Cluster & Eno - Cluster & Eno mp3 album
Bucolic climes altered Cluster's music as much as Brian Eno, producer Conny Plank or Michael Rother would in the ensuing years. But don't think Forst just inspired mellow idylls; when they released 1974’s Zuckerzeit, it was one of the most audacious about-faces any band had attempted. Rather than the unhurried, unstructured, beatless freeform explorations, Zuckerzeit (which I’ve seen translated as both Sugar Time and Sugar Era ) was electronic pop at its most protean and still acts like a sugar overload: giddy, infectious, manic and a little queasy
Cluster II is the second full-length album by German electronic music act Cluster, released in 1972 by record label Brain. Cluster II was recorded at Star-Studio in Hamburg, Germany in January 1972.
Cluster & Eno (1977) is a collaborative album by the German electronic music group Cluster and British ambient musician Brian Eno. The style of this album is a mixture of Eno’s ambient sensibilities, slight electropop influences and bizarre experimentalism. Having previously collaborated in the use of electronic instruments and experimental technique, Dieter Moebius, Hans-Joachim Roedelius, and Conrad Schnitzler formed Kluster in 1970.
Cluster & Eno is a collaborative album by the German electronic music group Cluster and English ambient musician Brian Eno. The style of this album is a collection of gentle melodies: a mixture of Eno’s ambient sensibilities and Cluster's avant-garde style. In June, 1977 the duo of Hans-Joachim Roedelius and Dieter Moebius joined with Brian Eno for recording sessions at Conny Plank's studio. Meshing Cluster's affinity for loops and repetition and Eno's penchant for processing sounds, the trio proves that ambient music does not merely consist of drawn-out drones and insipid keyboard tapestries.
Eno sits in with Cluster to produce an album highly reminiscent of Krautrock albums from the early 1970s. There's the Eastern influences dabbled in extensively by Ash Ra Tempel and Popol Vuh, there's the improvisational freakout atmosphere, there's the heavy dependency on synthesisers and keyboards. All the Krautrock cliches are present and correct, but despite all that the album seems to be missing something; it sounds, to my ear, like three synth wizards trying hard to make atmospheric music but not quite working out beforehand what sort of atmosphere they are going for.