Rothersphare by nachtricht

nachtricht

Rothersphare

12 tracks

Running time: 1:13:18
Released: 07/2016

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  01   Umlaufbahn - 5:57
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  02   Leuchtkraft - 7:12


  03   Nebelfleck - 4:44
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  04   Interstellarer Staub - 11:37


  05   Wurmloch - 8:13


  06   Wellenlange - 5:48


  07   Schwerkraft - 4:23
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  08   Oortsche Wolke - 5:06


  09   Krummung - 3:18


  10   Raumsonde - 4:56


  11   Dunkel Materie - 5:46


  12   Himmelsmechanik - 6:18






More Info

One of my (many) favourite guitarists is Michael Rother, whom I was lucky enough to see at a UK gig a few years ago (working with our recently lost electronic music friend Dieter Moebius). It was a wonderful evening of Teutonic electronica right in my own back yard - bliss!

Following Rother's brief stint with the embryonic Kraftwerk, and the difficult years of Neu and beyond (Cluster), light began to creep in with Harmonia (Deluxe) owing a little, perhaps, to one Brian Eno. But for me it was the deft touches of some (not all) of the songs on the first solo albums that I loved best and still enjoy as much today as I did originally in 1977 (Flammende Herzen), 1979 (Sterntaler and Katzenmusik) and 1981 (Fernwarme).

The skill on those albums is so delicate, austere, Germanic - never quite 'Marvinesque' (thankfully). Yet this work seems to attract desultory praise from Mark Prendergast's 'The Ambient Century' where he refers to it as 'more exotic tableaux' - but then it never was exactly *ambient* was it?

For some years I've wanted to create an original album of Rother-like magic but with the advantage, if you will, of the bonus of today's technology - as I imagine Rother would have utilised it if he could - but forty years on in my case (even though he has worked more recently at a visceral level with the likes of Frusciant).

As with the work of Manuel Gottsching I find the challenge daunting. The harder you try to sound like someone else the more you sound like yourself, the more you learn about yourself, discover yourself, become yourself, as is well known and you have to settle for that. After all, no-one else can be me, any more than I or anyone but Michael can be Rother.

It's very hard to be sparse, airy, spacey - as he was on so many of those songs - when it's so tempting to be noisy, busy. For me, even Rother himself lost that elusive bunch of qualities a little as time went on and technology, eventually digital technology, crept up on him. Yes there were synths of a kind and Neu-ish sounds on some of those album tracks, but the very best were translucent, lush, simple – sublime.

I've enjoyed trying to make this 'homage' and I've enjoyed Michael's work and I thank him for both. The Nachtricht sounds, cosmic guitar and all, are derived from many sources and Rother is most definitely one of them.