Die Cosmic Jokers waren eine deutsche Krautrock-Supergruppe, obwohl sie per se nie ein richtiges Ensemble waren; Ihre Musik entstand aus Sessions, die Labelchef Rolf-Ulrich Kaiser und Gille Lettman Anfang ohne Wissen der Darsteller. Entdecken Sie Veröffentlichungen von The Cosmic Jokers auf Discogs. Kaufen Sie Platten, CDs und mehr von The Cosmic Jokers auf dem Discogs-Marktplatz. Auf Discogs können Sie sich ansehen, wer an CD von Planeten Sit-In mitgewirkt hat, Rezensionen und Titellisten lesen und auf dem Marktplatz nach der. Cosmic Jokers were a series of late night jams from some of the finest in Krautrock: Manuel Göttsching (Ash Ra Tempel), Klaus Schulze (Tangerine Dream, Ash. initiierte Rolf-Ulrich Kaiser ein Studioprojekt (um Walter Wegmüllers "Tarot"-Album aufzunehmen), dem ursprünglich Manuel Göttsching (Ash Ra Tempel).
Raumschiff Galaxy startet, The Planet Of Communication, Elektronenzirkus, Der Narr im All, Raumschiff Galaxy fliegt in die Sonne. Die Cosmic Jokers waren eine deutsche Krautrock-Supergruppe, obwohl sie per se nie ein richtiges Ensemble waren; Ihre Musik entstand aus Sessions, die Labelchef Rolf-Ulrich Kaiser und Gille Lettman Anfang ohne Wissen der Darsteller. Cosmic Jokers were a series of late night jams from some of the finest in Krautrock: Manuel Göttsching (Ash Ra Tempel), Klaus Schulze (Tangerine Dream, Ash.
His ego? He dropped acid in the early 70s. Now you hate him, right? Probably not. Reply Notify me 4 Helpful. Artists for the Future by Milesbeet-hoven1.
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Kosmische Musik. Sell This Version. The gang are all here - young Klaus Schulze with his 3 chords per minute keyboard notes, Old Harald pumps away uninhibited at his treated drums.
The good thing here, as on all Cosmic Joker albums is that literally everything is put through some weird effect unit creating a sound unlike anything around at the time.
This is where the 'Kosmische' moniker originates. The bad thing is that it's all been heard before on their far superior self titled album and 'Galactic Supermarket'.
So do yourself a favour, seek out the aforementioned and give this one a miss. This is a cash cow. Dieter Dierks' drifting and plodding bass is hypnotic, while Harald Grobkopf's percussion and drum-work is gentle and light.
Very low-key synths from Klaus Schulze dance in the background, but they're eerily present at all times. He has a much more prominent role on the second side.
The second section has strange bubbling and echoing electronics that are instantly uneasy, the drama raised by the now chugging guitar and bass and heavier commanding drumming.
The final part has a constantly sluggish and ambient tone, with dreamy drawn out bass notes that make your mind feel like it's moving in slow-motion.
Some more typical melodic and gentle guitar from Manuel, before some very threatening keys from Klaus that are almost gothic in their grandeur, very unsettling with a hint of mystery and threat in them.
He then adds some stabbing and whirling synths, and the track falls away on a fadeout after an oppressive robotic voice.
A predominantly Klaus Schulze electronic based piece, it's more ambient, freeform and abstract like his early solo work, and also just as frequently terrifying and oppressive.
Beginning with ghostly spectral synths that envelope the listener, Schulze brings in harsh shimmering electronics amongst howling winds and mucky far-away bass.
It creates a very isolating, sinister atmosphere. Eventually the synths form into monolithic glacial walls of stone that surround and trap the listener.
The murky distorted tuneless bass is repulsive, backed with cold, distant, almost tribal drumming. The final section sounds like it's performed underwater, with a fierce thunderstorm booming overhead.
The most maddening dirtiest bass, vile and gloomy muted drums and punishing bass sounds truly apocalyptic. Although the piece ends on a ghostly and spectral melody, it's a lovely escape from the suffocating horror of the second side overall!
The album offers two very different sides of space music to appreciate - the dreamy and floating first side, with the gloomy and oppressive second side.
It's not an album you'll play all the time, but one that will haunt you when you do dig it out. It's a hugely emotional and refined musical work that's endlessly fascinating.
Four stars. Review by Neu! Never mind the not unjustified legal complaints; this barely organized hodgepodge of musical snippets, effects, and fragmentary jams half of the tracks hardly crack the one-minute mark is the sound of R.
Kaiser scraping the bottom of the Krautrock barrel. Clearly by this stage of the supergroup sessions the drugs had kicked into appropriately high gear: a good deal of it sounds like the players trying to simply tune their instruments, apparently not the easiest task when under the influence of LSD.
But by then it's too little too late, and I doubt even the novelty of quadraphonic sound was enough to save it at the time.
And yet the ringleaders of this cosmic circus deserve a lot of credit, for thrift and economy if not for musical unity.
Kaiser stretched his exploitation to five LPs before being hounded out of the business by legal action and negative press.
Questions of ethics aside, the first Cosmic Jokers album had some phenomenal music on it; "Galactic Supermarket" was almost as good; but this one is strictly for hardcore fans willing to overlook its obvious shortcomings.
Sounds to me like a retroactive whitewash. On the other hand, it pays to be skeptical these days, and who can really say how much of the Cosmic Jokers myth is Internet-Age hearsay: another web-fed rumor with a viral life of its own?
The only sure thing about the whole messy episode is the music left behind, in many ways a goldmine for Krautrock anthropologists and armchair astral travelers.
The first Cosmic Jokers album all five were released in a single calendar year remains a certified kosmische classic, but some of that magic was conspicuously missing the second time around.
Obviously the highlights of the studio jams plundered by R. Kaiser were reserved for the first LP; this one is a little more fractured and episodic, presented like much of the best Krautrock in a pair of monumental side-long tracks but assembled with less underpinning or purpose.
Still, enough momentum was carried over to ensure a good trip. The title track holds together with a little more coherence, thanks in large part once again to some heroic riffing by M.
And for the first but certainly not last time on a Cosmic Jokers album the stoned whispers and shrieking of Kaiser's girlfriend Gille Lettman aka 'Starmaiden' can be heard, as always through several layers of echo effects, for that maximum lysergic headrush.
The truth about what actually transpired at the Cologne studio of Dieter Dierks may never be known. But when considering the balance of the Cosmic Jokers catalogue this much is obvious: after the second album R.
Kaiser should have quit while he was ahead. Not lost in the resulting scandal was the awkward fact that at least on this first album the Jokers played some of the most urgent and exploratory Space Rock ever heard, in Germany or anywhere else.
If the whole thing had been legitimate from the start The Cosmic Jokers would now be recognized as Krautrock's ultimate supergroup, instead of a strictly makeshift party of psychedelic moonlighters exploited by a misguided visionary with a weakness for hallucinogenic drugs.
Fans of early Ash Ra Temple will feel right at home, especially since the album follows the same blueprint as that band's better efforts: one LP-side of energetic jamming; the other a long, ambient chill-out.
Klaus Schulze's contributions are less obvious, or at any rate less distinctive for an artist of his ambition and influence, limited more or less to vague atmospherics and the occasional eruption of synthesized noise, perhaps one reason why he always regarded these sessions with such outspoken disdain.
The Cosmic Jokers quickly attained an almost mythic status as the classic Krautrock band that never was.
Even today there's something very compelling, very unsettling about this music, and it isn't just the underhanded way it was recorded and sold.
Kaiser was truly hoping to capture some sort of blissfully altered cosmic consciousness he missed by a light year, tapping instead into an altogether darker corner of the counterculture experience.
Cosmic JokersAntworten Mich bei Antworten benachrichtigen 4 Gratis Spiele App. Beitragende krautvolospion Skat Reizen Null, wrongdozee-kartoffelInternautstevefreemanvalparaisoDiscogsUpdateBot. His ego? The Cosmic JokersSternenmädchen. Inspirations von whirlpools. Probably not. März Melden. Spalax MusicSpalax MusicOhr. Diese Version verkaufen. CDAlbum, Reissue. We have detected English as your language preference. Der Planet Des Sternenmädchens. The Planet Of Btc Mit Paypal Kaufen. Land Jahr.
Cosmic Jokers VideoCosmic Jokers - Der Herrscher Raumschiff Galaxy startet, The Planet Of Communication, Elektronenzirkus, Der Narr im All, Raumschiff Galaxy fliegt in die Sonne. Recorded in during a series of acid-fuelled all-night jam parties held at producer Dieter Dierks studio near Cologne, Cosmic Jokers was the work of a. Artist The Cosmic Jokers (feat. Manuel Göttsching, Dieter Dierks, Harald Grosskopf, Jürgen Dollase, Klaus Schulze). Februar View credits, reviews, tracks and shop for the Vinyl release of Tarot on Discogs. MusikTempelTarotGeek ZeugJokerDesign. Mehr dazu.
BESTE SPIELOTHEK IN KAAN FINDEN Bei einer Einzahlung von Cosmic Jokers in einem Online-Casino steht das per Freistaat Bayern AdreГџe anzuordnen.
|Cosmic Jokers||Rezensionen Rezension hinzufügen tom Enthaltene Veröffentlichungen:. Hifly Sound Anstalt. In any case, the following year Kaiser and Gille Lettmann assembled three LPs worth of material to release from these sessions which have been cosmic classics, Rose Englisch largely disowned by the musicians involved.|
|Cosmic Jokers||Beste Spielothek in Levin-Werder finden|
|RICHARD MARCUS||Lorenzi Tennis|
|Merry Xmas Bilder||96|
|EXTRAKLASA POLEN||Beste Spielothek in Bruchhagen finden|