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MGART 503CD
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"In 1976 Michael Hoenig had a brief collaboration with Ash Ra Tempel's Manuel Göttsching in Berlin; A 48-minute recording of one of the sessions, which was released in 1995 under the title Early Water on Bernd Kistenmacher's Musique Intemporelle label. The album was deleted and unavailable for a long time. Now, finally, a re-issue of Early Water will be available again. Michael Hoenig still remembers: 'While I had been working on the Departure From The Northern Wasteland album, Manuel Göttsching had asked me if I would team up with him for some concerts in France, since his group had just gone through one of its hibernation periods. We rehearsed in my place for three or four weeks. One evening we got a call regarding some missing guarantee, which ultimately led to the decision to cancel the tour. Just for fun, we played one of the planned sets for a last time. Even though I do not recall pressing a record button, somebody recently dug up a Revox tape of that very set. After performing some digital sonic archaeology on it, it was just released under the very appropriate title Early Water.' And Manuel Göttsching adds: 'Unfortunately, some of the concert dates were not confirmed in time and we had to cancel the complete tour just on the day before we wanted to leave for France. On that evening, nevertheless, we recorded our last rehearsal 'just in case'. It turned out as a flowing harmonic piece, reflecting much of the optimistic air of 1976. Michael made his 'departure' to Los Angeles in the early 1980ies. When we met again in November 1994, I proposed to release this old track of ours. Michael took the original tape to Los Angeles, lovingly restored it and -- well, here is it again!'"
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MGART 603LP
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"In 1976 Michael Hoenig had a brief collaboration with Ash Ra Tempel's Manuel Göttsching in Berlin; A 48-minute recording of one of the sessions, which was released in 1995 under the title Early Water on Bernd Kistenmacher's Musique Intemporelle label. The album was deleted and unavailable for a long time. Now, finally, a re-issue of Early Water will be available again. Michael Hoenig still remembers: 'While I had been working on the Departure From The Northern Wasteland album, Manuel Göttsching had asked me if I would team up with him for some concerts in France, since his group had just gone through one of its hibernation periods. We rehearsed in my place for three or four weeks. One evening we got a call regarding some missing guarantee, which ultimately led to the decision to cancel the tour. Just for fun, we played one of the planned sets for a last time. Even though I do not recall pressing a record button, somebody recently dug up a Revox tape of that very set. After performing some digital sonic archaeology on it, it was just released under the very appropriate title Early Water.' And Manuel Göttsching adds: 'Unfortunately, some of the concert dates were not confirmed in time and we had to cancel the complete tour just on the day before we wanted to leave for France. On that evening, nevertheless, we recorded our last rehearsal 'just in case'. It turned out as a flowing harmonic piece, reflecting much of the optimistic air of 1976. Michael made his 'departure' to Los Angeles in the early 1980ies. When we met again in November 1994, I proposed to release this old track of ours. Michael took the original tape to Los Angeles, lovingly restored it and -- well, here is it again!'"
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MGART 614LP
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MG.ART announce the reissue of Join Inn as part three of the authorized 50th anniversary "A.R.T." re-edition series. Join Inn is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion Each side of the LP comprises one long track. In 1972, Ash Ra Tempel teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, Ash Ra Tempel members Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late-night session. This recording led to the birth of the Join Inn album, as well as two legendary last concerts in February 1973 in Paris and Cologne. Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on "Freak n' Roll", that was ingenious and not to replace ever since. It was the last recording ever where Klaus Schulze (who sadly passed away in 2022) played the drums and also Hartmut (the Hawk) Enke soon after quit the bass and music forever. Join Inn marks the end of the collaboration with Klaus Schulze. However, together with Ash Ra Tempel, their eponymous first album, it is considered a highlight of the Krautrock movement. Re-cut overseen by Manuel Göttsching.
Julian Cope's review from his book Krautrocksampler (1995): "'Freak'n'roll' fades in like it never started -- just was always there from the beginning of time, a dry wah-guitar free rock riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none of them have a blues context. Manuel Göttsching's guitar is so confident that he sometimes drops down to a simple major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it's the return of Klaus Schulze on drums which propels 'Freak'n'roll' to its height. No-one but Klaus has the ability to transcend rock n' roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it. 'Freak'n'roll' is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and expressionist for just long enough before slipping back into the musical fabric of the song. As usual with Ash Ra Tempel, the other side is an enormous drift piece called 'Jenseits (The Next World)', a beautiful Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers' meeting with Timothy Leary..."
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MGART 613LP
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MG.ART reissue Seven Up as part two of the authorized 50th anniversary "A.R.T." re-edition series. Seven Up is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. Cover art by famous Swiss artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik -- the first release on the new sub-label "Kosmische Kuriere". Seven Up in a re-cut carefully overseen by Manuel Göttsching himself. Features the full original text for the "7 Levels of Consciousness" by Timothy Leary in English, i.e. "Instruction Manual for Pleasure Panel" plus a previously unreleased glimpse view of the original scripts including notes and mark ups as well as partly unreleased photos from the recording session. Gatefold; four-page inlay.
Julian Cope's review and remarks from Krautrocksampler (1995): "When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards... 7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic group, but even weirder that he chose to sing a wild yelping freaked out blues! Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the mid-60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality. The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it. Hartmut Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would have sounded psychedelic. 7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous sounds have been allowed to stay, to drift and to dance around the performers. The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk technicolour yawn in the grandest of traditions. In typical Ash Ra Tempel style, the record is divided into two pieces, 'Space' and 'Time'. Within this, though, Timothy Leary's ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all segued together . . . Leary and Barritt present the greatest twin-vocal of all time, coming on like Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away..."
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MGART 612LP
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2022 repress. MG.ART announce the authorized 50th anniversary edition of Ash Ra Tempel's Schwingungen, originally released in 1972. One of the most important German krautrock albums. Re-cut carefully overseen by Manuel Göttsching himself. Gatefold sleeve with sticker; Includes original release sheet and inlay.
Julian Cope's review on Schwingungen in Krautrocksampler (Head Heritage, 1995): "'Beware of Schwingungen!' That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm -- 'Look at Your Sun' begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful -- John L. repeats over and over, 'We are all one, we are all one', until a howling fuzztone solo guitar blows the whole one chord 'Signed D.C.' ringing-cymbals torture to an end. And then the most far out track of all begins. This is called 'Flower Must Die' and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I've written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it's like the Stooges' Funhouse period but in a Righteous Vision Zone that fucks them right off. Phasing tears at the whole tracks as this Holy Racket crosses into hyper-space and everything gets all hyphenated just-for-the-sake-of-it. 'Flowers Must Die', man, it's fucked up. Over on side two, the title-track ('Vibrations') begins poetically enough with Wolfgang Muller's epic and hugely reverbed vibraphone. Organ fades in and FX guitars, and time passes by. Finally, tom-toms roll and the developing pace is built upon until that great eternal chord sequence finally materializes -- this is the one that Göttsching and Enke believed was the sound of heaven. They may have been right. And Schwingungen was a gift from the Gods."
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MGART 405CD
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MG.ART presents a reissue of Manuel Gottsching's Dream & Desire, originally released in 1977. For 2019, this is a newly remastered and carefully re-edited version of the legendary 1977 studio recording for RIAS Berlin.
"The 1970s. The Vietnam War is slowly coming to an end; the RAF thrives and prospers; the first Achtundsechziger ('68 protestors) are actually planning to march through the institutions; rock and roll is getting heavier; and hardly noticed by the mainstream public, some West-Berlin musicians develop a world of sound, which later eventually became labelled as "Electronic Music". These compositions of slowly evolving soundscapes relating to the Minimal Music concept created a meditative mood. This was new; this was the Berliner Schule (Berlin school). Manuel was living right on the Ku-Damm (Kurfürstendamm), right in the city center, but in the rear building, shielded from the noise. Manu didn't have a sequencer. Everything that sounded like a sequencer was his highly focused guitar work. The slowly changing tone sequences for example; this was a physical accomplishment in itself. The musicians from Berlin, who worked in the same genre, were either friends, periodically played in Manuel's Ash Ra Tempel, or built up their own careers. The scene was small, but equipped with illustrious celebrities: Klaus Schulze, Tangerine Dream, Harald Grosskopf, and Agitation Free. Manuel was able to start his international career pretty quickly, focusing on England, France and Japan. For the German middle-of-the-road-consciousness, these countries were as exotic as the winds on Jupiter, especially Japan, where Göttsching still enjoys superstar status. The RIAS studio had an old Farfisa compact organ that Manuel played and of which I was especially proud; it can be heard prominently here. Originally, the two tracks had been conceived for my one-hour radio feature at RIAS Berlin in summer 1977. Then, although being broadcast only once in Berlin and Belgium, they soon became cult amongst listeners, who taped, multiplied and distributed the tracks throughout Manuel's fan base. The revival of Dream & Desire is not nostalgia but an indication that the present will only be appreciated after acknowledging the past. The bonus track "Despair" was not part of the original radio-feature, but was composed and recorded around the same time in 1977, and fits perfectly in style and sound. Manuel's music has been with me for now almost 50 years. Dream & Desire is beautiful -- what more can I say." --Olaf Leitner, March 2019
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MGART 502CD
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2015 live recording from the Supersense Festival in Melbourne, previously unreleased, featuring a supergroup of Manuel Göttsching, Ariel Pink, Oren Ambarchi, and Shags Chamberlain playing material from classic Ash Ra Tempel releases, 1972's Schwingungen (MGART 112CD) and 1973's Seven Up (MGART 113CD). Taken from Göttsching on the release: "Out of the blue -- I was invited to perform in Melbourne, Australia. It happened thanks to my dear old friend Mick Glossop, who made the suggestion to Sophia Brous, at the time the curator of a music-festival called 'Supersense' at the Melbourne Arts Centre in summer 2015. In addition to the solo performance I'd planned, Sophia proposed an additional collaboration or session performances with some of the other participating musicians. I had never been very happy in performing 'public sessions'. I've always tried to first look for a conceptual approach, and my wife, Ilona J. Ziok, came up with the idea of performing some Ash Ra Tempel classics. That's when the idea for an 'Experience' was born. I decided that pieces from the second and third Ash Ra Tempel albums Schwingungen and Seven Up would be most appropriate for a group performance with Ariel Pink, Shags Chamberlain, and Oren Ambarchi. We conversed by email, and much to my surprise, they all claimed to be very familiar with this music. . . . We finally met in Melbourne for a relaxed afternoon rehearsal, just two days before the actual concert performance took place. After a technical set-up we went straight into 'Look At Your Sun' and it was as if we had performed it only yesterday. It continued like that with the other tracks. For the first part of Schwingungen I decided for a little variation, so that all four of us were standing around the vibraphone at the beginning, playing it with four/eight hands -- like an imaginary 'Music for Four Musicians' (a bit reminiscent of the early works of Steve Reich). . . . In return, it was only natural to ask Mick Glossop to make a mix of our concert recording, and quite happily he agreed. He has put together a wonderful and subtle mix, perfectly representing the atmosphere of the concert." Includes liner notes by Mick Glossop and Manuel Göttsching and photographs of the rehearsal and live performance. CD version comes with an eight-page booklet.
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MGART 602LP
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LP version. Gatefold sleeve; Includes printed inner sleeve. 2015 live recording from the Supersense Festival in Melbourne, previously unreleased, featuring a supergroup of Manuel Göttsching, Ariel Pink, Oren Ambarchi, and Shags Chamberlain playing material from classic Ash Ra Tempel releases, 1972's Schwingungen (MGART 112CD) and 1973's Seven Up (MGART 113CD). Taken from Göttsching on the release: "Out of the blue -- I was invited to perform in Melbourne, Australia. It happened thanks to my dear old friend Mick Glossop, who made the suggestion to Sophia Brous, at the time the curator of a music-festival called 'Supersense' at the Melbourne Arts Centre in summer 2015. In addition to the solo performance I'd planned, Sophia proposed an additional collaboration or session performances with some of the other participating musicians. I had never been very happy in performing 'public sessions'. I've always tried to first look for a conceptual approach, and my wife, Ilona J. Ziok, came up with the idea of performing some Ash Ra Tempel classics. That's when the idea for an 'Experience' was born. I decided that pieces from the second and third Ash Ra Tempel albums Schwingungen and Seven Up would be most appropriate for a group performance with Ariel Pink, Shags Chamberlain, and Oren Ambarchi. We conversed by email, and much to my surprise, they all claimed to be very familiar with this music. . . . We finally met in Melbourne for a relaxed afternoon rehearsal, just two days before the actual concert performance took place. After a technical set-up we went straight into 'Look At Your Sun' and it was as if we had performed it only yesterday. It continued like that with the other tracks. For the first part of Schwingungen I decided for a little variation, so that all four of us were standing around the vibraphone at the beginning, playing it with four/eight hands -- like an imaginary 'Music for Four Musicians' (a bit reminiscent of the early works of Steve Reich). . . . In return, it was only natural to ask Mick Glossop to make a mix of our concert recording, and quite happily he agreed. He has put together a wonderful and subtle mix, perfectly representing the atmosphere of the concert." Includes liner notes by Mick Glossop and Manuel Göttsching and photographs of the rehearsal and live performance.
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MGART 901LP
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2023 repress; 180-gram LP version. Originally released in 1975. Remastered by Manuel Göttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel Göttsching's first solo album. Written and performed entirely by Göttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar.
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MGART 424CD
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2021 restock; In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes six-page booklet with notes and pictures.
"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes ... A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork
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MGART 904LP
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2023 repress. 180-gram LP version with embossed chessboard artwork print and printed inner sleeve. In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes liner notes by Manuel Göttsching, archival photos, and an excerpt of David Elliott's review in Sounds from June 16, 1984.
"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching's played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes . . . A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork
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5CD BOX
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MGART 205CD
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2022 repress of this deluxe boxset. The first disc is a remastered version of the 1990 Virgin CD reissue of Correlations, recorded and mixed at Panne-Paulsen Studio, Frankfurt, in 1978 by Mick Glossop and originally released by Virgin in 1979. The second disc is the first release of Phantasus, Manuel Göttsching and Udo Arndt's original 1978 recording and mix of the album that was partially re-recorded and totally remixed to become Correlations (Phantasus was Göttsching's intended title, which he changed to Correlations after UK fans told him that the English can't pronounce "phantasus"). The third, fourth, and fifth discs are The Making Of, which includes a 12-page booklet. Performed by Manuel Göttsching (guitar, synthesizer, sequencer), Lutz Ulbrich (guitar, synthesizer, piano, mellotron), and Harald Großkopf (drums, percussion, synthesizer).
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MGART 132CD
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2022 repress of this CD. "In 1975 I was doing a series of concerts in France with Lutz Ulbrich, where we were presenting 'Inventions for Electric Guitar' and other compositions, which we developed together that year. In August, we were invited for two concerts in the South of France, one in the wonderful Roman theater in Arles, the other at the Festival Palace in Cannes. This is where we met the musicians of the German band CAN and the singer Nico, who also played at the festival. After the concerts we stayed together a few days in the beautiful city of Arles. Nico's friend, the French director Philippe Garrel, was working at that time on a film starring Nico, Anita Pallenberg and Dominique Sanda and was looking for music to make you dream. I always recorded most of our concerts, that's how we were able to offer him the piece that we had performed as 'encore' in Cannes. It became the main theme of the film. Other parts were recorded during several sessions throughout 1975 in my studio in Berlin. Instruments and electronic devices were relatively simple compared to today's technology: four-track tape recorder, an old Farfisa organ, the beautiful EKO Rhythm Computer (Italian machines controlled by punched cards), the EMS superb guitar-Synthi HiFli and, of course, our 'usual' guitars. All this combined with the patching, the filtering and echo has produced its own unique sound to 'electronic dreams' of the 70s." --Manuel Göttsching, 1993
Recorded in 1975 at Studio Roma, Berlin, with the exception of "Le Berceau de Cristal," recorded in concert on August 7, 1975, at Palais des Festivals et des Congrès in Cannes, France. Mixed and produced by Manuel Göttsching.
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MGART 301CD
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2016 repress; originally released in 2005. Manuel Göttsching performed the picturesque electronic sounds of his seminal, epic four-part suite Die Mulde to accompany the art installation 34 mirrors R.S.V.P. by Mercedes Engelhardt, at the Denkmalschmiede Höfgen near the Mulde river in Germany, on September 6, 1997. The bonus track, "HP Little Cry," is based on a theme from 1981. In 2004, Göttsching added a guitar melody and dedicated the piece to a Norwegian fan, who gave the track its title.
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MGART 801CD
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2009 release. Japanese import. Limited one-time edition of 3000; last available copies released as this 2016 MG.ART edition. SHM CD and NTSC DVD; includes 16-page booklet. Recorded live in August 2006 at the open-air Metamorphose festival in Japan. Composed, performed, and mixed by Manuel Göttsching. Recorded in 1981 and first released in 1984, Manuel Göttsching's masterwork E2-E4 (MGART 424CD/904LP) has since become a milestone in electronic music. This 2006 concert marks its first-ever live performance. DVD includes an additional excerpt from the original LP.
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MGART 401CD
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2022 restock of MG.ART's 2011 reissue; originally released in 1975. Remastered by Manuel Göttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel Göttsching's first solo album. Written and performed entirely by Göttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar.
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MGART 501CD
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2016 repress; originally released in 2006. Many listeners know Manuel Göttsching from his 1984 masterpiece E2-E4 (MGART 424CD/904LP), which has been sampled on numerous occassions -- think "Sueno Latino" to start. The plethora of further re-recordings includes works by Derrick May and Joe Claussell and a bootleg by Carl Craig, all of which proves how iconic and enduring Göttsching's work is. Joaquin Joe Claussell Meets Manuel Göttsching is the first attempt to bring these once-illegal mixes to a broader and wider audience. It contains the first official release of two very rare tribute mixes of '70s Göttsching classics, carefully remodeled by Joe Claussell (a 22-minute version of "Deeper Distance" and an 11-minute version of "Ain't No Time For Tears"). The last words, however, are left to MG himself, with "Shuttlecock," a 19-minute excursion that has Göttsching improvising over a soft carpet of delayed bell sounds before the guitar fades away and the track deepens and thickens like a dark river sweeping along more and more motifs and harmonies. The three original concert recordings were first released on The Private Tapes Vol. 2 (Manikin, 1996); "Deep Distance" and "Shuttlecock" were recorded at the Bataclan in Paris, December 1976 and "Ain't No Time For Tears" was recorded in Berlin, August 1979.
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MGART 601LP
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LP version. 2016 repress; originally released in 2006. Many listeners know Manuel Göttsching from his 1984 masterpiece E2-E4 (MGART 424CD/904LP), which has been sampled on numerous occassions -- think "Sueno Latino" to start. The plethora of further re-recordings includes works by Derrick May and Joe Claussell and a bootleg by Carl Craig, all of which proves how iconic and enduring Göttsching's work is. Joaquin Joe Claussell Meets Manuel Göttsching is the first attempt to bring these once-illegal mixes to a broader and wider audience. It contains the first official release of two very rare tribute mixes of '70s Göttsching classics, carefully remodeled by Joe Claussell (a 22-minute version of "Deeper Distance" and an 11-minute version of "Ain't No Time For Tears"). The last words, however, are left to MG himself, with "Shuttlecock," a 19-minute excursion that has Göttsching improvising over a soft carpet of delayed bell sounds before the guitar fades away and the track deepens and thickens like a dark river sweeping along more and more motifs and harmonies. The three original concert recordings were first released on The Private Tapes Vol. 2 (Manikin, 1996); "Deep Distance" and "Shuttlecock" were recorded at the Bataclan in Paris, December 1976 and "Ain't No Time For Tears" was recorded in Berlin, August 1979.
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MGART 305CD
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2016 repress; originally released in 2007. Manuel Göttsching's performance at the Anoyo Prism festival on Mount Fuji in Japan, April 29, 2006. High-quality recording with highly sought-after tracks including "Shuttlecock." Göttsching performed the entire concert alone, accompanied by stunning visuals by a Polish graphic artist. He dug into his back catalog, coming up with new arrangements of classic material. The album opens with "Sunrain," which was originally released on the 1976 Ashra classic New Age of Earth. Göttsching takes the familiar, hypnotic sequencer pattern in a slightly different direction and extends the piece to nearly 15 minutes. The second track, "Saint and Sinner," was originally released on Concert for Murnau (2005). Göttsching takes it a step up from its laid-back studio counterpart, adding a bluesy Clapton-esque guitar lead. "Trunky Groove" debuted at this performance, and is a showcase of the psychedelic style that was the norm for Göttsching back in his very early days in Ash Ra Tempel. A techno-style rhythm is accompanied by a long drone and intense orchestrations before giving way to an effects-drenched guitar solo. "Die Mulde" is a 20-minute excerpt from Göttsching's 1997 long-form piece of the same name (MGART 301CD). It begins with the "Die Spiegel" section of the piece and shifts into the closing "Zerfluss" movement. As with "Saint and Sinner," Göttsching adds a guitar lead that is not present in the original version. Finally, to close the album, Göttsching presents another arrangement of the classic "Shuttlecock," which was originally released on the 1977 Ashra masterwork Blackouts (SPA 14759LP). The arrangement is similar to the 1976 live version that appeared on the 1996 CD The Private Tapes Vol. 1 (later released on Joaquin Joe Claussell Meets Manuel Göttsching (MG 501CD/601LP, 2006)), but definitely has a modern twist. Göttsching's guitar playing is front and center here and is stellar -- almost like taking a trip back to the mid-'70s.
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MGART 114CD
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"Join Inn is the fourth Album by Ash Ra Tempel and was recorded in 1973 during sessions for Walter Wegmuller album Tarot, on which all the musicians of Ash Ra Tempel were also involved. In addition to the nucleus of Manuel Gottsching (guitar) and Hartmut Enke (bass), Klaus Schulze was involved again (on drums, organ and synthesizer) and Manuel Gottsching's girlfriend Rosi Mueller as well. Remastered by Gottsching!"
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MGART 111CD
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2022 reprint. "Ash Ra Tempel's stunning debut from 1971. Ash Ra Tempel was the cult band of guitarist and experimental musician Manuel Goettsching. They are considered one of the pioneering bands of the German cosmic rock, avant-garde, electronic music scenes. Their self titled debut is considered one of the founding documents of 'Krautrock.' Featuring two 20 minute long, guitar heavy jams, this one is still influencing bands like Acid Mothers Temple, Bardo Pond, and more."
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MGART 112CD
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2022 repress. "Ash Ra Tempel's second album, Schwingungen is a psychedelic classic that has influenced trip rock since its release. Originally recorded and released in 1972, this edition on MIG has been remastered by band leader Manuel Gottsching. Recommended for fans of Saucerful of Secrets era Pink Floyd. Sprawling, tripped out improvisational acid rock!"
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MGART 115CD
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"Starring Rosi is the fifth album by Ash Ra Tempel. Released in 1973, it is by far the most accessible Ash Ra Tempel album. Beside the drums, Manuel Gottsching played all the instruments himself. Starring Rosi has an organic, relaxed sound, that evokes San Francisco psychedelia. It is an evocative album that already delineates the direction in which Manuel Gottsching would go in the future. The icing on the cake is the charming recitations and songs by Rosi Mueller. Remastered by Gottsching."
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MGART 113CD
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"Ash Ra Tempel meet LSD guru Timothy Leary for 1973's tripped out Seven Up. Ash Ra Tempel's third release features Harvard professor Timothy Leary on vocals. Originally released in 1973, this edition on MIG has been remastered by Ash Ra Tempel leader Manuel Gottsching. More otherworldly acid rock!"
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