Kosmische or Krautrock?

I have been a long time fan of Krautrock/Kosmische Music. Exploring nooks and crannies to discover what made those Germans go so wacky in the 70's.

In some ways it is easy to understand. As with many musical movements it is a reaction to societal pressures that have been built up over time and the music that is regarded as mainstream. In this case much is attributed to German Schlager music. It is a style of pop that is sweet and syrupy and very conformist.

As to the societal pressures, lets just say that being first generation to grow up in the spectre of Germany's role in WW2 might have a profound impact on one's worldview. Additionally, Berlin existed as a split city, occupied by Communist and Western powers. Out of this milieu emerged some of the most dramatic music of the early 70s. From the proto-punk jams of Can to the ethnic flavored ambience of Popol Vuh .

It was enough to lure Brian Eno in for a series of albums in with various originators of the sound after he left Roxy Music. Albums such as Cluster & Eno, After the Heat (again with members of Cluster), and Tracks and Traces (Harmonia and Eno).

I recently came across an incredible mix of Kosmische music, which I regard as the more ambient side of this music, at the incredible mnml ssgs blog.

This mix is put together by Donato Dozzy whom I had previously known for his work as a producer of trancey tech house. However, on this mix he really outdoes himself assembling a collection of drifting pulsating tracks that you might find yourself listening to for years. What really sealed the deal was his closing song. Which was not at all German, but a band that drew a great inspiration from the movement and transformed the sound into something quite uniquely their own.

Donato Dozzy Kosmische Labyrinth mix

In case you are interested in exploring further, there is great documentary from the BBC on the subject accessible here.

Update: A great article from an interesting blog on seminal band Cluster.

James Blake, Witch House and the importance of being earnest

Over the past year or two, with the gradual dissolution of the hardcore dubstep scene into a kind of post-dubstep and experimental bass and hip hop sub genere's, there have emerged myriad takes on what bass music could or should be. Much in the same way that Kompakt revolutionized house music in the early 2000's by fusing it thoughtfully with pop and techno to revitalize the genre. There are beginning to emerge producers and record labels that are, willfully or not, undertaking a similar revolution in the bass music underground.

What makes this music so difficult to discuss is that unlike Kompakt's efforts, which resided in a non commercial underground. This music has definitive ties to popular music. Hip Hop is alive and well in 2011 and much of the music on labels such as Tri Angle, shows a definite affinity for hip hop structure and many of these artists, such as James Blake and How to Dress Well, are indebted deeply to mainstream R&B artists such as R. Kelly.

Yet this music stands well apart from those influences. Artists like Forest Swords make music that blend a hip hop aesthetic with elements of dub, pop and even a touch of industrial folk to create music that somehow recalls the primeval forests of his native England. oOoOO in his track Burnout Eyes imposes the vague structure of a chopped and screwed track onto the atmospherics and vocals one might expect from a traditional 4AD band to produce something quite unique and affecting.

oOoOO - Burnout Eyes by frankyboy

Whether witch house or whatever its eventual name will be will flourish is yet to be known. However, this innovative atmospheric music is captivating for its emotional intensity and innovative combination of disparite styles to create a new whole.