- Audio CD (13 Dec. 2010)
- Number of Discs: 1
- Format: CD
- Label: Bureau B
- ASIN: B0045WKFTU
- Other Editions: Audio CD | Vinyl | MP3 Download
- Average Customer Review: 4.5 out of 5 stars See all reviews (8 customer reviews)
- Amazon Bestsellers Rank: 79,312 in Music (See Top 100 in Music)
Cluster 71 CD
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Our product to treat is a regular product. There is not the imitation. From Japan by the surface mail because is sent out, take it until arrival as 7-14 day. Thank you for you seeing it.
Monolithic particle generators emit insect chat to the skies, while adjacent cloud territories lie pregnant with oscillating womb throb. Welcome to the sound of Berlin 1971: transcendental proto-techno conjured by Dieter Moebius, Hans-Joachim Roedelius and Conny Plank (who’d only be on board for this album). Moebius and Roedelius had previously fussed up a discordant industrial clatter with Conrad Schnitzler in Kluster, but now they were seeking softer cosmic atmospheres, though clearly not at the expense of their indefatigable sense of the surreal. Indeed, several times during these three expansive electronic sprawls it’s as if the Mahars – a race of over-sized flying lizard telepaths from 1976 sci-fi film At the Earth’s Core – were encouraged to conduct their conversations at the heart of the swirling synthetic nimbus, employing a disconcerting range of high-pitched wails and yodelled yelp. But amid the madness were sown seeds of future creation.
At one stage towards the end of the second track (all are untitled) Wolfgang Voigt appears to have stumbled into the studio, underpinning the throng of pitch-shifted sine waves and attendant engine roar with an amplified and propulsive heart pulse. Only this beat was struck a quarter of a century before the first Gas long-player was released.
Of course, this stuff has also blown the minds of Brian Eno, John Foxx and members of Coil. But now a new global network of synth-powered cosmonauts has risen to prominence. From Emeralds and Oneohtrix Point Never to Mountains, Astral Social Club and the Ghost Box imprint, each owes a colossal debt to Cluster and this album in particular. Far from providing mere background ambience, Cluster 71’s (the original release dispensed with the numerals) rolling waves of hypnosis are continually exposed to perforation by disorienting surges of energy, imparting wake-up calls to comfort.
New age elevator music? No chance. There’s too much going on here. There’s too much experimentation, too much expression. That’s why, after more than 30 years, Cluster and this wondrous album continue to enchant and inspire.
Find more music at the BBC This link will take you off Amazon in a new window
Top Customer Reviews
I wouldn't ordinarily even bother to comment, but when I looked this up on Amazon no-one had left a review, and that's a pity because - some time one day in the dim distant future - someone might stumble upon this listing and wonder: "What's that like?"
And the fact is, it's not like ANYTHING. While Klaus Schulze and Tangerine Dream were also making some rather radical Krautrock around this time, only Cluster it seems went for something that was totally beyond the boundaries of what constituted "music". This album is, basically, combination of sounds, rather than notes. It's all quite mechanical, noisy, and metallic. Machines groan, moan, and shudder. The structure is to have no structure, but don't confuse this with improvisation that bends the rules of the styles it's based upon, or stretches the instruments. This one breaks all the rules, and a kitchen sideboard can serve as an instrument.
I'm not sure what else to say. Tangerine Dream's Electronic Meditation won't prepare you for this. Klaus Schulze' Irrlicht won't. Stockhausen's experiments won't. The closest I could name - though it does it scant justice - is Lou Reed's Metal Machine Music. Though this (Cluster 71) is much much better.
Will you like this? Well, I don't mind saying I do. So if you're in a really adventurous mood, you might too. if nothing else you can ue it to convince your friends that you really have gone mad.
I was wrong.
My first thoughts were "My washing machine can makes these kind of noises" and "Phhh! What were they thinking"
This was only enhanced by the stupid CD booklet. Coming from the typically uncaring view of the American record label was what is basically a FAQs booklet.
Sporting questions like "Is this really music?" and "Why don't the tracks have names" and, most annoyingly of all; "What color [yes, the American spelling] is this music".
Sorry, have I missed something, music has a colour now!? The answer is apparently "Grey" and it goes on to explain that the original record label, Phillips "dressed it up in fancy clothes [cover art]".
What a load of tosh. There is a tiny section on credits that gives Moebius organ and various electronic treatments and Roedelius the same + slide guitar and cello.
Not even a morcel on what the musicians were doing at the time, why Schnitzler left etc.
Moving on to the music, it is basically a continued series of interuption of repeated electronic throbs with other electronic throbs, oh, and slide guitar and cello occasionally.
The one good thing provided by the booklet is the intended track names, which were abandoned as an artistic statement they are:
Dance of the Lemmings
Track 1 (Dance of the Lemmings) is the most accessable (only by a very small margin as none of these are part of the hit parade) starting with a guitar pulse/repeadedly plucked string.Read more ›
Just a note about the claim in another review that the tracks originally had titles. What the sleevenotes actually say is that Cluster decided not to use mickey-taking titles like other German instrumental outfits, citing three titles of albums by other bands. Not a good place to start an exploration of the genre but one to venture further along the journey.
Most Recent Customer Reviews
came up to every expectation,like falling asleep and finding yourself on an alien world.I go to sleep to this.Published on 2 Mar. 2015 by miles hartley
Basically Hans and Dieter went to Conny and said we want to produce sounds from our instruments that dont sound like our instruments. Read morePublished on 24 May 2012 by Ambienthighway
Over the years, composers of incidental film music, attempting to recreate the vast loneliness of the infinite, have usually come up with something akin to what Cluster do here. Read morePublished on 16 Oct. 2009 by Jay