Tag Archives: Hans-Joachim Roedelius

September 2016 – upcoming gigs – Hans-Joachim Roedelius, Andrew Heath and Christopher Chaplin in Stroud (15th); Daylight Music returns to London with Michele Stodart, Alright Gandhi, Alev Lenz and Joli Blon (17th)

1 Sep

Towards the middle of the month, there are opportunities to see a German kosmische pioneer playing up in the quiets of Gloucestershire, and to catch the return of Daylight Music semi-acoustica to London. Read on…

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Hans-Joachim Roedelius

Stroud Valleys Artspace/Resound presents
Hans-Joachim Roedelius + Andrew Heath + Christopher Chaplin
The Brunel Goods Shed, Station Approach, Stroud, GL5 3AP
Thursday 15th September 2016, 8.00pm
– information here and here

“Resound presents a fantastic opportunity to see a true pioneer. Hans-Joachim Roedelius – the Godfather of Ambient – is a pioneer in the field of the exploitation of electrically generated tones, sounds and noises. One of the founders of contemporary popular electronic music, he was a key player at the birth of kosmische, Krautrock, synthpop and ambient music. Onetime collaborator Brian Eno describes him as “one of the true originals of modern music. His delicate and wistful compositions seem to come from some long and secret musical tradition – like the meditations of Sufi poets, or the haikus of Zen monks.”

Hans-Joachim Roedelius

Hans-Joachim Roedelius

Roedelius’ collaborations with Eno, Dieter Moebius, Michael Rother and many others (in groups such as Cluster, Harmonia, Geräusche and PlusMinus) are at least the equal of the more well-known innovations of German cohorts Tangerine Dream, Kraftwerk and Can. His forty-plus solo albums are just as radical in seeking an unlikely reconciliation with the past – cross-wiring Krautrock’s brutalist modernism with an earlier strain of Teutonic enquiry, melding weird improvised electronica with folk, jazz and classical sounds to often stunning effect.

Roedelius has also worked as nurse, physiotherapist, masseur, escort of the dying, writer, poet, photo-collage-artist, producer and curator.”

Playing at Stroud’s Goods Shed for the second time (the first was in 2012), Roedelius will be joined by two of his latterday collaborators.


 
Andrew Heath initially came to attention as half of the ’90s ambient keyboard duo Aqueous (who recorded 1997’s ‘Meeting The Magus‘ with Roedelius) in which he was the digitally-inclined partner of quixotic analogue player Felix Jay. Following Felix’s retirement, Andrew has continued various aspects of the Aqueous project in both visual and musical forms, seeking to “introduce both the listener and the viewer, to a sonic and visual hinterland… a dreamlike state that lies somewhere between sleeping and waking.”


 
Christopher Chaplin spent most of his early career as an actor (in keeping with his family heritage – he’s one of the sons of Charlie Chaplin). However, his personal artistic roots are as a pianist – having studied, as a young man, under Irène Dénéréaz in Vevey. In 2005, Christopher reorientated towards work as a composer and musician, working variously on theatre music and orchestral string pieces, but also with Viennese electronic musician Kava. In 2011, he was personally chosen by Roedelius to record and remix one of the latter’s live piano sets: the results led to further collaborations including the ‘King Of Hearts’ album in 2012 and further concerts played around the world. In October 2016, he releases his solo album debut, ‘Je suis le Ténébreux’.



 

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Daylight Music #232A couple of days later, in London, ‘Misfit City’ favourite Daylight Music starts up its autumn season of pop, acoustica, classical crossover and electrophonic treats, all packaged up for the Saturday lunchtime crowd.

Arctic Circle presents:
Daylight Music 232: Michele Stodart + Alright Gandhi + Alev Lenz + Joli Blon
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 17th September 2016, 12.00pm
– free event (suggested donation: £5.00) – information

What they’ve told us, so far, about the lineup…

Michele Stodart has taken temporary leave of The Magic Numbers to release her second solo album. Brushed with country and blues, her beautiful, intimate music will hold you close while breaking your heart.

Alright Gandhi came together in 2014, meeting and meshing during chaotic underground jam sessions in Berlin; rather than making experimental music, they claim they’re making music that likes to experiment.

Alev Lenz is a remarkable songwriter, composer and singer, whose music fuses filmic, world and classical influences. Her bittersweet voice and utterly personal lyrics combine with inspiring hooks that take you by surprise.

Joli Blon are a British Cajun band, who’ll have you tapping your toes with traditional Louisiana dance tunes.”


 

Heath/Jay/Roedelius: ‘Meeting The Magus’ album reissue (“a varnish of mysticism cracks”)

29 Mar
Heath/Jay/Roedelius: 'Meeting The Magus'

Heath/Jay/Roedelius: ‘Meeting The Magus’

Even by the standards of beatless ambient electronica, the work made by Andrew Heath and Felix Jay under the name of Aqueous specializes in being elusive. Their serene, virtually weightless debut album often gave the impression that it was hiding behind itself as it flowed gently out of your speakers: a slender, slightly icy haze of suggestion.

In this 1997 team-up with a longtime Aqueous hero, the Krautrock synth-alchemist Hans-Joachim Roedelius (formerly of Cluster, and to whose Aquarello project Jay had contributed earlier in the decade) their music took on a different kind of transparency. It became easier to follow: even eager to help you along. Reissued by Roedelius fourteen years later, ‘Meeting The Magus’ remains an album on which a varnish of mysticism cracks to reveal a quiet understated joy.

Heath/Jay/Roedelius: 'First Lesson – To Renounce'

Admittedly, at first glance the album can send out a cloying message of cloistered, monastic posing. There’s a four-part Aqueous/Roedelius collaboration of “Lessons”, with titles like To Renounce and To Remember. But beyond the holy smokescreen set up by Heath and Jay (via the buzzing chanting intro tones of This Waiting Earth) lies a clearly enjoyable session. It seems that the two British synthesists came to their inspirational German counterpart more for warmth and common purpose than for instruction. It’s worth remembering that even monks, as they move around the cloisters, meet and smile – and brew things up. The original sleeve sported a profundity of meditative sky colours. The reissue humanizes the package by substituting a photo of a sculpted head with soft lines, blind sockets and terracotta-pink tone. It has the look of an amused, enigmatic toe.

While on Aqueous recordings the roles of Jay and Heath tend to blur together, the Lessons see them more clearly defined. While Roedelius plays more heavyweight digital piano and sample-rendered tones via his Kurzweil rig, Jay offers analogue sounds on older synths; plus a direct, electro-mechanical edge in the shape of Rhodes piano. Heath mediates (and meditates) in the middle with both analogue and digital keyboards, providing the reclusive structures for his collaborators to build on. It’s Jay’s decorations of Rhodes notes which silver the solemn analogue tolling on First Lesson; and which add skeletal, hopeful chords to the monastic walls of atmosphere on Second Lesson and to the ringing glass textures on Fourth.

Heath/Jay/Roedelius: 'Third Lesson – To Remember'

Roedelius comes more into his own by Third Lesson, laying swathes of amnesiac melody under Jay and Heath’s electronic abstractions. On Fourth Lesson, he lets tunes drip lightly from a harp-string setting. Throughout the Lessons the sound is reverent but revelatory, and turns playfully rebellious on Magister Interludi, which provides a playtime piece. Heath chinks and jingles while Roedelius wallops away at his keyboard drum-pads, and Jay cheerfully flails a one-note piano as if he’d trapped his finger in the strings. If the Lessons are ambient plainsong, then this is ambient garage rocking.

Although he doesn’t play any further part on the remainder of the album, Roedelius’ influence is written all over the rest of the pieces. Heath and Jay make up for his absence by imbuing tracks like Easter Sunday and Vergissmeinnicht with a new, more direct warmth and romanticism than they would have chosen previously. There’s a sense of Roedelius (even in absentia) adding zest and fresh melodic curves to the sounds, like a twist of flavour melting out of an ice-cube.

In general, attempting to get a grip on this music is still like trying to pick up water with a salad fork. But whereas most journeys to gurus or sacred mountains can mean development at the expense of the honesty and flaws which render us human, ‘Meeting the Magus’ shows that this particular journey left Heath and Jay’s Aqueous work a little thawed – and with greater humanity.

Heath/Jay/Roedelius: ‘Meeting The Magus’
Roedelius Musik, ROEDM001 (9120047330425)
Download-only album
Released: 24th March 2011 (album originally released 19th May 1997)

Buy it from:
Aqueous homepage store (original version), Digital-Tunes, Boomkat and others.

Aqueous (Andrew Heath/Felix Jay) online:
Homepage

Hans-Joachim Roedelius online:
HomepageFacebookTwitterMySpaceLast FMYou TubeiTunes

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