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Moebius – Musik Für Metropolis

Bureau B Moebius - Musik Für MetropolisBack in 2012, Dieter Moebius was asked to score Fritz Lang‘s Metropolis and for that purpose produced some pre-arranged tracks to be played during the film which along with some live improvisation would suit the film as he saw it. One imagines that this would have been a roaring success, and therefore he had intended to prepare a recorded album of the results.

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Dieter Moebius – Nidemonex

More Than Human

Dieter Moebius – NidemonexThis latest transmission from Moebius finds him pushing further at the boundaries of an idiosyncratic take on electronic rhythm-based music which have often characterised his solo recordings and rummaging deeper into the swirling vortices of synthesized experimentalism that he helped pioneer in the ’70s as part of Cluster. “Inmedin” is the piece most resembling the former output, all twinkling electronic bells and chimes over a ponderous bassy rhythm which slurs ominously among the desertified synths which glide around and above with more than slightly sinister intent. It’s beyond ambient and into the atmospheric, an ominous lurker winding up like a shaman setting up for a long haul ahead at the rumbling threshold of consciousness.

Bleakest of all is the ponderoulsy

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Moebius Story Leidecker – Snowghost Pieces

Bureau B

Story Leidecker Moebius – Snowghost PiecesNegativland still keep me chortling to myself whenever they pop up on random play. In fact random play seems designed for Negativland, has given them a place in the canon that might otherwise have excluded them – I don’t remember playing their records that much before MP3, though I liked having them and was eternally glad that they were there, in the background, chipping away at egos. I mention this because it’s that Leidecker.

Moebius is the one from Cluster, of course, who I had never actually listened to until young Matt Woebot mentioned them in the Hacker Farm/Kemper Norton/IX Tab article in The Wire a few years back and I thought it wise to seek them out immediately (yes, it turns out

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Moebius and Plank – En Route

Bureau B

This baby’s got kinetic candy aplenty, tearing up that flat ’80s graph paper, banishing machine rigidity in a blur of angles. Any inkling of metronomic dead flesh is given a dust kicking of sampledelics bolstered by live trumpets and fret slipping guitar, the momentum throwing your head in pleasing multiples, keeping the adrenaline churned up.

“Automatic” is a great start, a Rubik’s cube of flashing colour, a sequential squeeze of overlapping goodness spurred on by a jog of beat and pulsing travelators, little hints of chorus bending your ear here and there ending in filter fairy fade out. The following track “Don’t point the bone” has a pleasing DAF-esque stomp about it as those sado-slapped contours flex their muscles and sampled clusters

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Kluster – Klopfzeichen/Zwei Osterei

Bureau B

Those good people over at Bureau B have been delving into the archives to bring us two classic slices of pre-Cluster goodness. Well before ‘71 and Zuckerzeit, these two albums, originally released in micro editions of 300 copies, demonstrate an avant-garde spirit that was and still is, a pleasure to absorb. Very much a ‘kicking k’ before the soothing ‘c’, these recordings still rival many of today’s newcomers with their pantheon of noise toys and effects pedals. A unique vision that’s not dissipated at all in over forty years.

The beautifully bleak innards of a piano start the first Kluster offering Klopfzeichen. That black cover fitting well with the repeating bony timbres… glassy obsidian and soft powdery concussions flung round them.

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Roedelius & Schneider – Stunden /Qluster – Rufen/Moebius & Tietchens – S/T

Bureau B

Over the past few years, Hamburg’s Bureau B label has released an astonishing treasure trove of music. Reissues of long out of print kraut classics, including much of the enormous [post=cluster-roundup text=”back catalogue of the Cluster family”], now sit alongside brand new work by many of the people from the German scene, old and new, including recent releases from [post=faust-something-dirty text=”Faust”] and [post=kreidler-tank text=”Kreidler”]. The label now returns to the Cluster camp for us to catch up with just what Moebius and Roedelius have been up to since they last disbanded the duo a couple of years back.

Well, it seems the answer to that is, they’ve been forming more duos. For Stunden, Hans-Joachim Roedelius gets together with To Rococo Rot’s Stefan Schneider to

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Rother & Moebius/White Noise/Alquimia/Waveworld (live)

The Third Millennium Festival Union Chapel, London 14th October 2000

Generally I would say that if you want to see a gig in London, there are not many more beautiful places than Union Chapel. I would also add to try for summer. This cavernous gothic spired chapel all of stone and wood and beautiful doorways into maze-like passages provides an atmosphere of spooky tranquility and usually gorgeous acoustic quality. Unfortunately, the cold could not be kept out this night, even with the radiation of a dozen or more electric heaters, and according to some of the artists, the sound system was more than a little off. Putting an audience on hard pews in a cold stone room and expecting them to stay awake for hours on end of quiet dreamy music proved to be too much, so what should have been a promising bunch of performances did eventually become tedious

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Michael Rother & Dieter Moebius/Dead Voices On Air (live)

The Underworld, London 28th January 2000

Dead Voices On Air are conducting a bit of an experiment on the London leg of their tour, starting off loud, noisy and danceable and trailing down into ambient passages of extended mood workouts. Mark Spybey and Darren Phillips man the keyboards, sequencers, samplers, digital technology; Darryl Neudorf is behind a bare drumkit (complete with fluffy liner on one drum). So they kick off into a post-Industrial Dance groove, and instantly several key signifiers make links to everyone from Coil (arpeggiating keyboard weirdnesses, atmosphere), Psychic TV (the stripped analogue beats, the moments of ecstatic upness) and of course fellow Vancouverians and fellow-travellers Download (that digital Techno-noise, the earnest need for cathartic harshness). Largely instrumental, the only moment of vocal outpouring comes during a heavy-skanking Techno Dub, when the words “I hate who you are” become the mantra of the minute and the atmosphere becomes

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