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viewing 1 To 11 of 11 items
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CD
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MGART 302CD
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Originally released in 2005. Music for the silent movie Schloss Vogelöd (The haunted castle) by Friedrich Wilhelm Murnau, produced in 1921. Recorded live on October 31st and November 1st 2003 at the Staatstheater Braunschweig, Kleines Haus, Germany.
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MGART 405CD
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MG.ART presents a reissue of Manuel Gottsching's Dream & Desire, originally released in 1977. For 2019, this is a newly remastered and carefully re-edited version of the legendary 1977 studio recording for RIAS Berlin.
"The 1970s. The Vietnam War is slowly coming to an end; the RAF thrives and prospers; the first Achtundsechziger ('68 protestors) are actually planning to march through the institutions; rock and roll is getting heavier; and hardly noticed by the mainstream public, some West-Berlin musicians develop a world of sound, which later eventually became labelled as "Electronic Music". These compositions of slowly evolving soundscapes relating to the Minimal Music concept created a meditative mood. This was new; this was the Berliner Schule (Berlin school). Manuel was living right on the Ku-Damm (Kurfürstendamm), right in the city center, but in the rear building, shielded from the noise. Manu didn't have a sequencer. Everything that sounded like a sequencer was his highly focused guitar work. The slowly changing tone sequences for example; this was a physical accomplishment in itself. The musicians from Berlin, who worked in the same genre, were either friends, periodically played in Manuel's Ash Ra Tempel, or built up their own careers. The scene was small, but equipped with illustrious celebrities: Klaus Schulze, Tangerine Dream, Harald Grosskopf, and Agitation Free. Manuel was able to start his international career pretty quickly, focusing on England, France and Japan. For the German middle-of-the-road-consciousness, these countries were as exotic as the winds on Jupiter, especially Japan, where Göttsching still enjoys superstar status. The RIAS studio had an old Farfisa compact organ that Manuel played and of which I was especially proud; it can be heard prominently here. Originally, the two tracks had been conceived for my one-hour radio feature at RIAS Berlin in summer 1977. Then, although being broadcast only once in Berlin and Belgium, they soon became cult amongst listeners, who taped, multiplied and distributed the tracks throughout Manuel's fan base. The revival of Dream & Desire is not nostalgia but an indication that the present will only be appreciated after acknowledging the past. The bonus track "Despair" was not part of the original radio-feature, but was composed and recorded around the same time in 1977, and fits perfectly in style and sound. Manuel's music has been with me for now almost 50 years. Dream & Desire is beautiful -- what more can I say." --Olaf Leitner, March 2019
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LP
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MGART 901LP
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2024 repress; 180-gram LP version. Originally released in 1975. Remastered by Manuel Göttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel Göttsching's first solo album. Written and performed entirely by Göttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar.
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CD
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MGART 424CD
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2021 restock; In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes six-page booklet with notes and pictures.
"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes ... A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork
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LP
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MGART 904LP
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2024 repress. 180-gram LP version with embossed chessboard artwork print and printed inner sleeve. In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes liner notes by Manuel Göttsching, archival photos, and an excerpt of David Elliott's review in Sounds from June 16, 1984.
"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching's played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes . . . A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork
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CD
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MGART 301CD
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2016 repress; originally released in 2005. Manuel Göttsching performed the picturesque electronic sounds of his seminal, epic four-part suite Die Mulde to accompany the art installation 34 mirrors R.S.V.P. by Mercedes Engelhardt, at the Denkmalschmiede Höfgen near the Mulde river in Germany, on September 6, 1997. The bonus track, "HP Little Cry," is based on a theme from 1981. In 2004, Göttsching added a guitar melody and dedicated the piece to a Norwegian fan, who gave the track its title.
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MGART 801CD
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2009 release. Japanese import. Limited one-time edition of 3000; last available copies released as this 2016 MG.ART edition. SHM CD and NTSC DVD; includes 16-page booklet. Recorded live in August 2006 at the open-air Metamorphose festival in Japan. Composed, performed, and mixed by Manuel Göttsching. Recorded in 1981 and first released in 1984, Manuel Göttsching's masterwork E2-E4 (MGART 424CD/904LP) has since become a milestone in electronic music. This 2006 concert marks its first-ever live performance. DVD includes an additional excerpt from the original LP.
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CD
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MGART 401CD
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2022 restock of MG.ART's 2011 reissue; originally released in 1975. Remastered by Manuel Göttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel Göttsching's first solo album. Written and performed entirely by Göttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar.
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MGART 501CD
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2016 repress; originally released in 2006. Many listeners know Manuel Göttsching from his 1984 masterpiece E2-E4 (MGART 424CD/904LP), which has been sampled on numerous occassions -- think "Sueno Latino" to start. The plethora of further re-recordings includes works by Derrick May and Joe Claussell and a bootleg by Carl Craig, all of which proves how iconic and enduring Göttsching's work is. Joaquin Joe Claussell Meets Manuel Göttsching is the first attempt to bring these once-illegal mixes to a broader and wider audience. It contains the first official release of two very rare tribute mixes of '70s Göttsching classics, carefully remodeled by Joe Claussell (a 22-minute version of "Deeper Distance" and an 11-minute version of "Ain't No Time For Tears"). The last words, however, are left to MG himself, with "Shuttlecock," a 19-minute excursion that has Göttsching improvising over a soft carpet of delayed bell sounds before the guitar fades away and the track deepens and thickens like a dark river sweeping along more and more motifs and harmonies. The three original concert recordings were first released on The Private Tapes Vol. 2 (Manikin, 1996); "Deep Distance" and "Shuttlecock" were recorded at the Bataclan in Paris, December 1976 and "Ain't No Time For Tears" was recorded in Berlin, August 1979.
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LP
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MGART 601LP
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LP version. 2016 repress; originally released in 2006. Many listeners know Manuel Göttsching from his 1984 masterpiece E2-E4 (MGART 424CD/904LP), which has been sampled on numerous occassions -- think "Sueno Latino" to start. The plethora of further re-recordings includes works by Derrick May and Joe Claussell and a bootleg by Carl Craig, all of which proves how iconic and enduring Göttsching's work is. Joaquin Joe Claussell Meets Manuel Göttsching is the first attempt to bring these once-illegal mixes to a broader and wider audience. It contains the first official release of two very rare tribute mixes of '70s Göttsching classics, carefully remodeled by Joe Claussell (a 22-minute version of "Deeper Distance" and an 11-minute version of "Ain't No Time For Tears"). The last words, however, are left to MG himself, with "Shuttlecock," a 19-minute excursion that has Göttsching improvising over a soft carpet of delayed bell sounds before the guitar fades away and the track deepens and thickens like a dark river sweeping along more and more motifs and harmonies. The three original concert recordings were first released on The Private Tapes Vol. 2 (Manikin, 1996); "Deep Distance" and "Shuttlecock" were recorded at the Bataclan in Paris, December 1976 and "Ain't No Time For Tears" was recorded in Berlin, August 1979.
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CD
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MGART 305CD
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2016 repress; originally released in 2007. Manuel Göttsching's performance at the Anoyo Prism festival on Mount Fuji in Japan, April 29, 2006. High-quality recording with highly sought-after tracks including "Shuttlecock." Göttsching performed the entire concert alone, accompanied by stunning visuals by a Polish graphic artist. He dug into his back catalog, coming up with new arrangements of classic material. The album opens with "Sunrain," which was originally released on the 1976 Ashra classic New Age of Earth. Göttsching takes the familiar, hypnotic sequencer pattern in a slightly different direction and extends the piece to nearly 15 minutes. The second track, "Saint and Sinner," was originally released on Concert for Murnau (2005). Göttsching takes it a step up from its laid-back studio counterpart, adding a bluesy Clapton-esque guitar lead. "Trunky Groove" debuted at this performance, and is a showcase of the psychedelic style that was the norm for Göttsching back in his very early days in Ash Ra Tempel. A techno-style rhythm is accompanied by a long drone and intense orchestrations before giving way to an effects-drenched guitar solo. "Die Mulde" is a 20-minute excerpt from Göttsching's 1997 long-form piece of the same name (MGART 301CD). It begins with the "Die Spiegel" section of the piece and shifts into the closing "Zerfluss" movement. As with "Saint and Sinner," Göttsching adds a guitar lead that is not present in the original version. Finally, to close the album, Göttsching presents another arrangement of the classic "Shuttlecock," which was originally released on the 1977 Ashra masterwork Blackouts (SPA 14759LP). The arrangement is similar to the 1976 live version that appeared on the 1996 CD The Private Tapes Vol. 1 (later released on Joaquin Joe Claussell Meets Manuel Göttsching (MG 501CD/601LP, 2006)), but definitely has a modern twist. Göttsching's guitar playing is front and center here and is stellar -- almost like taking a trip back to the mid-'70s.
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viewing 1 To 11 of 11 items
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