yum Yabba - Get By Sandwell District – Hidden Jarvis Cocker and Chilly Gonzales – Tearjerker

Entre d'altres, Les Testarudes i Bad Bunny, Sault i Billy Paul. Avui, nom

Guitar legend Michael Rother rings in to talk about his new collaboration Andy Bell of Ride. Plus new music from The Bird Calls, Class, and the Starcleaner Reunion.

Programa #248 de la séptima temporada de Mineral, el programa realizado en iPOPfm para poder disfrutar de la música que cuesta encontrar en las ondas. Centrado principalmente en el indie y post-punk, también entran el electro, el pop y el rock. En su séptima temporada, se emite cada miércoles de 21 a 22h y está dirigido y presentado por #bluetonic. Han Sonado: The Smashing Pumpkins – Eye. David Lynch; Karen O - Pinky's Dream (Trentemøller Remix). David Lynch - Noah´s Ark (Moby Remix). Kiasmos – Sisteron. Blankenberge – Together. Mogwai - Fanzine Made Of Flesh. Darksoft - Devil's In The Details. The Laughing Chimes - Cats Go Car Watching. Destroyer; Fiver – Bologna. Beach Fossils - Inside Out. DEAN WAREHAM - You Were the Ones I Had to Betray. Andy Bell; Dot Allison; Michael Rother. - i'm in Love. Alpaca Sports - Tomorrow I'll Be Fine. Alpaca Sports - Always On My Mind. Antílopedevega - Aquel momento extraño. Zero Azúcar - Al revés. Zero Azúcar - Píxel (feat. Alvaro Biznaga). Ash Code - Living For The Sound.

Aquí lo que importa es que sea fresco del día, en nuestro caso, de la quincena. En Radio Curie te ofrecemos una selección de novedades musicales del circuito alternativo internacional hecho con amor y todo el rigor posible. Durante una hora repasamos lo último de lo último, desde el folk a los sonidos más eclécticos de la electrónica, pasando por el postpunk o el hiphop. Aquí cabe casi todo. Han sonado: 1) Throwing Muses - Summer of Love 2) Andy Bell; Dot Allison; Michael Rother - i'm in love... 3) cootie catcher - Do forever 4) Everything Is Recorded; mary in the junkyard - Swamp Dream #3 5) Island Wastrel - Empireman 6) Mourn - Verdura y Sentimientos 7) Club 8 - ooo 8) Youth Lagoon - Speed Freak 9) Destroyer; Fiver - Bologna 10) Panda Bear - Ferry Lady 11) The Burning Hell - Bottle of Chianti, Cheese and Charcuterie Board 12) Messy Eater - I'm A Mess Right Now 13) Cutouts - Firstborn 14) Art d'Ecco - The Traveller 15) Skinner - Geek Love 16) Buddy Wynkoop - G.S.M.T 17) Bob Vylan; Amy Taylor - Dream Bigger 18) Lambrini Girls - Cuntology 101 19) clipping.; Daveed Diggs; Jonathan Snipes; William Hutson - Change the Channel 20) Ela Minus - QQQQ

¡Golazo! Is of course an indie disco radio show brought to by a football player and today marks a historic moment as the States host Copa America, all while the Euros play on in Europe - so much football so we have to match with so much football! The selections are dance friendly and in some cases punk thought for the disco punter - it's all laid out on the pitch! Erm, Dancefloor. Music; Gui Boratto, Michael Rother, Mano Negra, King Coya, Mexican Institute Of Sound, Stereo Total, Klee, José Padilla and loads more!For more info and tracklisting, visit: https://thefaceradio.com/category/golazo/Tune into new broadcasts of ¡Golazo! with Matt Pape LIVE, Thursdays from 12 - 2 PM  EST /  5-7 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Du krautrock qui fait le grand écart entre punk et ambient, entre énergie brute et textures fines, c'est le programme de ce Slippery consacré au duo allemand Neu!, aka Klaus Dinger et Michael Rother.

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.

Joe has a book “Agile Kata” in the making, if you like to be the first to know when it launches, please visit www.agilekatabook.com.Transcript: Agile F M radio for the agile community. [00:00:09] Joe Krebs: All right, thank you for tuning into another episode of Agile FM in the Agile Kata series. Today I have two guests with me, actually three guests with me. I have Dan Roman and Richard Sheridan from Menlo Innovations. We have Dexter with us in the background. He might or might not. Contribute to this recording as he's a dog, Dan is a frontline worker at Menlo.He's a a lead, but he's also primarily a software developer. We're going to talk a little bit about Kata in development and obviously Richard Sheridan, author of the books, The Chief Joy Officer and Joy Inc. Is it fair to say you're the Chief Joy Officer of Menlo. [00:00:54] Rich Sheridan: A chief storyteller is the more typical title they give me here.[00:00:59] Joe Krebs: Awesome. All right. The chief storyteller, Richard and Dan, welcome to the podcast.[00:01:04] Dan Roman: Thank you for having [00:01:05] Rich Sheridan: us. Thanks Joe. Good to see you. [00:01:08] Joe Krebs: Yeah. Good to connect. And this episode we're going to focus a little bit on development. We want to talk about how do teams build agile teams? How do they build a product?Here in particular software development products. Now, Dan you are, as far as I know from a website, your keynoting together with Richard there is, you have a focus on software for manufacturers of medical instruments and software for space researchers. So this is. This is I would say complicated, complex stuff you're working on and as far as I can tell and we talked about that during our visit in in Ann Arbor, where you guys are located, that there is no formal process like Scrum or Kanban or like to the book extreme programming deployed at Menlo Innovation.Is that correct? [00:02:01] Dan Roman: 100%. We have plenty of people who come and visit and we'll see what we're doing and find that what we're doing matches with one of their models. So we didn't set out to be agile, but agilists who come in say, Oh, Menlo is agile, or we have lean practitioners come in and they say, Oh, Menlo is lean.But our processes, we never started from a place of. We want to be agile. Let's do it this way or we want to be lean. Let's do it that way. [00:02:27] Joe Krebs: As you're obviously working with different kinds of companies and clients. And obviously also with different kinds of products you guys are creating. Now, I would be interesting because.There is a term that's being used, I was told, on the floor at Menlo, this is run the experiment. That seems to be a frequent term. Can you just specify, either one of you, what that means, or maybe both, right? And how that comes into play, working in agile ways. [00:02:55] Rich Sheridan: I would say, Joe, that phrase is born out of a background philosophy at Menlo that says, let probably pump fear out of the room.We think that fear is a culture killer. Filler fear is a mind killer. I think there's a line in doom that says something like that. And so if someone has a new idea here, rather than. Hey, let's form a committee to write a policy on that. I do. Let's take a meeting. Our inclination is to take action with that simple phrase.If somebody has an idea, somebody else might see. Great. Let's run the experiment. See what happens. And that can typically the things we try are on fairly small scale. We don't upend the whole place every week to try some new, crazy new way of working. But usually it is some small incremental change to an existing process or an enhancement to the way we do things here.Because somebody believed that there was a problem to solve and this experiment may help us address that problem. Again, trying it and see how it works. And the experiments that succeed are the ones that last a long time and others might just thritter away because they didn't actually solve an actual problem.Probably more often than not an experiment. Morphs over time. We had the original idea, we tried it, it didn't work the way we hoped. We try something a little different. [00:04:23] Joe Krebs: So it could go into either direction. So when we talked about this a little bit about the experimental part and obviously I'm very public about my my work and my interest in Kata and scientific thinking through Michael Rother and Jeffrey Liker.We, we met in Ann Arbor. And obviously when you hear the word experiment in connection with Kata , then it becomes, obviously the question is, how does this whole setup look like in Menlo? How do you guys operate? How does this all work? Do you guys have a product owner within Menlo? Do you guys have scrum masters?Do you guys have project managers, agile coaches? What do people listening to us right now have to imagine when they just picture Menlo and cannot visit you guys in person? [00:05:10] Rich Sheridan: It's probably valuable to know, just for your listeners, a little bit of background on what Menlo does for a living, where we make our money.We are doing custom software development on behalf of our clients. So Dan has done a lot of projects for us over the years that he's been here. He will work in with manufacturing companies who are trying to enhance their ERP systems. He'll work with furniture retailers who are trying to improve how things happen on the sales floor.So all these companies are coming to us because as Joe, everybody in the world needs software to run their businesses these days. And so we are bringing in clients from every industry imaginable to come in and work with us. We have a fairly simple structure to our team. The teams that Dan is a part of that are working on those various projects will consist of a project manager who is typically paired with we'll call it a product owner on the customer side of the equation.And for us, the customers are the people who are paying us to do this work. They aren't necessarily be going to be the end users, almost never the end users. Software building. We have a set of people on our team that have a very fun and unusual title and a great role called high tech anthropologists, and their job is to understand the humans that will one day use the software, the end users in software.Then we have our software development team, which comprises the biggest part of our company. And then Formal quality assurance role that works alongside the software development team. So every project at Menlo has some component of each of those four pieces. And and we work on a weekly iterative basis here.essentially right sizing every project for exactly the workload, right sizing it with the types of people it needs. We're more in the discovery phase. There'll be more high tech anthropology. If we're more in the software development phase, there will be more people like Dan on the project. The project manager and the QA teams are shared amongst variety projects, and they are they are constant throughout the course of each of the projects.In any given moment in time, we're a team of about 50 people. We have, probably right now, I'm going to guess about 15 different projects. at various stages. Some of the projects are large. They'll have 8 to 10 people on them. Some of the projects are small. They only have a couple. And it's probably worth noting that we pair.That pairing is a big construct here. That was an early experiment that took hold in the 23 years ago when we founded Menlo. And it has never let up since. [00:07:44] Joe Krebs: So running the experiment seems to be something like a, for testing and verifying the process in place, like programming, right? Is this an interesting, is this you have read about it, you, the teams might try it and find Found it useful, like many teams found their programming useful, right?So it's an interesting thing. So you're using that kind of experimentation approach for the process you're using, but you're also using experimentation for building the products for your clients. And that's where I want to go a little closer here. So you have your how do you protect your end user, your users?Your clients or your customers that are the product owner or acting out that role. If you want to say it this way. But then how do these requests come in? There's a ton of teams that are there that are using user stories product backlogs, ordering activities, refinement activities planning, sprint planning activities, and so on.How does this all look like at Menlo? How do you guys incorporate that if you work in different ways? I would be curious to hear. [00:08:42] Rich Sheridan: Yeah, the biggest starting point and starting is always hard for every project is starts with our high tech anthropology team and really attempt to answer three questions and use a lot of experiments to get to the answers to these questions.What problem are we actually trying to solve different than perhaps the one even the customer presented to us? Who exactly are we trying to solve this problem for? What types of people? And we'll use personas and persona maps for that exercise. But a lot of that discovery work is done out in the field.And so a lot of the early experiments are to be able to find these typical end users of the products we're working on out in the world. And that is often where some of the key experiments start early on. I'll give you a fun example, way back in our earliest days, long before anybody had iPhones or any kind of GPS devices, we were working with a company that wanted to create lanyard type devices that people who were on cruise ships would use to navigate the cities they would arrive in as the cruise ships pulled into port.And so imagine they had around their necks, they had these GPS driven devices with moving map displays and that sort of thing. So we had to figure out simple questions like do people know how to read maps? Because, if you ask a group of people, do you know how to read maps? Everybody would say, absolutely, I know how to read a map.If you ask people to read maps, you find that hardly 50 percent of people know how to read maps. And so it would be very expensive to try and do this on a cruise ship. We did get one cruise ship ride throughout the course of this project. But before that, we went to a local theme park here, locally here, just to watch people try and use maps.So we would run into that. with them. We would walk up to them with a map in our hand and say, Hey, can you show me where the Edison exhibit is? And we obviously have the map in our hand and we would see if that people would grab the map and what they would do with it and how they would orient it. And 50 percent of the people said, Oh, I can never read these things.See that circle I over there, the information booth, you should go ask them. So we found out right away that about 50 percent of people self report they don't know how to read maps. But this was really early experimental data that we could collect very inexpensively around what kind of challenges would people get to if they don't know how to read maps and we're creating a device that's supposed to allow them to navigate a city.And we get very creative. We try and do things inexpensively. And then ultimately we experiment with the potential designs, often with paper based prototypes to see what will actually work for people. Once we get into the actual software development, once we've secured that we understand what design and work for them, then there's a lot of other experiments that Dan and his fellow developers here at Memo will use.Sometimes those experiments are technical ones, technological ones. Sometimes it's most of the time, I would say they're often human ones because we were often working with developers. And our client sites, we have to figure out how to work with them, given the way we work. [00:11:55] Joe Krebs: Dan I'm curious, like just to take it to the software development side and take advantage of you being here on on this podcast as well, right?So it's a great insight to see business and the leadership of the organization, but also to see the actual implementation of these products, right? So let's say we're doing these visioning techniques and obviously as a. As Richard pointed out, there's a lot of cost savings finding out early on that people can read a map, right?Could you imagine you were building something assuming they can read a map? That would be a very costly detour later on. But I want to go a little bit deeper because there's so many teams, agile teams out there that are preparing for sprint planning activities or iteration planning. And they're using user stories or and then they're basically have planned everything and laid it out and implemented.You guys have through that experimental process, a different thing in place. I think it's much more lightweight, if I'm not mistaken. Can you walk the listeners maybe through once these requests come in and you're actually in the software development part of how you're still using experiments for that?[00:13:00] Dan Roman: Sure. So to as Rich was telling us about those experiments, it reminded me a little bit that every development iteration at Menlo, I would argue, is itself an experiment. So the beginning of the iteration happens after a show and tell, where the software development team will actually have the client or customer demo back to the development team the work that was accomplished for the previous iteration.And then based on that demo we'll authorize the next week's worth of work which comes out to some 40 planned hours worth of work. And when I think about Kata, I think about declaring a desired future state. And that's ultimately what we're doing. When we set out a plan for the iteration, we're saying the plan is we will end up in a state where these cards have been completed and there'll be completed in this effort.And then the rest of the iteration is the steps that we as a development team take to try and realize that. Future state. And then by the time we get to the end we'll basically start the cycle over again, which will again reminds me a little bit of Kata where we'll compare. All right, we started with a plan to get to this future state.We've run the iteration for a week. Let's compare where we are compared to where we want to be. And ultimately, all of that happens through obviously the software developers doing the work, but that all happens through . The story cards, which are our fundamental unit of work and these are three by five index cards on which are written the work items that the developers will go and implement and our quality advocates will go and test.And typically our high tech anthropologists are part of writing in the first place. .[00:14:28] Joe Krebs: Is there still like, are you pulling from an organized formal product backlog as so many scrum teams? are doing, or is this process a little bit more ad hoc and fluid based on the work you did in previous iterations where you're getting instant feedback from your customers and how does that all look like?The show and tell, that's where this comes together, I would assume. [00:14:50] Dan Roman: Yep. That's a very good question. So it's a little bit of all of the above. So what Rich was alluding to at the beginning of our engagements, the high tech anthropologists will do a lot of the Upfront work of describing here's based on our research and our observational data, what we believe the application needs to do.And that sets as a starting off point for the engagement itself. But over the course of every engagement, we are also discovering new work. So over the course of a given iteration, as the developers are doing work, they might write. They may write other story cards or the quality advocates may write some story cards or even at show and tell the client might may say, Oh, we didn't think about the fact that the user might need to do this certain thing.One of the fundamental rules that Menlo is that everyone can write a story card. Now just because you've written a story card doesn't mean that it'll get authorized or that'll get put on a weekly iteration. But we are certainly collecting the scope that's being executed nonstop over the course of the engagement.[00:15:49] Joe Krebs: How does maybe I love this story cards, right? Obviously, there is a story to be told and collaborated on as a team. How detailed are you? As teams now within Menlo, how detailed are you with the planning activities? Are you planning very ad hoc? Is this like in subgroups or pairs or how let's say, this, these requests are coming in.You have these stories and you're experimenting, I would assume also on those. How detailed are those or all the questions? [00:16:22] Rich Sheridan: Yeah. The important element of our planning that I think probably differs from many development teams is how collaborative it is with our customers. Number one, we're putting together at a high level a story mapped version that might map out a year or two worth of key milestones for this client broken down into achievable goals that might run.Okay. A month, two, three, four months. And then we start laying out the story cards for that very first goal. And the customer is standing alongside of us choosing these story cards that should go into that plan. Obviously we're giving them some advice from a technical standpoint as to if there's a more appropriate sequence of things that makes more sense, but we really want the business feeling like they're driving this we often find it When we hear of other teams challenges in planning and estimating and that sort of thing, you often find that it's an adversarial relationship with the business sponsors, where somebody is I can't believe it's going to take that long, or you need to get this done in a shorter amount of time.Our approach isn't to try and argue against the importance of a date or features within that date, but to simply argue with the data of here's what fits, given your budget, given your burn rate, given the team size we have. And then it's a question of, can we make responsible trade off decisions with our client to get to that particular goal?And then, as Dan said, on a weekly iterative basis, we're going to review the progress against our original plan. Because, no plan actually holds up once it hits reality. So we're going to get, sometimes we get more done than we expected, sometimes we get less done. But that weekly visit into what exactly do we get done in the weekly opportunity to now look ahead in that longer plan and say, okay, what we've learned now, should we make adjustments to the plan?Have we discovered new things that need to be done? Should we write story cards and estimate those story cards? Should we take some things off that we originally thought should be part of the plan in favor of newer, more important things? Collaborative planning happens on a week by week basis on all of our projects.I think the most fun thing I see happen is that often we use paper based planning techniques, which is again, unusual for software teams to use paper. Typically in the earliest part of our planning, all of our story cards are on white paper. But as time goes on, and as customers start to get nervous that we don't seem to be making as much progress, we often switch to, say, hot pink paper for things that were newly discovered or that somebody raised their hand in a meeting and said, hey we didn't think of this when we talked to you about it originally.And so we'll write that story card up, we'll estimate it, but when we put it in the paper based planning process, we make it hot pink. And over time, what you can see is The actual physical real estate of our planning sheets being taken up by more and more hot pink work Which essentially says hey, there was a lot of stuff for some reason we didn't discover early on Yes wrong with that, but let's at least acknowledge With this, these colorful pieces of paper that we are now three months into this project and 25 percent of the things we're working on are things neither one of us thought of at the beginning of the project.That can be really helpful to maintaining executive sponsorship of a project because. Now we can have explicit discussions about new things that came in. It isn't some theoretical wave your hands in the air. There were a few new things that came along. No, it is clear what the new things are that came along because it's on this different color.[00:20:18] Joe Krebs: Yeah. Creating truly a partnership, right? With with the business the clients in this case do to showcase this, right? And obviously as a client, I would assume they're all very happy with us to see that. They are late changes are being incorporated some way or the other, and [00:20:34] Rich Sheridan: happiness is an interesting word in this.So it would be fun to believe that the people on the other side of the planning table at Menlo have all of the power and all of the authority to make these changes. But typically they're reporting up to an executive somewhere that has some other budgetary constraints. . We're not so much trying to make happy customers out of this process.We're trying to make informed customers so they can have intelligent conversations when they go back to their offices to say, Hey, I thought you were going to have all of this. What happened? And what you really want to do is give them the physical artifacts they need to be able to create a story. scale all the way up, perhaps to the CEO of the company to figure out why is this project where it's at right now.[00:21:27] Joe Krebs: . That's a good point. And thanks for clarifying. I think makes makes perfect sense. Dan Richard's mentioned the word a few times. I want to go a little bit deeper. That's the word estimates. Are you guys estimating there's a lot of different kind of estimation techniques out there.Agile teams are using, I'm just curious with this approach where you're going into more experimental activities, if estimation is actually still a thing here, or if it's an, if so, how lightweight it is. [00:21:58] Dan Roman: Sure. So to start right off the bat, yes, we do estimate it's part of that weekly iteration cycle.So every development team is sitting down and looking at the cards in play, as well as cards likely to be played in the future and estimating those story cards. That takes about an hour of time for regardless of the size of the dev team and we estimate in hours and in powers of two. So a given story card at Menlo would sit between two hours and 32 hours again on that power of two spectrum which can feel pretty radical for some organizations where things like velocity.I know that's a very popular way to, Fibonacci numbers as a means of calculating velocity or t shirt sizes, another sort of abstraction. I think that there are a couple of things that necessitate, or at least why we as Menlonians prefer that method. One is because estimating in hours is a universal language that when we get to that planning game after the show and tell with our stakeholders.There's no need to do any translation between 13 Fibonacci points or a medium t shirt size. We can say we've got 40 hours of effort for a given pair to plan for. And this card is 16, and that's 16 hours worth of work. And that's something that is instantly understandable by our stakeholders.I think part of the reason that we as a team are able to do that and Not in all cases, but in some cases, why other teams choose those kinds of abstractions at Menlo. We have a very healthy relationship between the technical folks who are doing the work and the project managers and stakeholders who are authorizing and planning the work.And that's manifest in this sort of contract. That's very explicit and part of, as I understand it, our project management training. There's a dual responsibility for maintaining our estimates. So any software developer pair that's doing work on a card. As soon as they know they're going to miss the estimate.So if Rich and I were pairing on a story card and we were on an eight hour card and we started to realize, Oh, wait, this is bigger. This is going to be at least double that. This is a 16 hour card. Now we have a obligation to go out to our project manager, for example, Lisa, she's one of our PMs and telling her, Hey, Lisa, we are working on this card.It was originally estimated as an 8, but because of these reasons, we see it as a 16. That's our half of the sort of contract. The other half of that is the one that lives on Lisa's side, or the PM's side, which is to say, Thank you for your estimate, and smile. And that sounds like a really simple little strategy, but it's That kind of strategy that sucks the fear out of the room that would otherwise inhibit Rich and I from volunteering that information or giving an honest, updated estimate on the card.And that's why a lot of other teams can run into those abstractions is because it's scary or painful when you let some set of stakeholders know, oh, this thing we originally estimated will take a day is now going to take more than that. Yeah, [00:24:59] Joe Krebs: well, there's definitely a lot of controversy out there about.Estimation and the techniques and in communicated and sometimes they're so like inflated to o just to be safe, depending on what organization and teams you work for. So that's, does not seem to be the approach at Menlo and obviously you guys. I've taken an expert estimate on the work at that time and see what, what comes out of it.Once you start working on it very interesting thing. Now you just mentioned that I want to follow up on that word too, because I think the listeners out there who are. Used to agile coaches scrum masters, et cetera, et cetera. They are probably not saying did he just say the word project manager?Did he just use that term? And because that sometimes that is a term that has been removed and replaced and you guys are using it actively, as far as I understand what's the role of a project manager at? Menlo, if you're working so in so agile ways and in experiments and et cetera what would be the role of a project manager other than nodding and saying, thanks for your estimate and smiling.[00:26:09] Rich Sheridan: So the primary role of a project manager at Menlo is to be the voice of the customer, people who pay us to do the work when the customer isn't in the room. And so their job is to answer questions from the development team about the general direction of the project, where it's going, how we're going to get there, what what the overall overarching goals for the project are if the cause, if the project manager doesn't know they will reach out to the client who isn't imminently available every time we want to reach out to them.That's why we need somebody who's advocating on their behalf when the client isn't around or not available by phone and that sort of thing. The the other role important role project manager does is to help the team remove obstacles. Dan and his pair partner will be rolling along and a card gets stuck.Have a question, need to reach out to somebody, you can just let Lisa know and say, Hey, Lisa, I just want to let you know we're stuck here. We wrote to the client. We're waiting for an answer. We're going to red dot that card, which means they're going to stop it. We're going to move on to the next card in the lane.And if there's anything you can do to help remove that obstacle, that would be awesome. Project managers also keeping close track. Our customers are spending a lot of money with us, so keeping close track on the budget relative to the total budget relative to the burndown for that budget, all those kinds of things.I guess there's a tremendous amount of, financial oversight that comes with every one of our projects, we're often working on projects that run into the millions of dollars. And so project managers are helping manage that part of the process with us. And you're also making a lot of decisions alongside people like Dan is to what should the composition of the team be this week.So it's a very collaborative role for the people doing the work I mentioned before we pair, we switch the pairs every five business days and. over time, systematically rotate people in and out of the projects to avoid burnout, to avoid towers of knowledge issues, all that kind of stuff. And the project managers will work very closely with the team to figure out what would be the best composition of people who should pair with whom who who would be good candidates for these story cards, that sort of thing.[00:28:27] Dan Roman: I think there's one element that's important too for Menlo, but I would also argue this is true of other organizations. But the roles and the titles that we have for the work that each of us as Menlonians do does describe a primary role. But that is not to say that the team is not responsible for also doing some of the other responsibilities of the other roles.For example, I am primarily a software developer at Menlo. But on a day to day basis, I am contributing to the conversations Rich is talking about where it's planning the resources for the project, making sure that the customer is appraised of any changes to the plan or keeping in mind the decisions that we're making today and what impact that has on the end user, the way that our high tech anthropologists might be considering.So I think it's one of those things where it's like we, we have those titles and those roles to an easy heuristic to generally describe what we do within Menlo, but at the end of the day, there's actually a lot of blending or blurring of the lines that exist between our individual roles.[00:29:30] Joe Krebs: Yeah. I think that's also it speaks to the self managing aspect of agility in general. Now I'm so thrilled to have you both on this podcast episode, because we had in this Kata series so far, we had different topics. We talked about transformational cultural things. I, this is a and I think that's a really great, wonderful episode.I believe it's a wonderful episode that really focused on Developing in agile ways, but in a non prescriptive or existing frameworks. That are out there and you can almost say like, when I listen to your conversation. It's almost it's almost sounds like cherry picking, right? Of how we're using this concept, or we are estimating, but a little bit different, or we have paper, but some of them are pink.And and so what I and working in pairs and we're shifting pairs and the way of how you operate with clients rather than the product owner being in house, the product owner is the actual client. So there's a lot of things. So there are some terminologies or project manager, just to name another one versus a scrum master.And what's really fascinating, I think, is for one of the goals of this episode is to show existing Agile teams if something's not working with an existing framework or with the process they have chosen, as you guys said, run the experiment, right? Try something new. Adjust your process. That's one element.And maybe you find ways of changing the way of how you currently work with breaking something. Obviously, that is recommended, but you're saying it's not working for us. That's not us. And that would be whatever you shared about. Menlo and the culture, but there's also the way of using this way of working to build the product itself, right?So there's two aspects to it, shape the process, how you want to work, but also the way of how you build a product for your clients. So I want to thank you guys for that. That is really nice. Thank you. [00:31:22] Rich Sheridan: You bet. Yeah. I think our general philosophy is all of these tools, methodologies, ways of thinking have value to offer and why would we constrain ourselves to simply one of them?Why don't we borrow pieces and parts? And put, I think for us, we do refer to our general system of work here as the Menlo way of working. . And but if you probed, you would see we borrowed all these pieces from this so we don't find ourselves resisting any of them. We find ourselves embracing them, looking at them deciding, oh, that might work here.And every project has its own unique, qualities to it as well. I [00:32:02] Dan Roman: think one of the pieces that reminds me of is the notion that when we're designing our process, we're setting out to solve a problem and our problem isn't that we're not doing agile. It's not that we're not doing scrum and we need to start doing scrum.We're trying to provide value to a customer on a frequent and consistent basis such that they can respond to feedback and make planning decisions. There are times when that desire or attempt to solve that problem will line up pretty closely with what Agile might seem like or Lean. But at the end of the day, it all starts from let's solve a problem and the absence of some predetermined process is not itself a problem.. [00:32:42] Joe Krebs: Yeah. This is, that's wonderful. And then maybe a good word to end the the podcast episode here together. And obviously there is. An opportunity to take a tour with Menlo and see that all in action. So I invite the listeners to go and reach out to you. There's a, there's tons of tours you guys are doing on a yearly basis.Ann Arbor is the place to visit in Michigan. And and then they can see all what we just talked about in action.[00:33:08] Rich Sheridan: And one of our experiments during the pandemic were virtual tours that we continue to this day, even though. The in person tours have resumed. , [00:33:17] Joe Krebs: even cooler. So this could be done just from your couch.Thank you so much. [00:33:22] Dan Roman: Thank you.​

In dieser Ausgabe der "elektro beats" präsentiert Olaf Zimmermann bereits Teil 7 der Inselsounds. Das sind Lieblings-Elektronikalben, die Hörerinnen, Hörer oder auch seine Studiogäste auf eine einsame Insel mitnehmen würden. Diesmal im Inselgepäck: Musik von Massive Attack, James Blake, Kraftwerk, Robag Wruhme, Moderat, Cluster, Meute, Yello, Caribou, Vangelis, Four Tet, Martin Kohlstedt, Tangerine Dream, Brian Eno, Michael Rother und The KLF.

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.  

Esta semana, en una nueva edición de Rebelión Sónica, los invitamos a escuchar el hasta ahora disco inédito del fundamental músico alemán Moebius, “Aspirin”. Editado el 06 de octubre por el sello Curious Music, el viejo-nuevo disco del fallecido pionero de la electrónica alemana Dieter Moebius (Cluster, Harmonia), presenta el amplio espectro de su enfoque musical distintivo: cósmico, rítmico, abrasivo e hipnótico. Aunque se completó en 2005, nunca se lanzó en aquellos años. Además, el arte de portada fue diseñado por Mark Mothersbaugh de Devo. La grabación estaba en manos del amigo de Moebius, Tim Story, quien fue el responsable de su edición. Story señaló: “Aunque nunca tuve otra oportunidad de hablar con Moebi sobre esta música, creo que estaría encantado de tener este pequeño capítulo olvidado de un momento feliz y fructífero en su vida, disponible por fin”. Al final del programa, viajamos al pasado en la historia de Moebius, para escucharlo como parte de la súper banda germana Harmonia, integrada además por su compañero de Cluster, Hans Joachim Roedelius y por el guitarrista de Neu!, Michael Rother. Específicamente, revisaremos material de “Deluxe”, el segundo disco del trío editado por el sello Brain Records en 1975. Semana a semana, pueden escuchar Rebelión Sónica por radio Rockaxis, los miércoles a las 10 y 20 horas, con la conducción y curatoría de Héctor Aravena.

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!

We interrupt this podcast's regularly scheduled programming for a SPECIAL REPORT:We've made a Krautrock Playlist.The original idea was to have a "song draft": having dug deep enough into Krautrock, we would take turns claiming songs for ourselves.  We figured this way we'd learn what each of us likes in particular, and what we like best.What happened is we came up with a list of 44 songs -- FORTY-FOUR -- that generally holds together not just as a cohesive cross-section of the genre (with apologies to Popol Vuh), but also as one hell of a mix to queue up on Spotify.Did we hit all the good stuff?  Hell, no, and we know we have much more to learn and explore.  But we made a good start.  Some stats, for those who are interested:Song counts by artist: Can (7!), Kraftwerk (5), Neu! (5), Faust (4), Harmonia (4), La Düsseldorf (4), Amon Düül II (2), Cluster (2), Guru Guru (2), Moebius + Plank (2), Agitation Free (1), Amon Düül (1), Ash Ra Tempel (1), Brainticket (1), Holger Czukay (1), Tangerine Dream (1), Xhol Caravan (1).Song counts by credited musicians: Klaus Dinger (11), Holger Czukay (10), Michael Rother (10), Dieter Moebius (8), Hans-Joachim Roedelius (6).

In the spring of 1973, guitarist Michael Rother looks on in two old acquaintances at their ramshackle farmhouse/ recording studio in Forst.  Rother hopes to tour the UK with his current band, Neu!, and he *thinks* Hans-Joachim Roedelius and Dieter Moebius of Cluster might provide just the juice he needs for his live act ...Now what was it John Lennon said about life and making other plans?  The Neu! tour never materialized, and Rother's trip to the country yielded only Krautrock's preeminent supergroup, in the form of HARMONIA.  Harmonia introduced Rother's discipline, structure, and guitar to the Cluster duo's improvisational synth subversion, and boy, oh boy were the results terrific.  The clash of work styles meant it couldn't last, but for three years at least, Harmonia were arguably "the world's most important rock band"  (h/t B. Eno).Join us as we tell the Harmonia story, giving specific attention to the band's sparkling 1975 release, Deluxe!

Mit seiner Formation “Neu!” wurde der deutsche Multiinstrumentalist Michael Rother zum Vorbild für Generationen von Musikern. Das “Neu!”-Debütalbum wurde 2022 50 Jahre alt.

In einem Dreiteiler präsentiert Olaf Zimmermann zum Jahresende "elektro beats"-Interviewhighlights 2022. Mit dabei in Teil 1 sind Moderat, die "Two Lanes", Michael Rother & Vittoria Maccabruni, Bonobo, Dominik Eulberg, die Gruppe "Kreidler", Gregor Tresher (Produzent des neuen Sven Väth-Albums) und Tangerine Dream.

Today we depart from our usual programming to post a LIVE SHOW ALERT.Turns out Brad sneaked off to London last month to catch surviving member of Neu! Michael Rother's live performance at the Clapham Grand!  Joining Michael on stage were Hans Lampe (of La Düsseldorf, on drums), Franz Bargmann (of Camera, on guitar) and electronic composer and recent Rother collaborator Vittoria Maccabruni.Special guests included Hot Chip, known Krautrock exponent Stephen Morris, of Joy Division and New Order, *and* Paul Weller.Join us for a deep dive on the show.  Tangents and digressions of course abound -- we are who we are -- but this episode's lodestar and our guiding light is Herr Rother: cracking musician, King of Krautrock, and lovely human being.Here's to you, Michael.  Get well soon!

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. 

Vor genau 50 Jahren veröffentlichten NEU! ihr selbstbetiteltes Debütalbum. Anlässlich dieses Jubiläums sind jetzt in einer Box die regulären NEU!- Alben plus spannender Reworks erschienen.Diese kommen u.a. von Stephen Morris (New Order), Mogwai, Yann Tiersen, den Idles, The National, Guerilla Toss, Fink und Alexis Taylor (Hot Chip). Olaf Zimmermann feiert mit diesem „elektro beats“- Special gemeinsam mit Michael Rother (der ihm zum Interview aus Pisa zugeschaltet ist) 50 Jahre NEU!. Es geht auch um das Berliner „Michael Rother & Friends – Celebrate 50 Years Of NEU!“- Konzert am 26.10. in der Betonhalle. Themen der Sendung werden u.a. spannende Geschichten zu den NEU!- Alben und Titeln, zum Kennenlernen von Rother/ Dinger, dem Produzenten Conny Planck, die Reworks/ Remixe, Special Guests auf den Konzerten…und vieles mehr sein.

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.

In dieser "elektro beats"-Ausgabe präsentiert Olaf Zimmermann Interviewhighlights des ersten Halbjahres 2022. Mit dabei sind Moderat, die "Two Lanes", Michael Rother & Vittoria Maccabruni, Bonobo, Dominik Eulberg, die Gruppe "Kreidler", Gregor Tresher (Produzent des neuen Sven-Väth-Albums) und Tangerine Dream.

Eight episodes deep, and still we haven't checked in on The Most Important Band of All Time (This Side of the Beatles)?  That ends today.It's time for Carla and Brad to talk about Kra[f]t[wer]k.  Kling-Klang, Ralf + Florian, "Precise and Maximum Expression."  Ruckzuck, Radio-Activity, Trans-Europe Express, The Man-Machine ... AUTOBAHN.It's 106 kilometers to Düsseldorf.   We've got a full tank of gas and a half-pound of white asparagus.  It's dark, and we're carrying Geiger counters.  Hit it.

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.

For this weeks show I spoke to legendary German musician and composer, Hans-Joachim Roedelius. Roedelius has had a long and varied music career. In 1971 he co-founded Cluster with Dieter Moebius, and in 1973 Roedelius and Moebius formed Harmonia with Michael Rother,  a previous guest on the  Synthetic Dreams Podcast. His music has influenced countless musicians, including David Bowie and Brian Eno, who worked with Cluster in 1977 for the album, Cluster and Eno. It was a real honour to speak to such an icon of electronic music.

Michael Rother zählt sicherlich zu den einflussreichsten und auch international gefeierten Gitarristen Deutschlands mit den Stationen Kraftwerk, NEU!, Harmonia und zahlreichen erfolgreichen Soloalben. Seinem 2020 veröffentlichten Album "Dreaming" folgt jetzt mit "As Long As The Light" eine weitere Veröffentlichung, die er gemeinsam mit seiner Partnerin Vittoria Maccabruni eingespielt hat. Beide waren Olaf Zimmermann in der ersten "elektro beats"-Stunde zum Interview aus Pisa zugeschaltet. Im Gespräch ging es u.a. um ihr kennenlernen, ihre Arbeitsweise, die Bedeutung des Plattentitel und zahlreiche andere spannende Making-Of-Geschichten. Stunde 2 präsentierte dann neue Musik von dem französischen Musiker NTO, Herbert, Skee Mask, Tangerine Dream, Mark Reeder, Rone, Rival Consoles und Public Service Broadcasting.

Die "Two Lanes" sind ein 2018 gegründetes Berliner Elektronik-Duo der Brüder Leo und Rafa Schmid. Klassisch ausgebildet, kombinieren sie in ihrer Musik Klavier- mit elektronischen -Sounds, Loops und teilweise Gesang. Aktuell erschienen ist die EP "Reflections" und Remixe ihrer Titel. Diese stellten sie gemeinsam mit Olaf Zimmermann in der ersten "elektro beats"-Stunde im Interview vor. Stunde 2 präsentierte dann neue Platten von Digital 21 & Olsdal (letzterer Placebo-Bassist), Dominik Eulberg, A Winged Victory For The Sullen, Helena Hauff, Arca, Michael Rother & Vittoria Maccabruni, Die Wilde Jagd, Triola und Historisches von Michael Hoenig, der unlängst 70 Jahre alt geworden ist.

Another chance to listen to the very first episode featuring an interview with the wonderful Michael Rother who was a member of one of the most influential bands of all-time, Neu! Michael's, who was also in an early line-up of Kraftwerk, spoke to me about his fascinating musical career.  Michael's excellent new album  'As Long As The Light' which he made with multi-talented musician Vittoria Maccabruni, is out now on Groenland Records  

Un podcast produs de Centrul Dialectic. Realizatori: Ionuț Dulămiță, Mihai Lukàcs, Paul Breazu ==================================== De ce subculturile rock & punk din România au fost cele mai apolitice din Europa de Est după anii '60? Care erau statele socialiste unde existau mișcări rock & punk „with balls”? De ce au fost anemice protestele românești din '68? Ce a reprezentat mișcarea Aktionsgruppe Banat din Timișoara anilor '70? De ce era fâsâit spiritul de protest din muzica locală în acele vremuri? Ce rol au jucat drogurile în schema asta? Unde își dădeau întâlnire hipioții timișoreni și cei germani în anii '80? Pe ce substanță a avut jurnalistul timișorean Mimo Obradov primul trip chimic? Răspunsurile le aflați numai din Arhiva de Sunet: Timișoara, episodul 5. ==================================== Vorbesc, în ordinea apariției: Ionuț Dulămiță (Arhiva de Sunet), Paul Breazu (Arhiva de Sunet), Emanuel Copilaș (lector universitar), Adriana Babeți (scriitoare), Mimo Obradov (jurnalist), Flavius Băican (jurnalist, CEO Revolution Festival) ==================================== Muzică: Bijelo Dugme, „Doživjeti stotu” (muzică și text: Goran Bregović, Jugoton, 1980) Schleimkeim, „Mit dem Knüppel in der Hand” (muzică și text: Schleimkeim, Aggressive Punk Tapes, 1991) Mikoláš Chadima & The Extempore Band, „Libouchec («Libouchec» Coppage Village)” (muzică și text: Mikoláš Chadima, Globus International, 1991) Novi Cvetya, „Тиха Лятна Вечер” (muzică și text: Novi Cvetya, Mutant Records, 1998) Valeriu Sterian, „Chip fără chip” (muzică: Valeriu Sterian, text: Hertha Müller, 1993) Eugen Eliu, „Patria sau moartea” (muzică Eugen Eliu, text: Andrei Ujică, 1973) Bijelo Dugme, „Da Sam Pekar” (muzică: Goran Bregović, text: Vlado Pravdić, Jugoton, 1984) Neu!, „Halogallo” (muzică: Klaus Dinger & Michael Rother, Brain, 1972) Talking Heads, „The Overload” (muzică: Brian Eno & David Byrne, text: David Byrne, Sire, 1980) ==================================== Editor audio: Cătălin Matei Comunicare: Textual Media ==================================== Parteneri media: Radio România Cultural, Radio România Timișoara, RFI, IQAds, Scena 9, Vice, Cultartes, Decât o Revistă, Un site de muzică, Cooperativa Urbană ==================================== Mulțumiri speciale: Universitatea de Vest din Timișoara, Librăria La Două Bufnițe, Londohome ==================================== Arhiva de Sunet: Timișoara este un proiect al Centrului Dialectic și este realizat cu sprijinul Primăriei Municipiului Timișoara și al Consiliului Local Timișoara. Proiectul cultural nu reprezintă în mod necesar poziția Primăriei Municipiului Timișoara și a Consiliului Local Timișoara. Conținutul proiectului cultural și modul în care rezultatele acestuia pot fi folosite reprezintă responsabilitatea exclusivă a autorilor și beneficiarului finanțării. Primăria Municipiului Timișoara și Consiliul Local Timișoara nu sunt responsabile pentru conținutul materialului și modul în care acesta ar putea fi folosit.

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! 

Featuring music from Art Of Illusion, A Band Called O, DGM, Frank Zappa and the Mothers of Invention, Ibio, Khadavra, Michael Rother, Moonparticle, National Health, Odin's Court, Platitude, Red Sky, Sam Dice, Sensory System, Shaman Elephant, and Turning Virture, plus “Spotlight Sets” devoted to Cryptic Vision and Fruupp. Do you enjoy Prog-Scure? If so, perhaps […]

This week we’re discussing every album by Neu! Made up of Michael Rother and Klaus Dinger, Neu! helped pioneer krautrock in the early 70s. Repetitious, hypnotizing, and jammy, this band pairs nicely with weed, as Mike won’t stop saying. Not for everyone, but worth a listen. Dig it.Closing track: “Hero” from Neu! ‘75 (1975)Check out our episode playlists on Spotify!https://open.spotify.com/user/motherpuncherincJoin our Patreon to jump the line when requesting an artist, as well as get bonus episodes, early access to shows, and more!https://www.patreon.com/everyalbumeverMerch available now!https://pandermonkey.creator-spring.com/Instagram:Follow Mike @pandermonkey for show clips, Twitch clips, and original musicFollow Alex @motherpuncherMike’s Picks:Neu! ‘75 (1975) — Best Album, Personal FavoriteNeu! ‘86 (2010) — Worst Album, Least FavoriteAlex’s Picks:Neu! ‘75 (1975) — Best Album, Personal FavoriteNeu! 2 (1973) — Worst Album, Least FavoriteAlbums we discussed this episode…Neu! (1972)Neu! 2 (1973)Neu! ‘75 (1975)Neu! 4 (1995)Neu! ‘86 (2010)

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!

On today's episode I talk to musician Hans-Joachim Roedelius. A pioneer in the field of electronic music, Hans-Joachim Roedelius is considered one of the founders of contemporary popular electronic music. Born in Berlin in 1934, Hans-Joachim starred as a child in a number of UFA films, and during the war was an unwilling member of the German Youngsters in the Hitler Youth, membership being mandatory for all boys from the age of ten. During this time, he also appeared in several propaganda films. He fled Berlin in 1943, moving from one place to another before being conscripted into the National People's Army of East Germany. Again he took flight, only to end up in prison. WHen he got out, he trained as a male nurse, then as a hospice orderly. Having relocated from East to West Berlin, he went on to meander through Europe (as a thatcher, detective, masseur, bartender, janitor and many other things), before finally becoming a freelance artist, with avant-garde music his prime focus. In 1968, Hans-Joachim co-founded the music commune known as "Human Being" and co-formed Zodiak Free Arts Lab, the center of Berlin's underground culture at the time, with conceptual artist Conrad Schnitzler. He formed Cluster a year later, and then Harmonia with Neu! guitarist Michael Rother. In the decades since then, he recorded dozens upon dozens of albums, both solo and in collaboration with everyone from Brian Eno to Tim Story (their album Lunz 3 from 2019 is spectacular), and his latest album Drauf Und Dran, an album of piano compositions, was released late last year. This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter.

In the new episode, or should I say the Neu! episode, I had a chat with Michael Rother, of legendary Krautrock pioneers Neu! and Harmonia and ten solo LPs. I’ve always loved his music, which seemed to birth a kind of radical year zero approach to rock, mixing electronics, experimentation, drones and textures. He was also in a very early line-up of some band called Kraftwerk and we had a really warm chat on a cold morning about his complicated relationship with drummer Klaus Dinger, the new LP Dreaming, which he finished in lockdown and the way in the 70s West German music makers like him made music like nobody had ever heard before.Michael Rother’s websiteTitle music by ESOEnjoy!

Am 4. Adventssonntag präsentierte Olaf Zimmermann Teil 2 der "Elektro Beats"-Interviewhighlights 2020. Mit dabei sind Kruder & Dorfmeister, Stepha Schweiger, PC Nackt, Gajek, Michael Rother, Schlammpeitziger, Manuel Göttsching, Ellen Allien, Christopher von Deylen, Ceeys, Housemeister, Pole und Martin Kohlstedt.

CITR’s 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something.Tonight’s show features Michael Rother, Cabaret Voltaire and v/a Tuva Files I - 1991 Field Recordings of Tuvan Khoomei.

CITR’s 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something.Tonight’s show features SHIDA SHAHABI, MICHAEL ROTHER and OLIVIER ALARY / JOHANNES MALFATTI..

Esta semana, dedicamos una nueva sesión de Rebelión Sónica a la obra del fundamental guitarrista, compositor, experimentador, integrante de Neu! y Harmonia y figura clave del movimiento krautrock, Michael Rother. En primer lugar, escucharemos material de su nuevo disco “Dreaming”, editrado el pasado 04 de septiembre por el sello Groenland. El nuevo trabajo del maestro alemán es además parte del box set “Solo II”, segunda producción retrospectiva de la obra solista de Rother, que comenzó el año pasado (2019), con la edición del primer volumen, titulado “Solo”. En este segundo volumen compilatorio de su obra “Solo II”, se incluyen un total de siete discos: tres álbumes de la década 80, que son “Lust”, “Süssherz und Tiefenschärfe” y “Traumreisen”, además de “Esperanza” de 1996, “Remember (The Great Adventure)” de 2004, un disco de bonus tracks y el mencionado disco 2020, “Dreaming”. En Rebelión Sónica también hacemos eco de esta edición, con música de dos de los discos de la caja: “Lust” de 1983 y “Traumreisen” de 1987. Finalmente, viajamos a la década 70, para escuchar a Rother como parte de su crucial banda Neu!, específicamente con material de su tercer disco en estudio “Neu! 75” (1975).

Esta semana, dedicamos una nueva sesión de Rebelión Sónica a la obra del fundamental guitarrista, compositor, experimentador, integrante de Neu! y Harmonia y figura clave del movimiento krautrock, Michael Rother. En primer lugar, escucharemos material de su nuevo disco “Dreaming”, editrado el pasado 04 de septiembre por el sello Groenland. El nuevo trabajo del maestro alemán es además parte del box set “Solo II”, segunda producción retrospectiva de la obra solista de Rother, que comenzó el año pasado (2019), con la edición del primer volumen, titulado “Solo”. En este segundo volumen compilatorio de su obra “Solo II”, se incluyen un total de siete discos: tres álbumes de la década 80, que son “Lust”, “Süssherz und Tiefenschärfe” y “Traumreisen”, además de “Esperanza” de 1996, “Remember (The Great Adventure)” de 2004, un disco de bonus tracks y el mencionado disco 2020, “Dreaming”. En Rebelión Sónica también hacemos eco de esta edición, con música de dos de los discos de la caja: “Lust” de 1983 y “Traumreisen” de 1987. Finalmente, viajamos a la década 70, para escuchar a Rother como parte de su crucial banda Neu!, específicamente con material de su tercer disco en estudio “Neu! 75” (1975).

Michael Rother joins Ale Cohen in conversation on dublab to talk about his new release Dreaming and the Solo II retrospective box-set released in 2020. Michael and Ale discuss parts of his creative process, his take on looking back at his work through the Solo and Solo II releases, and how his work defines his personal life and vice-versa.

En este episodio Mario Mengoni conversa con Luis Bolin, creador y bajista del grupo “La Unión”, agrupación referente del rock & pop y new wave español, quien comparte la historia de su banda, sus nuevas producciones y desmiente las noticias acerca de su disolución. En "Las Pistas Mareantes", Gustavo Lamas presenta al legendario productor alemán Michael Rother. Y el "discollage" de Mario con los edits, remixes y estrenos de la semana. Playlist del programa: 01 - KYLIE MINOGUE – Magic. 02 - LOVELEO - Head Over Heels. 03 - SG LEWIS, ROBYN & CHANNEL TRES – Impact. 04 - DISCLOSURE & CHANNEL TRES – Lavender. 05 - LA UNIÓN - El Fuego y El Amor (Nabokov Mix). 06 - LA UNIÓN - Alma De Ladrón. 07 - LA UNIÓN - Lobo Hombre en París (Versión Sinfónica). 08 - LA UNION – Negrita. 09 - MICHAEL ROTHER - Bitter Tang. Conducción, musicalización y producción general: Mario Mengoni. Locutores: Leandro Brumatti y Raúl Proenza. Columnista: Gustavo Lamas. Columnista invitado: Bautista Mengoni. Fotografía y video: María Arnoletto. Asistente de Producción: Diego Hidalgo. Logística: Sergio Van Megroot. Producción en México: Diego Cruz Fadrique. Sitio oficial: www.discorama.net Seguinos en nuestras redes y dejanos tu comentario: https://www.instagram.com/discoramabymario https://www.facebook.com/discoramabymario https://twitter.com/discobymario

En este episodio Mario Mengoni conversa con Luis Bolin, creador y bajista del grupo “La Unión”, agrupación referente del rock & pop y new wave español, quien comparte la historia de su banda, sus nuevas producciones y desmiente las noticias acerca de su disolución. En "Las Pistas Mareantes", Gustavo Lamas presenta al legendario productor alemán Michael Rother. Y el "discollage" de Mario con los edits, remixes y estrenos de la semana. Playlist del programa: 01 - KYLIE MINOGUE – Magic. 02 - LOVELEO - Head Over Heels. 03 - SG LEWIS, ROBYN & CHANNEL TRES – Impact. 04 - DISCLOSURE & CHANNEL TRES – Lavender. 05 - LA UNIÓN - El Fuego y El Amor (Nabokov Mix). 06 - LA UNIÓN - Alma De Ladrón. 07 - LA UNIÓN - Lobo Hombre en París (Versión Sinfónica). 08 - LA UNION – Negrita. 09 - MICHAEL ROTHER - Bitter Tang. Conducción, musicalización y producción general: Mario Mengoni. Locutores: Leandro Brumatti y Raúl Proenza. Columnista: Gustavo Lamas. Columnista invitado: Bautista Mengoni. Fotografía y video: María Arnoletto. Asistente de Producción: Diego Hidalgo. Logística: Sergio Van Megroot. Producción en México: Diego Cruz Fadrique. Sitio oficial: www.discorama.net Seguinos en nuestras redes y dejanos tu comentario: https://www.instagram.com/discoramabymario https://www.facebook.com/discoramabymario https://twitter.com/discobymario

Michael Rother

Gastgeber Andreas Müller diskutiert und bewertet gemeinsam mit Christoph Reimann, Jens Balzer und Christian Schröder diese Alben: We Are Chaos von Marylin Manson // Source von Nubya Garcia // American Head von The Flaming Lips // Dreaming von Michael Rother.

Our guest this week practically invented kosmische guitar. As a member of Neu!, Harmonia, and an early incarnation of Kraftwerk, Michael Rother's fluid, emotive playing helped define the sound of krautrock, as the music came up out of Germany's avant-garde underground in the late '60s and headed for the cosmos in the '70s. In 2019, he released of Solo, a multi-disc boxed set that documented the first part of his solo career and on September 4th, the Forst-based guitarist and composer follows that collection up with Solo II, which includes 1983's Lust , 1985's Süssherz und Tiefenschärfe, 1987's Traumreisen, 1996's Esperanza, 2004's Remember (The Great Adventure) and a brand-new album, Dreaming, which finds him returning to the spaced out pastoral drift of his classic albums. He was kind enough to join us on Transmissions to discuss his musical youth in India, his days as a conscientious objector, his collaborations with Klaus Dinger, Roedelius, Moebius, and his experiences with younger musicians who were inspired by his sound, including the Red Hot Chili Peppers and Steve Shelley of Sonic Youth.

PODCAST VERSION OF BROADCAST FORTHCOMING!CITR’s 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something.This evening's broadcast features JIM O'ROURKE, MICHAEL ROTHER, STUBBLEMAN.

Bepi Crespan gets behind the wheels of steel on Nardwuar this Friday…Whoa Dad! It’s a three hour NARDstravaganza featuring Aquakultre (Halifax), Boar God (Montreal), Ribbon Stage (New York), reissued Gene Russell (1971), Don Cherry (1976), and Michael Rother (1977), plus new local music by Dana Gavanski, The Verbrilli Sound, and Western / Creed / Spybey‘s posthumous W ands collaboration.Starting at 2:00 PM Pacific on CITR 101.9 FM, streaming at PLAYER.CITR.CA

Bepi Crespan gets behind the wheels of steel on Nardwuar this Friday…Whoa Dad! It’s a three hour NARDstravaganza featuring Aquakultre (Halifax), Boar God (Montreal), Ribbon Stage (New York), reissued Gene Russell (1971), Don Cherry (1976), and Michael Rother (1977), plus new local music by Dana Gavanski, The Verbrilli Sound, and Western / Creed / Spybey‘s posthumous W ands collaboration.Starting at 2:00 PM Pacific on CITR 101.9 FM, streaming at PLAYER.CITR.CA

Bepi Crespan gets behind the wheels of steel on Nardwuar this Friday…Whoa Dad! It’s a three hour NARDstravaganza featuring Aquakultre (Halifax), Boar God (Montreal), Ribbon Stage (New York), reissued Gene Russell (1971), Don Cherry (1976), and Michael Rother (1977), plus new local music by Dana Gavanski, The Verbrilli Sound, and Western / Creed / Spybey‘s posthumous W ands collaboration.Starting at 2:00 PM Pacific on CITR 101.9 FM, streaming at PLAYER.CITR.CA

Kritiken zu "Da 5 Bloods", "Sarita" und "Krautrock1" Lockere Filmkritiken zum selbst mitmachen! Meldet euch via Mail (info@tele-stammtisch.de), Facebook, Twitter oder Instagram für den nächsten Podcast an! Haupt-RSS-Feed | Filmkritiken-RSS-Feed iTunes (Hauptfeed) | iTunes (Filmkritiken) Spotify (Hauptfeed) | Spotify (Filmkritiken) Website | Twitter | Facebook | Instagram Skype: dertelestammtisch@gmail.com Titel: Da 5 Bloods Original: Da 5 Bloods Startdatum: 12.6.2020 Länge(min): 154 FSK: keine Angaben Regie: Spike Lee Darsteller: Delroy Lindo, Jonathan Majors, Clarke Peters uvm. Verleih: Netflix Trailer: https://youtu.be/D5RDTPfsLAI Titel: Sarita Original: Dimmi Chi Sono Startdatum: 20.6.2020 Länge(min): 89 FSK: keine Angabe Regie: Sergio Basso Darsteller: keine Angaben Verleih: MissingFILMs Trailer Titel: Krautrock 1 Original: Romantic Warriors 4/Krautrock Startdatum: 27.5.2020 Länge(min): 129 FSK: ohne Angabe Regie: Jose Zegarra Holder, Adele Schmidt Darsteller: Wolfgang Flür, Michael Rother, Jean-Herve´ Peron uvm. Verleih: Film Kino Text Trailer Teilnehmer*innen: Christopher Facebook | Instagram Dominik Facebook | Twitter | Instagram | Profil auf Moviepilot | Letterboxd Max Rauscher Website | Facebook | Instagram Stu Facebook | Twitter | Instagram Moviebreak Website | Facebook | Twitter | Instagram Patrick Facebook | Twitter | Instagram Peter Facebook Movie Club Germany Website | Facebook | Twitter | Pinterest | YouTube Mo Facebook | Instagram i used the following sounds of freesound.org: Musical Snapshots by Columbia Orchestra Short Crowd Cheer 2.flac by qubodup License (Copyright): Attribution 4.0 International (CC BY 4.0) Folge direkt herunterladen

ft. Kurt Vile ‎(Matador); Brenda & The Big Dudes; Meo (Dualismo Sound); S Transporter ‎(Portage Garage Sounds); Wally Badarou; Vladimir Levy & Kim Breitburg; Hanna (Sound Signature); Bella Boo (Studio Barnhus); Omma (Antinote); Four Tet (Text Records); Michael Rother; Friendly Fires & The Asphodells (Andrew Weatherall & Timothy J Fairplay)(Telophase); Andras (Beats in Space Records); Jon And Vangelis; Lucio Battisti; Testpattern (Yen); Charles Trees (Portage Garage Sounds); Craig Leon (Rvng Intl); Kate NV / NV (Orange Milk/Mind); Roedelius ‎(Sky Records); Streetcar Named Desire (Desperate Records & Tapes); Red Guitars

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

Michael Rother prägte mit Kraftwerk und später mit den Bands Neu!& Harmonia die deutsche Rockmusik, wie kaum ein Zweiter. Auch als Solokünstler war Michael Rother sehr erfolgreich und er hat bitte heute viele Verehrer, gerade unter Musikern. Im Rahmen des Synästhesie Festivals, das am diesem Wochenende stattfindet, wird Michael Rother Songs von seinen Bands Neu! & Harmonia, so wie aus seinem Solowerk performen.

In der letzten "elektro beats"-Ausgabe vor seinem Urlaub präsentiert Olaf Zimmermann Parts aus 16 Interviews des ersten Halbjahres 2019. Mit dabei sind Westbam, Modeselektor, Apparat, Michael Rother, Schiller, Arnold Kasar, Siriusmo, Martin Kohlstedt, Von Spar, Extrawelt, Efdemin, Christian Löffler, Brandt Brauer Frick, Robag Wruhme, Zuckermann und Michael Reinboth.

And now for something completely different: Attention: this DJ-Mix contains no Techno or House music. Just Krautrock from 1970 to 2019, from Germany, England, Japan…. But why? This music had a huge influence on my musical upbringing. Before German New Wave (NDW) there was German music that was totally unique. I tried to play Michael Rother’s shining guitar melodies on my acoustic guitar, clapped on my knees to the stoic beats of Jaki Liebezeit and wished I had a synthesizer. On June 13th 2019 I took the opportunity to play only Krautrock during a Liquid Sky Berlin event that I hosted with my friend 10cars at Maze Club in Kreuzberg. I played all those upbeat German Krautrock tracks from the 70s and added some new Kraut by bands like Camera, Minami Deutsch / 南ドイツ, Verstärker, Stereolab and so on. I guess many of you might discover something new! Hope you enjoy the experience!

And now for something completely different: Attention: this DJ-Mix contains no Techno or House music. Just Krautrock from 1970 to 2019, from Germany, England, Japan…. But why? This music had a huge influence on my musical upbringing. Before German New Wave (NDW) there was German music that was totally unique. I tried to play Michael Rother’s shining guitar melodies on my acoustic guitar, clapped on my knees to the stoic beats of Jaki Liebezeit and wished I had a synthesizer. On June 13th 2019 I took the opportunity to play only Krautrock during a Liquid Sky Berlin event that I hosted with my friend 10cars at Maze Club in Kreuzberg. I played all those upbeat German Krautrock tracks from the 70s and added some new Kraut by bands like Camera, Minami Deutsch / 南ドイツ, Verstärker, Stereolab and so on. I guess many of you might discover something new! Hope you enjoy the experience!

And now for something completely different: Attention: this DJ-Mix contains no Techno or House music. Just Krautrock from 1970 to 2019, from Germany, England, Japan…. But why? This music had a huge influence on my musical upbringing. Before German New Wave (NDW) there was German music that was totally unique. I tried to play Michael Rother's shining guitar melodies on my acoustic guitar, clapped on my knees to the stoic beats of Jaki Liebezeit and wished I had a synthesizer. On June 13th 2019 I took the opportunity to play only Krautrock during a Liquid Sky Berlin event that I hosted with my friend 10cars at Maze Club in Kreuzberg. I played all those upbeat German Krautrock tracks from the 70s and added some new Kraut by bands like Camera, Minami Deutsch / 南ドイツ, Verstärker, Stereolab and so on. I guess many of you might discover something new! Hope you enjoy the experience!

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.

FAUX FEROCIOUS "Stress Kills" Pretty Groovy Burger Records (2019) https://burgerrecords.11spot.com/faux-ferocious-pretty-groovy-pre-order.html Faux Ferocious is Reid, Dylan Jonathan and Terry. Reid plays drums, Dylan plays bass, Jonathan and Terry play guitar and sing. They love each other and they love you.Pretty Groovy marks the first studio album from Faux Ferocious and their first LP release with Burger Records After years of subsistence recording on every broken Tascam machine in Middle Tennessee, Faux Ferocious took their figure-it-out approach to freakout rock n’ roll and hit the road to work with audio whiz Drew Vandenberg at the famed Chase Park Transduction in Athens, GA. They ate together, smelled each other and broke down the ego achieving an instinctive sound that allows expert musicianship and simple, evocative lyrics to work as one highlighting the duality of space and constraint. This record finds the sweet spot. It is angular and arresting, it is fast, it is repetitive, it is kosmische, it is punk. It drones, it loops and swirls around. It is guitar rock for people who wonder what it would be like if Ron Asheton and Michael Rother were also in Crazy Horse. The songs on this album allow each musician to stand out without taking over. The lyrics are clear and you can follow the thread of each instrument and each word and just when it feels like it might unravel it snaps back into shape leaving you dangling you from a cliff wondering how you got there. It is music for taking drugs, it is music for cleaning the house, it is music for hard labor or quiet reflection.“Price of Progress”, the first single off the album is a smooth as fuck look at real estate. Reid Cummings and Dylan Palmer drive this song with a locked in groove that grows tougher and tougher with each verse. Jonathan and Terry sing about home ownership in the 21st century from the perspective of an out of touch estate agent who does not realize they are selling a progress built on the scorched earth of neighborhoods bulldozed by developers who don’t give a shit about anything other then finding the next struggling block to make a couple hundred grand off of.Faux Ferocious has been around. They have toured hard they have done it their way and they have something to say with this album. “Pretty Groovy” is just that. These guys are trying to get you moving but they are going to make you listen to what they have to say.“Pretty Groovy” comes out in February of 2019 on Burger Records

In dieser Folge des Telekom Electronic Beats Podcasts ist Michael Rother zu Gast. Der Musiker beschreibt seinen künstlerischen Werdegang in einer Reise durch die Zeit, angefangen in den 70er Jahren bis in die Gegenwart. Er erzählt von seiner zufälligen Begegnung mit Kraftwerk, wie er die kurze Zeit mit der Band empfunden hat und wie ihm danach mit den Bands NEU! und Harmonia der Durchbruch gelungen ist. Seit 1977 arbeitet er als Solomusiker.

LAGUNA.SUNRISE................... by tony justerini 01. Valdi Sabev – Glimpse of the Eternal (00.05) 02. Paulo Bragança – Maldição (05.35) 03. Lou Reed – The Raven (09.40) 04. Last Days - Where the Sky Rests (15.20) 05. The Tallest Man On Earth – There’s No Leaving Now (18.35) 06. Kathryn Kluge,Kim Allen Kluge,Francesco Lupica–Meditation (22.50) 07. Michael Rother – Sbherz (29.40) 08. Arcade Fire – We Don't Deserve Love (33.10) 09. Peter Baumann – Meadow of Infinity Pt 2 ( 39.20) 10. The Ultimate Architects – Amber (45.30) 11. David Byrne - In The Upper Room (49.00) 12. Frakkur – 9 (52.35) 13. June Tabor & Oysterband - Love Will Tear Us Apart (59.45) 14. The Tumbled Sea – Walking (01.03.00) 15. Depeche Mode – Blue Dress (01.08.40) 16. Love & Rockets – Pearl (01.13.40) 17. Black Sabbath – Laguna Sunrise (01.16.55) total time : 1.19.47 h photo by Carlos Carvalho www.radioetiopia.com http://radioetiopia.phase108.net/ https://instagram.com/radioetiopia/ https://radiolisboa.pt/

Season 2.5, Episode 7. Another week, another Safe As Milk Fest love-fest. This week, John, Mike, Matt & Gordon take a preliminary stumble through another alphabetical stage of the billing, this week featuring Princess Nokia, The Residents, and Michael Rother. It's amazing that they manage it this week, owing to the sheer volume of digressions. What sounds do words with a "ch" make? What are legs? And these two quandaries are just in the FIRST FIVE MINUTES. Find out about cooking dinner during Brainbombs, how podcasts work, and the adorable Labrador in their chalet, and just like last week, there is a marvellous post-credits Easter Egg which you will no doubt enjoy. Don't forget to follow us on Twitter (http://twitter.com/ayppodcast) and check out the Listening Notes (http://ayppodcast.tumblr.com). #Music #Podcast #Review #SafeAsMilk #PrincessNokia #TheResidents #Michael Rother #AdorableLabrador #LegsAreJustArmsJustAnotherWay #Bookmarks

Tengo de todo. Un Sonidos y Sonados el de esta semana con invitados diferentes, pero, a lo lejos, con alguna relación. Hoy nos visitan Enigma feat Anggun, Herba d’Hamelí, Michael Rother (lo voy a ver esta noche en Bikini), Las Vegas, Holögrama, Muñeco, MyVestal, Bultur, Berlina, Bye Bye Lullaby, A por Ella Ray y Tahithi […]

Ambitious Lovers: Ambitious Lovers, having formed 10 years ago, have only been active for three of those years, with most of their activity happening between 2007 to 2009, releasing 3 EP’s and a full length LP, having broken up the same night they released their last EP ‘Winter Got Warmer’. Midway through 2014, an invitation to perform was a chance to recreate their awkward and raw songs. It was their first gig in 5 years and played to small but extremely appreciative crowd at the Waiting Room. Though they still turn up playing occasionally in 2015, you can find Joel, who sings and plays ukulele, active in Spirit Bunny and Feet Teeth. Recorded & mixed by Cameron Smith. Recorded at The Waiting Room on the 31st of May, 2014. Baptism Of Uzi: The band we are going to hear next are called Baptism Of Uzi. No, its not a gang of priests with machine guns, but a 4-piece band from the Eastern part of Geelong. Borrowing influences from bands such Black Sabbath and melding them with metronomic Krautrock rhythms of Can and Kraftwerk, their sound has seen them share stages with the likes of Michael Rother from Neu, Wavves & TV On The Radio, and produce two releases, their debut mini-album, titled Cassette, and the Stray Currents EP. This particular set was recorded back in 2012 in a inner-city Melbourne venue that existed for only 9 months, and captured the band transitioning from a quintet to a quartet. Recorded by Cameron Smith. Mixed by Cameron Smith. Recorded at The Waiting Room on the 31st of May, 2014. Airing details: Originally via Zed Digital, 8-9pm, Friday 27 March 2015. Show production and engineering: Branko Cosic.

Find out why Neu! truly deserves it’s ! Tune in to hear Jim and Greg’s conversation with German rock pioneer and Neu! co-founder Michael Rother. And stay tuned for reviews of the latest from Swedish pop singer Robyn and American indie rockers Superchunk.