Future Days: Krautrock and the Building of Modern Germany

Future Days: Krautrock and the Building of Modern Germany

David Stubbs / Feb 25, 2020

Future Days Krautrock and the Building of Modern Germany The definitive guide to Kosmische music from one of Britain s most acclaimed writers West Germany after the Second World War was a country in shock estranged from its recent history and adrift from

  • Title: Future Days: Krautrock and the Building of Modern Germany
  • Author: David Stubbs
  • ISBN: 9780571283323
  • Page: 198
  • Format: Paperback
  • The definitive guide to Kosmische music, from one of Britain s most acclaimed writers.West Germany after the Second World War was a country in shock estranged from its recent history, and adrift from the rest of Europe But this orphaned landscape proved fertile ground for a generation of musicians who, from the 1960s onwards, would develop the experimental and various soThe definitive guide to Kosmische music, from one of Britain s most acclaimed writers.West Germany after the Second World War was a country in shock estranged from its recent history, and adrift from the rest of Europe But this orphaned landscape proved fertile ground for a generation of musicians who, from the 1960s onwards, would develop the experimental and various sounds that became known as Krautrock.Eschewing the Anglo American jazz blues tradition, they took their inspiration from elsewhere the mysticism of the East the fractured classicism of Stockhausen the pneumatic repetition of industry, and the dense forests of the Rhineland the endless winding of Autobahns.Faust, Neu , Cluster, Ash Ra Tempel, Amon D l II, Can, Kraftwerk the influence of these groups ruminative, expansive compositions upon Western popular music is incalculable They were key to the development of movements ranging from postpunk to electronica and ambient, and have directly inspired artists as diverse as David Bowie, Talking Heads and Primal Scream.Future Days is an in depth study of this meditative, sometimes abstract, often very beautiful music and the groups that made it, throwing light too on the social and political context that informed them It s an indispensable book for those wanting to understand how much of today s music came about, and to discover a wealth of highly influential and pioneering artists.

    Can Future Days Music Following the success of last year s re releases of their first four albums, Can release here releases remastered versions of Future Days, Soon Over Babaluma, Landed, and Unlimited Edition. Krautrock Krautrock also called kosmische Musik, German cosmic music is a broad genre of experimental rock that developed in Germany in the late s among bands drawing on diverse sources such as psychedelic rock, the avant garde, electronic music, funk, minimalism, jazz improvisation, and world music styles The term krautrock was coined by English speaking music journalists in the early Krautrock music Music The following Krautrock reviews are courtesy of Aquarius Records in San Francisco, who offer many of these titles through mail order click on the Aquarius buttons to link to their site For mail order outlets visit our contacts page. Contramo Krautrock, Prog, Fusion and This band is rooted in when year old keyboard player Rodrigo Lana starts to write compositions on his piano, he is thinking of a future as a professional musician. Krautrock Cosmic Rock and It s Legacy Nikos Kotsopoulos Krautrock Cosmic Rock and Its Legacy is an excellent starting point for anyone wanting to delve into the highly influential and expansive genre that changed the face of music forever. Can Halleluwah YouTube Feb , Category Music Song Halleluhwah Artist Can Album Tago Mago Licensed to YouTube by WMG, Merlin PIAS on behalf of Mute SODRAC, Tago Mago Tago Mago is the third album by the German krautrock band Can, originally released as a double LP in It was the band s second studio album and the first to feature Damo Suzuki after the departure of previous vocalist Malcolm Mooney Recorded in a rented castle near Cologne, the album features long form experimental tracks blending funk rhythms, avant garde noise, jazz improvisation A Guide to the Progressive Rock Genres Gibraltar Considering the problems inherent in merely agreeing upon a definition of progressive rock, the task of identifying and describing its widely varied genres is a difficult and somewhat arbitrary exercise. Krautrock Wikipdia Le krautrock est un genre musical ayant merg la fin des annes , essentiellement reprsent par des groupes originaires d Allemagne de l Ouest.Il est souvent considr comme un sous genre musical du rock progressif, l instar du zeuhl en France, par exemple.Si le style ne connait de succs qu en Allemagne l poque, mis part pour Tangerine Dream et Kraftwerk, il Songs That Tell Us Where Music Is Going The New York Mar , The second single from Purpose, Justin Bieber s fourth studio album, Sorry is an infectious confection a Dorito for your ears.

    • Free Read [Thriller Book] ↠ Future Days: Krautrock and the Building of Modern Germany - by David Stubbs ð
      198 David Stubbs
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      Posted by:David Stubbs
      Published :2018-011-20T08:01:56+00:00

    About "David Stubbs"

      • David Stubbs

        David Stubbs is a British journalist and author, covering music, film, TV and sport.He co founded the magazine Monitor while at Oxford University in the early 1980s, along with Simon Reynolds, Chris Scott and Paul Oldfield In 1986, following a stint as the world s worst trainee chartered accountant and having rather pompously vowed he would never write for the music press in its its current fallen state, he promptly jumped at the chance to do so when invited to freelance for Melody Maker There, he joined a new wave of writers including Simon Reynolds, who helped turned around the weekly magazine, which in terms of reputation at least overtook the then tiring NME and was quicker and bolder in showcasing the resurgent Anglo European American music scene of the late 80s early 1990s He became a full time staff member in 1987.As well as championing the likes of The Young Gods, Butthole Surfers, AR Kane, etc in a series of front cover stories replete with recklessly Quixotic, adjective heavy prose, and partaking in Homeric drinking sessions in some of Soho s lowest dens with the like minded and like livered, Stubbs also took over the Maker s Talk Talk Talk column, converting it from a two page gossip spread into a satirical and surreal take on the rock and pop world and those characters who stalked it, both the heroes and the hapless Among his creations were Pepe Le Punk, a Belgian music journalist author of Hi, I m Mr Grunge An Unauthorised Autobiography Of Kurt Cobain , Derek Kent, MM staff writer since 1926, wit, raconteur and pervert, Diary Of A Manic Street Preachers Fan who admired the group for their intense intensitude , The Nod Corner, the fictional journals of the Fields Of The Nephilim drummer whose scheming bandmates continually got him into hot water with lead singer Carl McCoy, who would administer him the punishment of ten press ups, while the likes of Sinead O Connor, Morrissey, The Mission, Andrew Eldritch, Bono and Blur were also sent up on a regular basis.However, his most famous and beloved creation was Mr Agreeable formerly Mr Abusing , whose weekly column was a terse exercise in unmitigated, asterisk strafed invective scattered at all and sundry, especially the sundry, in the rock world the various c s, streaks of piss, f wits, arseholes and twotmongers who raised his blood pressure often by their mere existence Although Stubbs left Melody Maker in 1998 to work for a cross range of titles including NME, Vox and Uncut, Mr Agreeable remains an occasionally active commentator, occasionally dropping in at The Quietus to vent his ire.Following a mid 90s stint as a Radio One scriptwriter for Alan Davies and Bill Bailey, Stubbs also branched out into broadsheet journalism, glossy magazines and writing proper books, covering a broader range of topics and so forth Over the years, rock music would go into a gradual decline in exact line with his own personal involvement in it on a weekly basis, as so happens with rock journalists However, Stubbs still writes about music for Uncut and The Wire He also writes regularly for The Guardian, The Times, the BBC, The Quietus, When Saturday Comes and Men s Health among others He will be co presenting a weekly football show on Resonance FM He is currently working on two books, including a partial history of the 1990s, provisionally entitled Untroubled Times excerpted from his website mr agreeable


    1. Krautrock is so incredibly varied that it's hard to really say anything about it. The "rock" in its name is a little misleading too: a lot of it has nothing to do with rock at all. If you were to ask me, "what is krautrock?" I'd be a little stumped. Stubbs offers a pretty decent solution: it's merely a label designed to make it easier for costumers to flick through LPs and CDs at the music store. If you're completely ignorant about krautrock and you buy a random record, you might end up with ele [...]

    2. As much a commentary and discourse on how not just culture but architecture, environment and politics impact and effect music. Fascinating in breadth and reach; rigorous and complete in covering all and every major contributor to the distinctive Krautrock ethos and sound.

    3. Very comprehensive in mapping out the musical environment of that time, but at times too bloated and opinionated. Stubbs tends to sequence his chapters in a pretty formulaic manner: Background info on band, followed by a track by track review of their most celebrated words (often pretty weakly I must add) and concluded with a couple of paragraphs detailing the band's relation to their peers, which was the most interesting section in almost all cases. I'd recommend it if you like Krautrock, but m [...]

    4. I took my time to write this review on Krautrock, as it didn't leave a strong impression on me one way or another. I wanted to learn more about experimental German music in the 1970s, and yes, I now have a greater understanding of the seminal bands (Kraftwerk, Can, Neu, Faust, Cluster, Tangerine Dream); a few of the periphery groups like Amon Duul and Popol Vuh; the different scenes in each city; and how they are all interconnected - so I guess it ticked all the boxes. But I could have done with [...]

    5. I liked a lot about this book and wish I had finished it sooner, within a reasonable time for review, but I will say 2 things, 1 good 1 bad 'bout this book:1) The Popol Vuh chapter is one of the most willfully ignorant explorations of any music journalism I've read. He builds up the greatness of Affendstunde and Garten only to stop chronologically, immediately after that, with a conclusion that more or less says that everything after is a waste of time. fucking WHAT? duder? Get a clue. Fricke's [...]

    6. Stubbs is no kidding. It's obvious that he spent thousands of hours reading, interviewing, watching documentaries, travelling to Germany and last but not least, listening. Listening to the albums that defined the most fascinating, uncompromising and against the rules music genre of all times. I liked the fact that he didn't dig on discographies, but tried to focus on the relation of each band with the historical and cultural events taking place at the time.He wrote a maginificent book, that will [...]

    7. I love listening to the period of fertile and reactionary musical exploration that was Germany from late 1960s, the freedom of it all, and the wildness and humanity, as though the awful war birthed something mutant. Birthed a group of people who embraced invention, didn't give a fig for commercial success and rejected the mainstream insidious vanilla musical tropes of Schlager, beer-hall dumbing down, still nationalistic in its way. The new German musicians worked to create rhythms and ideas pro [...]

    8. I so wanted to love this book. It covers, after all, some of my very favorite music. But rather than sparking joy, I found it a bit of a slog. I found myself only wanting to read small bits at a time, so it took me ages to finish.If possible I would have given it 2 and 1/2 stars, because I'm hovering somewhere between "It was OK" and "I liked it." It does include a good deal of interesting information, and I most enjoyed reading excerpts from interviews with the musicians. And the historical per [...]

    9. To the everlasting hatred of the musicians, the cheeky British music press dubbed the experimental German progressive rock of the 1960's and 70's "krautrock" and the name has stuck to this day. For a generation of young Germans growing up in the shadow of the atrocities of the Nazis, they looked for any way to make their own statement, whether radical politics, communal living or making their own original music that rejected both the schlock that was on the pop charts and the Anglo-American musi [...]

    10. Waffled between three and four stars, I went for the four because I learned a lot. I'm not overly obsessive about music and my tastes are too eclectic to glom on to particular genres or schools. But the music that falls under the Krautrock label has been part of the background over the years, something that's made life more interesting. So while I sometimes was hearing more than I needed about the artists and bands of the Krautrock era I was mostly happy to get this useful and well-integrated an [...]

    11. A venerable overview of a true non-genre. Stubbs' particular focus on German music of the 1970s is a little different to mine; one gets a taste for his tastes by reading this. Acts like Faust and Amon Düül get top billing while not being entirely to my taste; I find common ground with him on Neu!, Can, Kraftwerk, etc all the classic exponents of the 'genre'. But where we part is Florian Fricke's experimental music group Popol Vuh. I am a HUGE fan, and Stubbs veers from indifference to hostilit [...]

    12. Un excelente trabajo periodistico, con hechos bien presentados y entrelazados para contextualizar la música rock alemana de los 70's. La gran "falla" que tiene este libro es que depende mucho de los gustos del lector en algunas partes. Por ejemplo, para mi, ningún capítulo fue más interesante que el de Can ya que es mi banda favorita de todas las presentadas, y ese capítulo está muy al principio, y aunque si bien no deje de encontrar interesante la mayoría del libro, si hubo una diferenci [...]

    13. At times it reads like an extended slog of song-by-song album review. But in between, and especially in the early chapter of historical contextualizing and ending chapter of this genre's presentfuture trajectory, there is some great thought and information.And the album review approach isn't terrible either even if it seems superfluous in an age where Spotify or Apple Music can put the sounds in our earholes for our own assessment without a reviewer droning in the background. At least they are u [...]

    14. A passable introduction to selected highlights of Krautrock, covering most of the main acts but some in less detail than others and none in any depth. Some references to people and bands who are not introduced, as though everyone reading this is intimately familiar with the likes of Cabaret Voltaire yet somehow has never heard of Can - either make it introductory or don't. Terrible pompous conclusion and not so much as a sniff at a discography (wtf?). Has more context and socio-political scene-s [...]

    15. Fantastic indepth and well researched tome on the Krautrock era that fills in the details from the gonzo mythmaking of Julian Cope's Krautrocksampler. Future Days presents Krautrock in relationship to the turmoil and growing pains of Germany post WWII, and the organic way these basically unrelated bands faced the same problem of making a new German music. I only really lost interest on the chapters about Tangerine Dream and the other spacey Kosmiche bands that Ive never had interest in. Cannot r [...]

    16. Fantastic and thorough examination of how German musicians rejected entrenched US pop music tropes in the late '60s and early '70s to revitalize their nation's music. Detailed discussion (including lots of first hand interview material) with all the giants: Can, Kraftwerk, Faust, etc. Also a wonderful section at the end about how the legacy of these bands continued to shape pop via Neue Deutsche Welle and other movements. The prologue, while of vital importance for creating context, goes on for [...]

    17. An outstanding, compassionate look back at this amazing musical genre. Deeper than Krautrocksampler, it tells a story of the interlocking genius of some of the most creative and influential bands of the last 40 years. There were times when I wished the bands weren't so segmented into chapters, but the story still flowed well and tied together how various bands played off each other. A highly recommended read for anyone who has even a passing interest in krautrock (Neu!, Can, Faust, Kraftwerk, As [...]

    18. Enjoyable and well written, but loses a star or so for covering such well documented ground. If you know the music, and you should, it's unlikely you will learn much here. Had it been the first book on the subject then it would make an excellent primer. I've been listening to this music since the late '70's and so I guess I'm not the primary audience, Your Mileage May Vary as they say. Add an extra star if you aren't an old fart.

    19. I was really looking forward to this book and it absolutely did not disappoint. Stubbs takes a really thoughtful and well-researched trip through the genre and the context in which it was birthed. I'd already knew a lot about Kraftwerk, having read a few books about them, but I really appreciated a deeper dive into Can, Amon Duul, Cluster and Popol Vuh, among others. Absolutely recommended for music fans of all stripes, but definitely for anyone that holds Tago Mago in high esteem.

    20. A fantastic effort. I loved the way Stubbs tied the whole Krautrock 'movement', such as it was, in with German and musical history, while never losing sight of the music itself, and all written in a thoroughly lucid, accessible and entertaining style. His assessment of German post-war society is spot on.

    21. This is the demythologising of Krautrock and a great guide to the brilliant music made by bands we've all heard of but perhaps haven't heard. The lengthy introduction is very useful as it gives a real sense of the time and space in which this music was made. The book does well in explaining just how innovative and strange a lot of these bands were.

    22. Detailed account of the German music scene and the key musicians and bands of the area. Strong when the writer sticks to the subject of the music, but drags somewhat when he tries to explain the social and political aspects of the period.

    23. fantastic read about a fascinating and fertile era in music. The chapter on Kraftwerk is extraordinary but the whole thing is great. Essential reading for a fan of German music of the period, and a good read for music fans in general.

    24. Excellent, compelling reading, with tons of information and anecdotes. It loses a bit of focus near the end, and the chapter which covers lesser known bands could've been more in-depth, but overall highly recommended for fans and the curious.

    25. Good overview and context setting for this genre, but sadly loses a star for not rating the second Harmonia album as highly as the firstill sent me away with plenty of new stuff to listen to

    26. A good overview slightly marred by subjective impressionist attempts to describe the music itself. An excellent source for history of the genre, but lightweight on exposition and analysis.

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